We bring to you the exclusive music review of Kabeer Kaushik’s Maximum.
Let’s face it – Maximum is virtually an unknown movie. Despite having phenomenal actors like Naseeruddin Shah and Sonu Sood, the movie really hasn’t created that big a hype as one would’ve expected (i.e. based on the cast). In my opinion, it will follow the path of movies like A Wednesday and gain critical acclaim post-release by word of mouth. BUT, this isn’t about the movie per se – it is about its soundtrack which has been composed by Amjad Nadeem, Devi Shri Prasad (of Dhinka Chika fame), Vikram-Sawan & Daniel. Should we expect situational songs in an otherwise serious cop drama? Let us take a look.
Is there a dearth of original tunes? If not, then why do film-makers keep resorting to hindi-anized adaptations of originally South Indian songs? Case in point being Aa Ante Amalapuram (which retains the original title). Composed by Devi Shri Prasad and sung by Malathy, the song is catchy no doubt. For those not in the know, Aa Ante Amalapuram is basically analogous to ‘A for Apple’ – in this case, the fruit is replaced by the name of a city in Andhra Pradesh i.e. Amalapuram, thus resulting it ‘A for Amalapuram’. Such a song might work in the South, but in Bollywood, every second movie has a similar sounding item song. What we require is an absolutely hatke item song? Music directors, are you listening? Anyway, this one’s no biggie.
Mann Qunto Maula is up next. Poet Amir Khusro had originally written a poem by this name. Roughly, the phrase translates to “To whom I am the master, Ali is the master.” Predominantly a soft Indo-western fusion qawalli, I wish the music director had selected a stronger voice which would’ve left a greater impact. Arrangements are top-notch but something still seems amiss. Composed by Vikram-Sawan and sung by Raga Boyz, this song left me wanting for more.
Ya Maula is a gem. Period. Sung by Shafqat Amanat Ali, it is once again a Sufi track. Everything works in favour of this song – the soothing vocals, the beautiful usage of various instruments e.g. flute, tabla, shehnai, the hypnotizing arrangements – sigh! ‘Tis truly a work of art.
The album takes a U-turn with a dhinchak track – Aaja Meri Jaan which is sung by Tochi Raina & Ritu Pathak. The sudden swing in the graph of the soundtrack from devotional to dhinchak can be unnerving but Aaja Meri Jaan gradually grows on you, especially the bits when Tochi takes to the mic. To be brutually honest, this one is an ordinary tune at heart, but its handling overshines this fact. Moreover, Ritu Pathak is downright annoying. Sample this:
“Dil toh hai ishq ka makaan, tu aaja meri jaan”
Nadeem Khan & Tulsi Kumar sing Sutta. No points for guessing that this isn’t a devotional track. The primary beat of this wannabe hip-hop track reminds me of Dil Dooba from Khakee. Unfortunately, this track doesn’t do anything for me. The only reason why this track earns brownie points from me is for the addictive chorus – BUT that is it.
Namami Shamishaan opens up with the haunting sound of a piano solo. This one is a beautiful prayer dedicated to Lord Shiva. Composed by Daniel, This one wins major brownie points from me owing to the amazing arrangements by intermingling the piano with the voice of Bandini Sharma. Every person should hear this.
As the album came to an end, I realized how engrossing some of the tracks were. My only grouch is the dynamic graph of the album. I mean to say, the musicians should have grouped the modern funky tracks together and the devotional together to maintain, in a way, continuity. Maximum boasts of a few good songs which can be repeatedly heard and there lies its USP. Hopefully, the songs will be well-utilized on screen.
SHRESHT’S PICKS: Aa Ante Amalapuram, Ya Maula, Namami Shamishaan
RATING: **1/2 out of *****
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