Baabul
Team of ''Baghban'' is back with ''Baabul''. In continuation
to the trend of family socials from B R Films, ''Baabul'' too follows the same
route as it deals with the subject of widow rehabilitation.
Starring Big B in
the title role with Hema Malini, Salman Khan, Rani Mukheree and John Abraham, ''Baabul''
had it''s own share of issues throughout its shoot but credit to director Ravi
Chopra that he kept a brave face and brought the film to finishing line. Aadesh
Shrivastava, who gave some memorable songs for ''Baghban'', is back with ''Baabul''
along with lyricist Sameer.
From a movie like ''Baabul'', one expects a musical score which is core Indian
at heart. While it certainly holds true after one is through listening the
album, the thought at the top of the mind is - Why is Aadesh Srivastava heard so
rarely, especially with the most reputed banners? If given an opportunity, as in
case of ''Baabul'', he can come up with quite an impressive score.
Write your own music review of Baabul
Amitabh Bachchan had sung a number of songs for Aadesh in ''Baghban''. Same is
not the case with ''Baabul'' where he croons only one track ''Come On Come On''.
A beautifully arranged and programmed number that has an amazing rhythm kick
starting the proceedings, ''Come On'' has Amitabh Bachchan and Sonu Nigam simply
freaking out throughout the proceedings. This one is not your typical ''bhangra''
track but instead is much more with an innovative fusion of pop, rap-n-reggae
and background voice inputs Vishal, Aadesh Shrivastva, Ranjit Barot interspersed
with the celebration mood of ''Come On Come On''.
Just like tracks by Pritam which have a lot of funk and English inclusions,
''Come On Come On'' too relies a lot on rhythm and succeeds in a big way. Later
in the song, it is sheer fun to see Big B and Sonu Nigam exchanging verbal
volleys of one-upmanship that keeps the proceedings exciting. Towards the
album''s end comes the remix version which anyways seemed quite essential on
hearing the original. High on pace with an added funk, this one would be soon
heard on the dance floors. Aadesh Srivastava has a clear winner here in ''Come
On Come On''
After a rocking beginning, album takes a melodious route with ''Keh Raha Hai'',
a love duet between Sonu Nigam and Shreya Ghoshal. A sweet-n-simple song that
goes quite easy on arrangements in sheer contrast with ''Come On'', ''Keh Raha
Hai'' is a kind of melody that seldom fails and keeps a regular Bollywood buff
entertained. A song which reminds one of the kinds of songs that Anand Milind
used to compose around a decade and a half back, it guarantees eye candy
visuals.
It''s retro time with the arrival of ''Har Manzar'' that has a sound of late
70s/early 80s. In spite of being a stage number, it doesn''t go ballistic in its
treatment and instead retains a softer touch. Kunal Ganjawala is at the helm of
affairs here and he too is restrained in his rendition, hence making ''Har
Manzar'' a decent song to hum around. In fact when one hears the song closely,
the musical instruments and light chorus in the background along with a
continued rhythm make it a certified retro number.
Later in the album, DJ Suketu is called upon for the remix version of ''Har
Manzar''. One dreaded a thought of the remix version going out of control since
the soft music heard in the original would have been preferred any time but to
one''s pleasant surprise, this version too flows smoothly with only an
instrument or two added to spice it up a little. Overall, the song is not the
one which would be a single most reason to make ''Baabul'' a chartbuster fare
but it contributes decently.
Proceedings become suddenly very sober with ''Kehta Hai Baabul''. Well, that is
quite expected with Jagjit Singh rendering the song. A number about a father''s
love for his daughter and his fear of living alone once she is married, this one
is a beautiful hearing all the way. Expect moist eyes in the auditorium when the
song is on since everyone from Jagjit Singh, Sameer to Aadesh Shrivastava give
their all to make ''Kehta Hai Baabul'' a memorable song which would make quite a
good impact in the film.
With lyrics like ''Bebasi Dard Ka Aalam Hai'', one is led to understand that it
would continue the sober mode created with ''Kehta Hai Baabul''. A song about a
man asking the woman close to him to lend him all her sufferings and pain, it
seems to have been created for the situation between John Abraham and Rani
Mukherjee. A soft track with a touching orchestra, it has been rendered very
well by Kunal Ganjawala who conveys the point ''soft and clear'' that he is much
more than ''Bheege Hoth Tere''. One of the most balanced songs rendered by Kunal
where he has kept the tone and pace consistent with hardly any variation, ''Bebasi''
is a meaningful situational track for the film.
After a hiatus Sonu Nigam returns behind the mike with ''Baawri Piya Ki'' which
starts on an extremely subtle note. If you have been liking lounge music based
on Indian classical music that has been quite popular off late, then you would
lap up to ''Baawri Piya Ki'' too. The song that comes to mind is ''Piya Baanwari''
since both the numbers have their roots in Indian classical music with a subtle
touch-up by Western instruments. Sonu Nigam excels in ''Baawri Piya'' as he goes
extremely soft in this love song that comes up for the situation of extreme
intimacy between a man and a woman. Yet another track that adds on to the
variety of ''Baabul''. Also watch out for the multiple piece orchestra that
comes in the middle of the song. It gives a clear indication of Aadesh
Srivastava''s mastery over the craft!
It''s time to return back to some ''masti'' and ''mazaa'' with ''Gaa Re Mann'',
a ''qawalli'' featuring Amitabh Bachchan and sung by Sudesh Bhonsle. What is
notable is that with Big B crossing 60 years of age, Sudesh too brings that
''old man'' feel in his rendition and keeps the vocals subdued. The song
switches mood 1 minute into the song with arrival of Alka Yagnik as she gets
into a filmy romantic rendition. Soon her vocals too merge with the ''qawalli''
mood of the track and both she and Sudesh Bhonsle get into a duet. Thereafter
they are joined by Kavita Krishnamurthy who croons about the beauty of everyone
loving together. A track seemingly picturised on Big B, Hema Malini and Rani
Mukherjee, it has a potential to grow if picturised impressively.
Mood of the album changes again with a ''bidaai'' situation as Richa Sharma
sings ''Baabul-Bidaai'' song. With zero instruments in the background, Richa
keeps the song in check strictly through the prowess of her vocals as she
creates a painful atmosphere as witnessed in every ''bidaai'' ceremony after a
marriage. Sonu Nigam closes the album with ''Vaada Raha'', a short situational
love song with a sad undertone. A promise about love staying on forever, this
one may find a place in the narrative on multiple occasions.
In two words, soundtrack of ''Baabul'' can be defined as HIGH QUALITY. There is
not a single moment in the album when one feels cheated or thinks that high
claims about the album being distinct are untrue. Instead one just feels the
urge of appreciating Aadesh Srivastava for the sheer range he brings in the
music of the album. Though ''Come On'' is a chartbuster all the way, the songs
which are most impressive in the album are those that are soft
numbers/situational tracks. These may not turn out to be the tracks that would
be played down the street but in a remote corner of your house, they are bound
to bring in a tear/smile or two!
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