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Agneepath 2012 Bollywood Music Review

By Author: Mauli Sharma
Total Articles: 68

Chikni Chameli is the first track that is going to blast off your music system. If not that, (who’s buying music cd’s these days?) haven’t you noticed how the video was steam rolled on youtube before the music hit stores – if anything, the guys at Dharma Productions want a viral upsweep – you have 'seen' before you can 'hear' – meaning, the bountiful curves of Ms Kaif is anodyne music to your senses.

Chikni Chameli should be a rage like most other viral videos and it does not matter if the song is trashed as ‘overplayed’ when the local religious festivities come around and we move on to the next ‘item number’ to navigate our processions through bustling market squares. First there is familiarity, later contempt. Such a thing as over-sell.

Shreya Ghoshal is finally taking risks in her selection of songs, moving from dulcet playback (like Lata di) to some hot blooded oomph (Oh la la, The Dirty Picture) and this isn’t just to break stereotype – just listen to her rendition of Chikni Chameli – there’s an assertive ‘throw’ – a je ne sais quoi that’s coming about in the tonal quality of her voice not naturally associated with her bashful style. ‘Pauaa chadha ke gaayi,’ is what best can be surmised from her frolicsome titter at the end of this loud, celebratory song.
O Saiyyan, Roop Kumar Rathod’s dirge is accompanied by some very beautifully orchestrated layering of piano, drum, santoor, violins, chorus – here’s a sweep where a sweep should be but it does not rise above the song’s theatrical trap – that confine when heard inside a theatre sounds good, outré outside.
Sunidhi Chauhan and Udit Narayan Gun Gun Guna Re through this standard template street number – unusually worded by lyricist Amitabh Bhattacharya about ‘aasuon ka churan chaba ke humne dakaar maara re.’ Chew on this.

Other highlight of the soundtrack of Agneepath are:

Shah Ka Rutba resonates the fervour of Yaari Hai Imaan (Zanjeer) and restraint of Tu Mujhe Qubool (Khuda Gawah) but more so in channeling the mega vision of Agneepath’s first director Mukul S Anand’s passion for grand-standing mounted by Laxmikant-Pyarelal’s ‘shooting on all cylinders’ orchestrated score.

Having already displayed their skill for such music in Natrang, Ajay-Atul deliver on the promise, roping singers of high pitch – Sukhwinder Singh, Krishna Beura, and musician Anand Raj Anand to render a qawalli with such gusto, the screen might just explode.

Be warned of Rishi Kapoor’s kohl-eyes lighting paths of fire for your grace. Ajay-Atul introduce a whole new brand of lavani-qawalli midway into this song when they break the rhythm – with an end flourish more macabre than music. This is a marked shift from composers back in the day who would raise the stakes towards the finale but never did it tremble on moral ground – a sinister vein that composers now seem to gleefully revel in.
Sonu Nigam sings Abhi Mujh Mein Kahin – his voice glidingly effortlessly over the dreamy score –pitch hitting high and low as did once for Kismat Se Tum Humko Mile Ho (Pukar). A quavering voice (for character) soars for some very spirited singing.

Deva Shree Ganesha bears the Ajay-Atul watermark only they can reproduce. This is bhajan trance at its best. Ajay sings as sutradhar, leading us towards the closing canto in high chorus which also acts as a denouement to the story that is Agneepath.
If this soundtrack does not firmly establish Ajay-Atul on the Bollywood music scene, after the half-heart roar of Singham , what else will? They are hop-skipping on hot coals to get there.

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