Are these expectations met? Well, very much as each of the seven unique tracks bring on a variety that makes Om Shanti Om a winner all the way.
It is a truly unconventional beginning to Om Shanti Om as instead of an expected Beat-one-Beat-two beginning from Vishal-Shekhar, one gets to hear a rather serene Aankhon Mein Teri which turns out to be an extremely soulful hear. On hearing it initially, it is the sheer different factor due to which it takes some time to follow the composition. But once you have heard it closely with lights switched off and no interference around you, Aankhon Mein Teri turns out to be an irresistible piece of melody that lingers on for hours.
There are number of factors which go in making Aankhon Mein a song that would be remembered for time to come. First and foremost it is the re-discovery of Vishal-Shekhar who create an unconventional tune that breaks the norms which they had themselves set for them. Furthermore, Vishal himself writes lyrics for this track which turns out to be a unique experience since it shows the sensitive romantic side of him. But the biggest of all is K.K. who showcases once again that he is THE most versatile singer who we have in the Bollywood musical scene today!
Well, those who love the dance numbers coming from Vishal-Shekhar dont have to wait for long with the arrival of Dard-E-Disco. This is the very track which is much talked about for Shahrukh Khans perfect-six-abs and unlike Aankhon Mein which grows immensely only after a few hearings, it is an instant hit from the GO. Reminding of the style, rhythm and the funk of Kaal Dhamaal [Kaal], Dard E Disco is a jump-on-the-dance-floor number which has a Persian touch to it even as overall feel of the song stays on to be Western.
From the title of the song, one would have expected Dard-E-Disco to belong to the 80s era with a Mithun hangover it but thats not the case as the song turns out to be pretty contemporary. Sukhwinder Singh is in his full elements for this track that has some spicy writing by Javed Akhtar saab. Marianne, Nisha and Caralisa come together for backup vocals who give the song a perfect disco feel. Later in the album arrives the remix version which makes for a justified presence due to the songs theme and keeps the entertainment alive.
One would have expected the graph of the album to at maximum stay steady after Aankhon Mine and Dard-E-Disco but to ones pleasant surprise, it shoots up amazingly with Deewangi Deewangi which hooks you on within first one minute itself. A sure shot chartbuster which could well have been the opening number for the films promotion, Deewangi Deewangi is what qualifies as a trademark number which could have been lapped up by Yash Raj Films or Dharma Productions.
Coming together of Shaan, Udit Narayan, Shreya Ghoshal, Sunidhi Chauhan and Rahul Saxena (heard in Indian Idol) ensures that there is not a single dull moment in this instant-attention-grabbing track. Boasting of the innocence in melody that was witnessed in the 70s and now presented in the 21st century avtar with a fusion of qawalli, bhangra and western arrangements, Deewangi Deewangi that also incorporates the sound of Om Shanti Om would definitely lit up the screen when it is played. Its Rainbow Mix only confirms the thought as it helps in consolidating the sound of the song.
If you have ever been in love, you wouldnt have missed out the dancing-couple-on-a-glass-floor gift item that has a sweet sounding tinkling sound which compliments their moves! This is the sound that marks the beginning of Main Agar Kahoon which reminds one of the 60s era when songs like these were in vogue. Picturised on the likes of Rajendra Kumar and Shammi Kapoor, they were mostly sung by Late Mohd. Rafi.
This is the very reason why Sonu Nigam has been roped in to croon Main Agar Kahoon which required the kind of rendition which would succeed in getting you nostalgic about the music of the era gone by. With Shreya Ghoshal in tow who is just the right fit for a song belonging to this genre, Main Agar Kahoon gives a completely different flavor to the album by bringing some thehrav to it after a rocking outing experienced in last few songs.
Names like Rahat Fateh Ali Khan and Richa Sharma are good enough reasons to expect a quality offering from Vishal-Shekhar in the song Jag Soona Soona Lage. Written by guest lyricist Kumaar, this painful yet mellow track about separation has its beginning borrowed from the opening sound of Main Agar Kahoon. Both the singers are highly competent in this beautifully written number that shows an altogether different facet of the composer-duo. A track which has a thorough Indian base to it and makes for a passionate outing, expect it to make multiple appearance during the films narrative.
Its time for the world of Tohfa Tohfa Tohfa [Tohfa] as dhols and ghunghroos come together in unison to create the sound of late 70s and early 80s. With a Lakshmikant-Pyayelal patent all over Dhoom Taana, it is only consolidated further as Shreya Ghoshal sings the song in a style that was made famous by yesteryear singer S. Janaki in Jeetendra-Sridevi-Jaya Pradha films. Roping in of Abhijeet too seems to be done with a purpose since it only brings the nostalgia of Kishore Kumar in spite of no conscious effort by the singer to do so.
All through this vintage song, the dhol beats accompanied by the chorus of Dhoom Taana is hard to be missed though there is a shift in mood mid-way with rock-n-roll. Just recently there was news around Deepika Padukone shaking a leg with Sunil Dutt, Jeetendra and Rajesh Khanna, courtesy SFX. Well, Dhoom Taana seems to be just the candidate for that setting! A winner which should definitely have the house on fire as it unfolds on the big screen. Especially watch out for the crescendo towards the songs end.
Finally comes a track which seems to be set in accordance to the reincarnation theme of the film. Set as a tribute to Ek Haseena Thi Ek Deewana Tha [Karz] with even the lyrics taking a cue from the classic track by Lakshmikant-Pyarelal, Dastaan-E-Om Shanti Om is set in exactly the same story telling mode. The styling of this Shaan rendered track follows the same mode as one expects a high voltage dramatic narration when the song is on.
High on orchestra, Dastaan-E-Om Shanti Om is an elaborate number which has a lot to convey through its lyrics by Javed Akhtar saab. With its mukhda based on the films theme music, the song makes an appearance again towards the end of the album. In its remix version as Dastaan - The Dark Side Mix, it is pepped up further with additional arrangements.
Another remix track which takes the album towards its completion is Om Shanti Om - Medley Mix which basically is an amalgamation of all the tracks from the film presented in a club-mix avtar. A good way to wind up the album. Finally comes a minute long theme piece which is titled Om Shanti Om - Themes. Played on a piano, it leaves a lasting impact even as one can revisit the sound in at least half the tracks in the album.
Credit must go to Farah Khan who mixes the commercial elements of the movie with an inherent class which she wanted to lay out in the soundtrack for Om Shanti Om. This is why a fine balancing act is done in the album with hardcore massy tracks like Deewangi Deewangi [best of the lot], Dhoom Taana and Dard-E-Disco presented along with touching tracks like Aankhon Mein Teri, Main Agar Kahoon and Jag Soona Soona Lage. And then there is always a Dastaan-E-Om Shanti Om to bring the nostalgia of Ek Haseena Thi [Karz].
Om Shanti Om is easily one of the most complete scores by Vishal-Shekhar and Javed Akhtar.
Plus Points: good music
No comments:
Post a Comment