Double Dhamaal Music Review
By Abid, Glamsham Editorial
With super duper hits like DIL, BETA, ISHQ director Indra Kumar (along with producer Ashok Thakeria) ruled the box office from the mid 80s till the late 90s and was undoubtedly one of the most sought after directors. Music played a pivotal role in the success of all his films and composers like Anand Milind and Nadeem Shravan were instrumental in providing memorable melodious songs of the above mentioned films. With MASTI, Indra Kumar not only changed tracks as he shifted from romantic musical melodrama to comedy but he also chose the very reliable and the highly versatile Anand Raj Anand to compose music. Despite achieving good success Adnan Sami was roped in to handle the music of his next, the runaway hit DHAMAAL. The film broke many a norm, first and foremost that there was no female lead and so the music was situational and not exactly the chartbusting type. And the reason was that the film did not have much scope for music. For the sequel to DHAMAAL, titled DOUBLE DHAMAAL, Indra Kumar has once again placed his trust on his tried and tested lieutenant, Anand Raj Anand, to handle the music department and definitely the film is looking better and bigger and hotter, and expectations of some super hit songs are high, if not mammoth. So let's see if Anand Raj Anand can create some 'dhamaal' in this outing!
Anand Raj Anand can indeed be credited with bringing Punjabi pop fusion to fore in Bollywood and with the first track 'Chal Kudie' he goes one step further. This song does full justice to the all out 'dhamaal' mood of the album and can indeed be termed as the title track as the all out entertainment and fun unlimited, which is the spirit of the movie is enclosed here in full splendor, and comes out in Anand Raj Anand's zealous and spirited rendition. Mika's predictable but popular rap (by Out Lawz) and the overall grand music arrangements add to the glamour. And the plus point is the quite easy to comprehend Punjabi lyrics by Anand Raj Anand and also the fact that despite all the western music arrangements and rap and hip hop, Anand remains rooted to the rustic 'bhangra' tempo and beats which are the highlight of the track. With a lavish promotional music video of the same doing the rounds on various television channels it is but matter of days that this song will climb up the charts.
The remix version by Harry Anand is not much different from the original and is more of a space filler than a club mix.
Continuing with the present trend of spicing up the album using songs from the bygone era, the composer has chosen Viju Shah's chartbuster, 'Tirchhi Topi Wale' from super hit film TRIDEV (1989) . The choice of the composition is a tad surprising considering that the song is not that old and quite fresh in the mind of the public but once when we listen to the whole song we realize that Anand has just used the highly rhythmic signature tune of the song, 'Oye Oye' and the rest of the number is his own creation, which is quite good and blends seamlessly with the TRIDEV chorus. Sunidhi (along with chorus) is in her element in this dance number and just glides through her rendition with perfect ease and elan. Lyrics by the composer are routine and a professional lyricist could have done more justice to the song.
The remix version by Harry Anand can be termed better than the original and the labour that has been put into rearranging the song with added rhythm, background female chorals and new beats is indeed praiseworthy.
Finally the item number, 'Jalebi Bai' that has been talked about ever since it's picturisation on the hot and sultry Mallika Sherawat, and once again the million dollar question is whether it will be as big a hit as 'Munni' or 'Sheila'. Well, the song has all the ingredients to make to the top, a good rhythm, very effective singing by Ritu Pathak, whose voice modulations are excellent, the bold, brazen and sexy attitude profuse through and the lyrics are quite good and apt (albeit 'Jalebi Bai' is a bit of a misnomer but might serve to attract the front benchers on whom the song is aimed at). Rap by Gorisha Gogoi is fun and goes well with the theme of the song. However all said and done it will not reach the height of a 'Munni' or even 'Sheila' and its popularity will depend on how big a hit the film turns out to be!
Mika is in full form in the situational song, 'Chill Maro', a number that introduces the main protagonists of the movie who want to lead a chilled out, laidback life and do not wish to work at all. The song is quite good and very enjoyable but the only deterrent is that it has been spoilt by the addition of the still very popular 'Hare Ram' (BHOOL BHULAIYAA) rhythm to it, something that was not needed. Lyricist Mayur Puri starts the proceedings with a very ancient Hindi couplet ('doha'), 'Ajgar kare na chakri, Panchi kare na kaam, Das Maluka kah gaye, Sab ke daata Ram', which literally translated means that a python does not work, neither does a bird, Sant Maluka has said that it's Lord Rama who provides for all. Mayur uses the 'doha' to good effect and this along with some apt lyrics and rap by Out Lawz succeeds in establishing the characters of the leads quite effectively.
Once again remixing by Harry Anand is good and serves to entertain, which is the basic aim of the fun-filled situational number.
Summing up, composer Anand Raj Anand has certainly succeeded in providing music which is apt and as per the demand of the theme of the movie. The songs are fun-filled, light on the ears and mass pleasing, and three compositions, 'Chal Kudie', 'Oye Oye' and 'Jalebi Bai' have the fuel to propel it to the top slot, more so due to the right promotion that the album is getting as it is a T-Series audio! And the music will certainly help the film in getting a good initial when it opens worldwide on June 24th.
Rating - 3/5
