Composer: Sanjay Leela Bhansali
Lyrics: Siddharth- Garima
At an age when it maybe termed uncool in Bollywoods contemporary musical lexicon,Sanjay Leela Bhansali continues to embrace the traditional Hindi melodies,as he does with Ang laga de and Dhoop. The next,Laal ishq,emanates the kind of purity we had heard in Guzaarishs Tera zikr hai the interlude is very similar to Saawariyas Masha allah. Possibly this is the best song of the album singer Arijit Singh is making it a habit to get the best tunes. One of the perks of a Bhansali soundtrack is getting to hear Shail Hadas voice. Hada,who had sung the Saawariya title. sings Poore chand,a song bathed in the kind of luminosity typical of Bhansalis deep haunting melodies,with full-throttled clarity,poise and range. A couple of songs Ishqyaun dhishqyaun,Mor bani thangat kare and Lahu munh lag gaya suffer from unimaginative arrangement. Its too close to the authentic garba/dandiya orchestra for its own good; and something like Amit Trivedis contemporary twists,as he had done in Kai Po Ches Shubhaarambh would have done wonders. Comparisons with Dhol baaje from Hum Dil De Chuke Sanam are inevitable,and Nagada sang dhol does sound similar in parts. Ram chahe Leela is the contemporary song of the album,that has lyrics like dono ke love mein duniya ka kya kaam. Sung by Bhoomi Trivedi,it is a racy number,supposedly featured on a top female star. Tattad Tattad mostly takes shape around its infectious hookline,and does little with the rest. Aditya Narayan does all the right things but ends up sounding like Udit Narayan. Much like his last film and his first outing as a music director Guzaarish,Ram-Leela is the kind of album that lingers on. Bhansalis old-world semi-classical flourishes and his knack of melody makes it refreshing in the horrible,trashy music we have been subjected to in the name of old Bollywood in Krrish and Besharam in the recent past.