Oye Lucky! Lucky Oye!

Oye Lucky! Lucky Oye!
2 years back when Khosla Ka Ghosla had released, not many had a clue of what exactly the film was all about. To everyone’s pleasant surprise, the film went on to become a success and a new director was introduced - Dibakar Banerjee. Spinning a tale revolving around middle class people, he now comes up with Oye Lucky! Lucky Oye! (OLLO) which is backed by UTV, the company which had also taken over Khosla Ka Ghosla. Title song ‘Oye Lucky’ is a kind of number which will sooner or later find itself soaring high on the popularity charts. A hardcore Punjabi number which is attached to the roots and has a rustic feel to it, it is sung by Mika Singh who seems to be clearly enjoying himself completely while rendering this one. Written by Dibakar Banerjee, Manu Rishi and Kanu Behl, this one is a racy number that can be played in marriage processions and discotheques alike (courtesy the ‘remix version’) and is easily the flagship number of OLLO. If ‘Chak De Phatte’ was a hugely popular number in Khosla Ka Ghosla, then chances are high that with good promotion and long run of the film, ‘Oye Lucky’ too wouldn’t be far behind. Write your own music review of Oye Lucky! Lucky Oye! Since OLLO is an unconventional film, the music too is expected to be on the same lines. While there are multiple lyricists associated with the project, there is a sole composer attached to OLLO - Sneha Khanwalkar - who had composed a few songs in Ram Gopal Varma’s last year release GO. If Singh Is Kinng was said to be predominantly a Punjabi album then listen to Oye Lucky! Lucky Oye! - this one too follows an out and out Punjabi flavor. One look at ‘Jugni’ and you pretty much know what to expect from the rest of the album. Sung by Des Raj Lachkani & Party, ‘Jugni’ is rooted in Punjabi but is coated with Western arrangements to cater to a wider audience. A sort of number which is expected to play in the background to spice up the narrative, ‘Jugni’, written by Rishi and Kanu Behl, would be easily identifiable by those who understand Punjabi while for the rest, it would act as a racy dance outing by means of the ‘remix version’. From Punjab, Oye Lucky! Lucky Oye! moves to Rajasthan with the desert folk flavor being the feel of ‘Tu Raja Ki Raj Dulari’. It is difficult to comprehend the meaning of this number which is sung by Rajbir who seems to be a teenage boy. Yet another background piece, as is the case for the entire soundtrack, ‘Tu Raja Ki Raj Dulari’ would be understandable mainly when seen in the film’s context. Written by Mange Ram, the song been given a slightly Western touch through means of arrangements by Sneha Khanwalkar. You can find your feet tapping the moment ‘Superchor’ begins. Though the title has been titled ‘Superchor’, the number has this aspect only in the background with the protagonist mainly talking about the love of his life. Yet another hardcore Punjabi number which is written by Dibakar Banerjee & Amitosh Nagpal, and also has a Punjabi rap thrown in for good measure, ‘Superchor’, sung by Dilbahar, is as good as the title song ‘Oye Lucky’ and is pretty much identifiable. This one should be a riot if picturised well because yet again, one can expect a middle class setting (note the words - ‘Odi Kothi Sector Chaar’) to keep things ‘real’ on screen. Dibakar Banerjee and Amitosh Nagpal come together once again for ‘Hooriyaan’, a celebration number which is sung by Brijesh Shandilya and Himani Kapoor. Expect a marriage procession when this number is played, since it has the kind of flavor which is associated with typical North Indian celebrations. Some vibrant choreography would only help the song to grow further. OLLO is a kind of album which takes its own time to find an audience for itself. Though on the face value it has a restricted appeal due to rooted Punjabi flavor to it, it has very good chances to grow provided the film turns out to be successful at the box office and the makers/music company promotes it to the fullest. Dibakar Banerjee must indeed be a happy man because while Khosla Ka Ghosla had just one chartbuster track (’Chak De Phatte’) to its credit, Oye Lucky! Lucky Oye! has at least 2-3 tracks (’Oye Lucky’, ‘Jugni’, ‘Superchor’) which have potential to be successful.
Source: www.bollywoodhungama.com

Rab Ne Bana Di Jodi
Aah, now this one is a huge film. For a 10 year old who may still be wondering what’s the fuss about the coming together of Shah Rukh Khan and Aditya Chopra, a trip to Maratha Mandir, Mumbai, is mandatory to check out Dilwale Dulhaniya Le Jayenge which is still running there for 13 uninterrupted years. And for the grown-ups, Rab Ne Bana Di Jodi hardly needs an introduction. Of course, the music of any Yash Raj Film is special because regardless the fate of some of their recent films, music continues to be highpoint of the production house, Tashan and Bachna Ae Haseeno being the case in point. Write your own music review of Rab Ne Bana Di Jodi Talking about the music of RNBJD, one looks forward to what composer duo of Salim-Sulaiman and lyricist Jaideep Sahni have come up with, considering this is easily their BIGGEST project ever. Also, they would be expected to fill the shoes of Jatin-Lalit who made the score of DDLJ and Mohabbatein, the two projects directed by Aditya Chopra, ever-so-memorable. default-300×250.tpl a) So, does the music eventually go on to meet the sky high expectations? b) Has Aditya Chopra indeed reserved the best songs for his third directorial outing? c) Will Shah Rukh Khan have yet another blockbuster score a la Om Shanti Om to his credit? d) Does Rab Ne Bana Di Jodi turn out to be the kind which would be played at least 3-4 years from now, if not a decade? So how does one sum up the music of Rab Ne Bana Di Jodi? Well, it is not bad but then it is primarily situational; the kind that gets enhanced by picturisation and choreography. The sound of ’santoor’ at the very beginning of ‘Tujh Mein Rab Dikhta Hai’ attracts one’s attention right away since you immediately get the feel of a Veer Zaara outing. A simple outing that has an out and out Indian feel to it; ‘Tujh Mein Rab Dikhta Hai’ starts off well but just doesn’t pick up enough, courtesy the choice of singer. Seriously, instead of Roop Kumar Rathod being entrusted with the responsibility of a track which is the flagship number of RNBDJ, if a singer like Udit Narayan or Sonu Niigaam or K.K. would have been the chosen one, the song could well have gone to a different level altogether. In the end, it turns out to be a more than decent number which certainly could have been much better. Also, it doesn’t quite turn out to be the kind which deserves to appear at the very beginning of the album. Female version of the song, a much slower one, comes towards the album’s end and has Shreya Ghoshal at the helm. A 100 second piece, it is a slower version and a sad one at that. Purely situational. A slightly better number comes in the form of ‘Haule Haule’, a number which carries the flavor of Aaja Nachle soundtrack both in terms of middle-class setting and the overall simplicity of sound design. Rendered by Sukhwinder Singh who is subdued rather than being typically full throated, ‘Haule Haule’ is a situational track which is already on air and is being noticed for the way the bespectacled Shah Rukh Khan brings in all his experience while comfortably dancing around in his middle class clothing. The number has melody as its driving force. Would ‘Dance Pe Chance’ turn out to be that number which would make RNBDJ soundtrack special? This is what one wonders when this track sung by Sunidhi Chauhan and Labh Janjua arrives next. However, to one’s disappointment, ‘Dance Pe Chance’ has an ordinary orchestra and arrangements that pull the song back. Preset keyboard sound seems to be driving this ‘dance number’ that is mainly a Sunidhi Chauhan track with an element of Punjabi being thrown in, courtesy Labh Janjua. A song where a plain and simple Shah Rukh Khan seems to be going through dance classes, ‘Dance Pe Chance’ is a number where Salim-Sulaiman haven’t done anything special and just followed the sound they have already brought to the audience in films like Neal N Nikki. A four minute remix version ‘Dancing Jodi’ marks an end to the album and is marginally better due to all the pep and rhythm thrown in. Also, it includes references to ‘Tujh Mein Rab Dikhta Hai’ and ‘Haule Haule’. ‘Phir Milenge Chalte Chalte’ is a kind of number which (on screen) could turn out to be good on screen, purely on the basis of how Aditya Chopra gets some fun rolling on the screen. This one is clearly an experiment in the making since it amalgamates numerous lyrics and tunes from the yesteryear and mixes them together to create a ‘bhelpuri’ of sorts. So whether it is ‘Jab Pyaar Kisi Se Hota Hai’, ‘Pal Bhar Ke Liye Koyi Hamein Pyaar Kar Le’ or ‘Hum Hai Rahi Pyaar Ke’ or ‘O Haseena Zulfon Waali’ or ‘Jai Jai Shiv Shankar’ - the number includes them all and many more with Sonu Nigam singing as if he is a part of a concert where he has to pay a homage to all the greats from the past. As a standalone number, ‘Phir Milenge Chalte Chalte’ just doesn’t stand a chance and certainly not the kind which would be solely responsible for the sales of the album. There were four questions that were raised at the beginning of the review. This is what one has to say after hearing the entire album: a) The music is decent but not huge enough to befit a project which marks the return of Aditya Chopra as a director b) Aditya Chopra has been responsible for far better romantic outings, most recently being Bachna Ae Haseeno c) The music will sell well but touching the numbers of Om Shanti Om would be feasible only if the movie turns out to be an excellent fare with a sustained presence at the box office d) It seems highly improbable that the songs would remain rooted for years at stretch in the hearts of music buffs who expect nothing but the best from a project as huge and important as RNBDJ. However, what needs to be remembered is that Aditya Chopra has been one of the pioneers when it comes to song picturisation. How can one forget songs like ‘Ho Gaya Hai Tujhko To Pyaar Sajna’/'Mere Khwabon Mein Jo Aaye’ [DDLJ] or ‘Chalte Chalte’/'Soni Soni’ [Mohabbatein] which were not the flagship numbers of the respective films (’Tujhe Dekha’ and ‘Humko Humi Se Churalo’ were) but still turned out to be widely popular. The same can be ultimately expected from RNBJD, if response to just-on-air ‘Haule Haule’ is any indication. If the remaining songs too come close to ‘Haule Haule’ in the way they are picturised, rest assured RNBJD too would do well. Add to it the curiosity around SRK and Aditya Chopra coming together and the album can be expected to take a flying start at the stands.
Source: www.bollywoodhungama.com

Dasvidaniya
Rock On, Phoonk, Mumbai Meri Jaan, Welcome To Sajjanpur, A Wednesday, 1920 - Unconventional subjects have worked at the box office if one looks at the spate of releases in the quarter gone by. In the times when low/medium budget films are earning decent revenues for themselves, arrives Dasvidaniya’(that stands for ‘Goodbye’ in Russian) which features Vinay Pathak in the lead. Though one wonders about how songs would be placed in this unconventional film, Kailash Kher has been roped in as a composer and lyricist. In fact, he also sings each of the songs in the film! Write your own music review of Dasvidaniya The first to come is ‘Alvida’ which marks a bitter-sweet beginning to Dasvidaniya. A number about living life for each of the moments lying ahead of you, ‘Alvida’ narrates the tale of the protagonist who only has a few more days to live and wishes to let go of all the pain around him and only look at the brighter side of the moments available to him. default-300×250.tpl As Kailash Kher plays the triple role of composer, lyricist and singer, ‘Alvida’ moves at a slow pace with slight Western arrangements given to it. With philosophical undertones to it, ‘Alvida’ is mainly a situational track that should play in the background at numerous junctures in the film. Later in the album, Paresh and Naresh join Kailash for the ‘remix version’ of the track that has a lounge feel to it. Reminding of the kind of tracks that were heard in Basu Chatterjee and Hrishikesh Mukherjee films of the 70s where characters (like Amol Palekar, Deven Verma and company) impromptu started playing a song in the household setting, ‘Mumma’ is the next to arrive. A sweet sounding number which is a Kailash Kher show all the way again, it is the simplicity of the proceedings that wins the round for ‘Mumma’. Ok, so you won’t find the number being set as a mobile ringtone but in the periphery of the film, this track about two sons (Vinay Pathak and Gaurav Gera) singing a song for their mother should add value to the narrative. Going all the way back into the 50s and 60s, ‘Muskura’ has the kind of sound that Raj Kapoor used in number of his films. Due to a distinct Russian feel to it, the effect is even more apparent since Raj Kapoor had a fetish for wooing Russian audience. Since Dasvidaniya itself is derived from the Russian language, it was expected to have this sound in the album. A feel good number about living life, it moves at a slow pace and is mainly for those who revel hearing Mohammed Rafi songs till date. What is further surprising is to see Sonu Nigam’s name on the credits since he modulates his voice considerably in ‘Muskura’. There is also an ‘instrumental’ version of the song which marks an end to the album. Dasvidaniya is a short album that mainly has three original tracks. While none of them are expected to go any further beyond the film’s release, they should manage to contribute to the narrative.
Source: www.bollywoodhungama.com

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