Arijit Singh starts with some somber then really high notes, it moves into a rousing harmony which takes form of an Army choir sort of anthem. Though the format is old, SEL infuse some life into it with a lilting melody, majestic orchestra backing and a mellow mood. That’s the power of an SEL or Vishal, they infuse a certain mood into songs. Which may not make the song immortal, but it does go with the film and elevates the already great words of Gulzar. There is a nice silence towards the first half, post which the song reaches a quick crescendo after a soft guitar. Overall, somewhat of a less satisfying song.
Dilbaro- Kashmiri shaadi song
Classic Kashmiri folk starts off this melodious song. The festive mood, with innocent teenager chorus, some rabab and strings, Vibha Saraf’s vocals invoke Zeb Bangash’ from Highway or Coke Studio, and she blends almost magically with Harshdeep.
Mud ke na dekho dilbaro‘s punch is great, we then move into a groovy rhythm pattern with some santoor, and mood building with violins, but the mood is anything but sad.
The premise is quite hackneyed- Judaai, shaadi, betiyaan etc. When you think the song will fade into obscurity, enters Shankar Mahadevan with his electric vocals, takes the song into some other level of emotions with some high notes that effortlessly fall back into the antara/back and forth between the beti-baba.
Mere dilbaro barfein galegi phir se
Mere dilbaro fasalein pakegi phir se
Tere paaon tale meri dua chale
Dua meri chale
It is quite an enjoyable little festive song, that is innocent in its ambitions, could easily belong in a Mission Kashmir score, only here you have a brilliant Gulzar(when is he not?) to boot.
Ek bar phir dehleez par kara de..
Arijit again here, starts on an opening aalaap infused shayari, like someone on a long uphill road with least amount of regret. The mood is pumping blood and go with convictions. Some great vocal work, tough to sing and tough to even interpret initially. It is interesting how music directors like Rahman, Vishal & SEL infuse a new life into his singing, in so many diverse genres.
Lagan ki baazi hai
Chot bhi taazi hai
Laga de daanv par dil
Agar dil raazi hai
This is my current favorite from the album. A roaring celebration of life and belief in its machinations and uncertainties, with a haunting melody and some superlative vocals. It is the most new sounding song in the album thanks to a smooth guitar rhythm and a studio feel. It will be great in those unplugged shows. Would love to see it rendered by Shankar Mahadevan.
Kahaan le jaaye dil
Jo hadd hai behad hai
Lagan mein jaan jaaye
Wahin to sarhad hai
Adhoora aage hai
Mukammal maazi hai
Hawaein dekh kar chalna
Na mitti par kadam rakhna
Nishaan reh jaayenge neeche
Khud apni aag mein jalna
Ae Watan- Female version
Lab pe aati hai dua banke tamanna meri
Zindagi shamma ki soorat ho khudaaya meri
This is some deep and timeless work by Sunidhi, almost invokes Madan Mohan-Salil Chowdhury–Sahir era. I can’t help but think of Tu Kuja from Highway again, the last song of hers that I liked(and probably her best work). The song relies on mostly her vocals and the backing kids chorus and this sort of a dependence on the main track and melody makes me think Gulzar had something to do with it. It is interesting that what used to be a norm in one time feels like an experiment in other. Thanks SEL!
Raazi harkens back to the 70s Bollywood music, with heavy reliance on chorus, and anthemic sounds. A true period piece which makes it timeless. I loved Mirzya but have somehow not heard it as much as I would have imagined(except Teen Gawah and Aaave re hichki), it is quite specific to the film in terms of the poetry. Raazi’s songs however can be enjoyed without context anywhere. Gulzar could write this stuff in his sleep, which is still a gift for anyone who enjoys his work. SEL have somewhat of a junior college degree in scores based in this genre(Mission Kashmir, Sikandar) and they get more credits with Raazi.