We bring to you the exclusive music review of Rowdy Rathore.
Rowdy Rathore!
Isn’t the name intriguing? It is more so when the movie is produced by one of India’s finest filmmakers – Sanjay Leela Bhansali and directed by ace choreographer-turned-director, Prabhudeva. Add the Indian khiladi Akshay Kumar and the sensational newbie Sonakshi Sinha and you get a movie that is bound to create ripples of interest throughout the array of Indian moviegoers. Bhansali has a track record of maintaining consistently brilliant soundtracks. At the same time, he hasn’t directed the movie. Moreover, Rowdy Rathore is the hindi adaptation of the Telugu flick Vikramarkudu / Tamil flick Siruthai. Being a big banner film, one can have sizeable expectations for a dhamakedaar soundtrack. Does it deliver? Read on to find out.
Wajid Ali & Shreya Ghoshal open the album with an insanely addictive Dhadhang Dhang. Mind you, an addictive song isn’t necessarily a good song – which holds true in this case. I wonder why this song was composed in the first place. It could possibly pass off as a slightly slower version of Tere Ishq Mein Nachenge (from Raja Hindustani). Actually, it is highly reminiscent of the rampant Govinda-music genre of the 90s. The only difference is it is picturised on a garishly dressed Akshay Kumar. Crudely written with the most archaic words, the song has absolutely nothing new to offer. Not a great start, I must say.
“Chikni kamar pe teri mera dil phisal gaya
Strongly yeh jaadu tera mujh pe chal gaya”
What the hell is happening? The next song, Chinta Ta Ta Chita Chita, follows in the same league as Dhadhang Dhang. You can actually imagine Govinda gyrating to this song. Replace lead singer Mika Singh with Vinod Rathod and, believe me, you would easily be fooled thinking this song is from one of the 90s rampant ‘No.1’ movies. If you think I am exaggerating, take a look at the video:
[youtube_video id=5dmwtnQBkLk]
In its defence, the song is merely the hindi version of the Tamil song Jinthak Thak Jinthak Jinthak from Siruthai.
Imagine an item number picturised on not one – not two – but THREE starlets? You would expect full-fledged high-powered fireworks to sizzle. That isn’t the case with Aa Re Pritam Pyaare.
“Aa re pritam pyaare,
Bandook mein naa toh goli mere,
Sab aag toh mere kurti mein re,
Zara hukka utha zarrra chillam jala,
Pallu ke neeche chupa ke rakha hai,
Utha doon toh hungama ho.”
Sung by Mamta Sharma (of Munni Badnaam & Anarkali Disco Chali fame) & Sarosh Sami, the sung would qualify for the Razzies. I mean it! At the same time, credit must be given where it is due – the song is perfect to rile up all the front-benchers.
[youtube_video id=e3ddIO8W6V4]
The next song disillusioned me. I went back to the CD case to confirm the composer of Rowdy Rathore’s music since Chammak Challo Chel Chabeli is the somewhat re-hashed version of Chabeela from Bhansali’s own, Saawariya. Kudos to the makers for even retaining the female version of the word Chabeela – Chabeli! Sung by Shreya Ghoshal and Kumar Sanu (who, despite returning behind the mic after eons, still sounds absolutely fresh, intoxicating and leaves you wanting for more of his voice), it picks up towards the end when both of them sing together. Meh!
I cannot seem to stop smirking.
Sung by Javed Ali & Shreya Ghoshal, the opening of Tera Ishq Bada Teekha reminded me of Fanaa’s Chand Sifarish and I half expected Kailash Kher to scream out ‘Subhan-Allahhhhhhh’. You can spot traces of Rishta Tera from Rishtey too. I mean, what is this? Why can’t music directors dole out soulful original sounding songs? And the lyrics – Oh Man! – check this out:
“Tera ishq bada teekha
Mujhe teekha achha lage
Tere ishq mein dard bada
Mujhe dard achha lage”
Till now, the album totally deserves the following award: Best music to constantly maintain a sense of déjà vu.
Taking a complete U-turn, Chandaniya (Lori Lori) presents the much needed relief from an otherwise painful album. I wonder where this simple yet melodious lullaby (sung beautifully by Shreya Ghoshal) will be placed in the movie.
Finally, the album ends with the Rowdy Mix. The following lines are mouthed by Akshay Kumar himself.
“Jo main bolta hoon, woh main karta hoon,
Jo main nahi bolta hoon, woh main definitely karta hoon.”
Predominantly a theme-like instrumental song, it has various music pieces interspersed with Kumar’s dialogues from the movie. Sigh! How I wish this track was worth my time to comment. I think I have said enough.
As the Rowdy Mix faded out, I was left with many questions. To cite a few:
a) Why did the makers give a green signal to this soundtrack?
b) Why did the makers choose Sajid-Wajid as the music composers?
You know, in a way, it makes sense. The songs stay true to the essence of the movie i.e. they are out-and-out ROWDY. Yet, rowdiness can be created from original content too right? It is a fine art which obviously hasn’t been mastered by this album.
Hopefully, the movie will be more entertainining. Also, hats off to lyricist Sameer Anjaan for penning the crudest, most archaic, pungent, putrid lyrics in the world. This album will achieve commercial success due to mass appeal (especially in rural areas) since it rides high on the addictive factor- this really saddens me. But, I cannot blame Sajid-Wajid entirely since they’ve delivered what was probably asked of them – an addictive soundtrack.
My verdict? Do not bother with this album. Try to maintain atleast a zillion feet from the CDs unless you like blatantly commercial fare.
SHRESHT’S PICKS: None. (Even Chandaniya is nothing great)
RATING: * out of *****
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