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Music Reviews |
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By Joginder Tuteja, September 13, 2007 - 11:34 IST
Abhay Deol continues to be a part of films which are unique and unusual. Socha Na Tha, Ahista Ahista, Honeymoon Travels Pvt. Ltd, Ek
Chalis Ki Last Local and now Manorama Six Feet Under. Directed by debutant Navdeep Singh, this Shemaroo produced thriller has
already won accolades in festival circuits for its unique screenplay and treatment.
One wonders though what the film's soundtrack has to offer her which has just four tracks with Jayesh Gandhi and Ralomond Mirza from UK
contributing with two songs each! Nevertheless, there indeed is a pleasant surprise with at least one song hitting the bull's eye.
Jayesh Gandhi gets to sing the best song of his career as he croons 'Woh Bheege Pal'. And for that he had to reply upon himself
by composing the track as well as writing it (with Surendra Mishra). After being on the music circuit for more than five years with his voice
being heard mainly for Himesh Reshammiya compositions, he goes independent with Manorama Six Feet Under
If you have liked Pakistani pop and rock all this while then you are surely going to lap up 'Woh Bheege Pal' in its very first listening. A
song that is sung wonderfully well by Jayesh, it boasts of a controlled tune coupled with some sensitive lyrics which makes it a must inclusion
in your collection if you love songs belonging to 'pain-n-sorrow' genre. In fact after 'Tere Bin' [Bas Ek Pal], this is the best song to have
arrived in this genre.
The mood of the song shifts in second version of the song (not a remix) which takes a lounge setting. Compared to the Jayesh sung version,
this one by Zubeen Garg follows a mellowed approach. Though both the versions have a justified presence in the album, if one has to pick one,
it would be the one crooned by Jayesh.
Akbar Sami is roped in to do what he is best at. And yes, this time around it is indeed a remix as the master DJ gets on the job with his remixing
of Jayesh rendered 'Woh Bheege Pal'. Well, it would be fun to see Abhay Deol appearing in a music video of this club-mix track. Will he
oblige?
The mood of the album stays on to be consistent with 'Tere Sawalon Ke' which is yet another pensive track though without
turning out to be a drag. Written by Manoj Tapadia whose work was last seen in Cheeni Kum the song has two of the best singers in
business - Roopkumar Tahod and Mahalaxmi Iyer - who sing with their hearts in. Aided by some soothing arrangements that keep the
proceedings subtle, this slow moving number is fit to be heard in the peace of the night.
'Dhundla Jo Sama Bandha' is a kind of number which you are forced to play on again even as you are through just half way
down. Reason? It doesn't belong to the category of tracks which one is habitual of listening on a regular note. Rendered by Kailash Kher and
composed by Ralomond Mirza, this song requires a number of repeated listening to actually comprehend what lyricist Irfan Siddiqui (who had
written songs for Rajiv Goswami's non-film album 'Mujhe Pyar Se Matlab' a couple of years back) tries to say.
A song which comes with philosophical undertones, 'Dhundla' is best suited to be incorporated as a part of the screenplay and
then understood along with the narrative.
What's up with the songs that come with a title Dhokha? Just recently there was a title song which was composed for Pooja Bhatt's
Dhokha. Later, one heard another song titled 'Dhokha' in Johnny Gaddaar. Now one hears third song in a row with a title
'Dhokha'. Rendered by Richa Sharma, who is a complete deviation from her classically inclined tracks and fits in well into the western
mould, 'Dhokha' written by Rowdy has a true-blue lounge setting.
The song is a mixed bag because though the build up to the song is good (reminding of the cabarets of the 50s) with some haunting
arrangements indeed, it isn't as exciting in the portions where 'Dhokha' tries to build a rhythm with the arrival of the words 'Dhokha
Hai Dhokha'.
'Alaap' interspersed in the song doesn't quite add on to the effects and one wonders if the song could have been better off if
Ralomond Mirza could have kept ‘Dhokha' out and out western. However, Abhay Deol's dialogues about the desert, mouthed in a style
similar to the manner he did in 'Laree Choote' for Ek Chalis Ki Last Local, manages to hold your attention.
Manorama has at least one song which deserves to all the way and that is 'Woh Bheege Pal'. This one should have been
bombarded weeks back and supported by a music video to get the film into limelight. 'Tere Sawalon Ke' is a good hear but
'Dhokha' and 'Dhundla' are purely situational. Hear it for 'Woh Bheege Pal'.
 
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