Baabul

Article Updated 15 November, 2006 11:22:51 PM IST

Baabul

B.R Chopra Productions celebrated its 50 golden years with the music launch of their much-awaited 'Baabul'. This banner enjoys a reputation (more for their class products), quite similar to the Yash Raj banner headed by B.R Chopra's brother Yash Chopra, when it comes to good quality family entertainers with brilliant meaningful music. And Ravi Chopra, very much like cousin Aditya Chopra took this banner to new heights with the success of his family melodrama 'Baghban'. Its music (and of course Big B) played a big hand in that. Who can forget the rocking 'Chali-Chali', the tear-jerker 'Main Yahan Tu Wahan' or the festive celebration number 'Meri Makhana', just to name a few. The music director Aadesh Shrivastava was in full form. So it is natural that we have a lot of expectations from this album too. Let us see if they are fulfilled or not.

Before we go on to the first track, a brief reflection on who was instrumental in Amitabh's emergence (in his second innings) as the 'Item Man' (if Abhi can be called 'Item Boy', why not the Big B as 'Item Man'!). Well actually it was Aadesh Shrivastava who was instrumental in making Amitabh dance his way, once again, into the people's hearts with 'Sona-Sona' in 'Major Saab'. After that, other music directors (including Aadesh himself) followed suit and we were treated to some lovely dance numbers like 'Shava Shava', 'Kajrare', 'Rock n Roll Soniye', etc., which were composed with the one and only Amitabh Bachchan in mind.

Let us now move on to the first track of the album, 'Come On-Come On', which through the promos being aired on T.V., appears to be a very typical, U.K Top 20, 'bhangra' dance number. But hold on to your horses, this has much more. What is special about it is that it has been rendered by Bachchan himself in his inimitable, loveable 'one of a kind' style. He has with him two music directors, Aadesh and Ranjit Barot and not to forget Sonu Nigam, whose soft, clear vocals perfectly match Amitabh's deep, rich, baritone vocals. The rhythm is highly infectious. Sameer's lyrics deserve special mention, as the game of upmanship (between the father and son; Amitabh and Salman) is expressed excellently through simple, identifiable and very humorous words (Amitabh - "Main sher babbar hoon." Salman- "Main tera putar hoon.") and will surely be lapped up by the audiences. Sure shot chartbuster, once the movie releases, as the promos of the song are not able to portray the actual song content.

Broken vocals, rap n reggae, very fast beats and rhythm, plus some singing in English, all part and parcel of a good remix is present in the remix version - 'Come On - Come On' by DJ Suketu.

'Rubaab', lovely flute notes and some beautiful whistling sounds (which basically turns out to be the main tune of the composition), gently ushers in the next track 'Keh Raha Hai'. All those die-hard romantics who loved 'Pehle Kabhi' from 'Baghban', will automatically fall in love will this love-ballad. Sonu and Shreya render this track to perfection (so adept they are at this). Sameer's lyrics are as filmy as they can get - "Keh raha hai, Dil deewana , jaane jaana, kha ke kasam, Hum ishq mein mar jaayenge, Kuch bhi sanam kar jaayenge, Chhodege na daman tera, Wada raha."

'Vaada Raha' is a brief, slow, sad version of the romantic track 'Keh Raha Hai', sung well and as always with feelings by Sonu Nigam.

'Bebasi Dard Ka Alam' is a soft, slow, sentimental, situational track, adorned with some minimum but soothing musical arrangements, combined with some extremely heart touching lyrics by Sameer. Kunal Ganjawala is good, but has become a victim of his 'Bheege Honth Tere' ('Murder') hangover and is being made to sing in a style similar to the above-mentioned song.

Sudesh Bhonsle, who has been Amitabh Bachchan's voice for a long, long time is back once again with 'Ga Re Mann', and he is in the elite company of artists like Alka Yagnik, Kavita Krishnamurthy and Kailash Kher. A unique fusion of salsa and classical 'alaaps' commences the track, a totally 'raaga' based composition, which changes pace and switches from semi-classical to western. Can also be labeled as a funky 'qawwali'. Sameer shows his hold (once again) at Urdu poetry. A situational track that reminds us of the superb track from 'Der Na Ho Jaaye' from Randhir Kapoor's 'Henna' (we are only talking about the situation, which is similar). In fact, the song also ends in a similar fashion. Sudesh, as usual puts in a commendable effort. Both the female artists are as professional as ever (nice to hear Kavita, who has become a rarity these days, on the musical front). Kailash comes in for the classical parts, and needless to add, he is excellent, as always.

'Baabul-Bidaai Song', is a folk song ('geet'), sung during the 'bidaai/rukhsati' ceremony (the time when the wedding ends and the bride has to leave her parent's house) especially in the North India, mostly Bihar and Eastern U.P. Richa Sharma repeatedly sings only one line "Baabul Mora Nahiyar (meaning the parental home of the girl) Chhuto Jaaye" (remember the K.L. Sehgal classic?), but through her emotional rendition, conveys excellently the grief and sorrow of the girl.

Harmonium, 'sitar' and flute, a superb amalgamation of all these musical instruments commence 'Bawaari Piya Ki' (meaning madly in love with the beloved), another totally 'raaga' based composition, complete with 'alaaps' and very similar (the theme) to the Meera Bhajans. The highlight of the track is the amazing, mindblasting (mostly Western classical) 'Baabul' signature tune, (being shown in the theatrical and T.V promos) in midst of a very Indian, very classical composition. After 'Parineeta', Sonu gets another chance to show his worth and he does that to perfection.

All the Geets and Ghazals sung by Jagjit Singh (even in films), right from 'Honthon Se Chhoo Lo Tum' ('Premgeet') to the most recent ones have been received with open arms by music lovers, and it is indeed a great pleasure to have him back singing 'Kahta Hai Baabul'. Such is his magic that through his soulful rendition he drives the listeners to tears with Sameer's lyrics playing a big part in that. The womenfolk will surely love the blessings given by the father to his daughter to always stay happy. "Tu suhagan rahe, Sung saajan rahe, Raat din is khushi ke liye, Har sitam main utha loonga." The simple musical arrangements, which highlight the master's vocals, are praiseworthy. The sore point is that 'Kahta Hai Baabul' was totally by Amitabh Bachchan (from lyrics to playback). Taking nothing away from Jagjit Singh, one just wonders why T-Series had to do this.

The album comes to a close with 'Har Manzar', a lively dance number that features a handsome-looking John Abraham, gyrating and dancing his way into many a female hearts through the promos. The musical arrangements are top notch. The fast paced track is quite a pleasant change as the previous few numbers were slow and morose. Kunal Ganjawala's singing is good and this track should appeal to the youth.

The remix version of 'Har Manzar' by DJ Suketu is a routine job, which was not needed as the original itself was fast and peppy.

On the whole, the 'Baabul' audio is on par if not better than that of 'Baghban'. It has an amazing assortment that has a song for almost every mood. Though the start has been slow, the album is bound to pick up soon, especially after the movie opens (to packed houses) on December 8th. Highly recommended.

Rating : 8 /10

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