Rangoon music review: Gulzar-Vishal Bhardwaj revives sounds of the past

Rangoon music review: Kangana Ranaut, Shahid Kapoor, Saif Ali Khan-starrer is based on the life of Mary Ann Evans, Bollywood’s first original stunt woman.

The crisp songwriting from the Gulzar-Vishal Bhardwaj marquee — at times ironic and piercing, at others profound and moving — has always resonated owing to the richness of ideas and unconventional sound. Be it Omkara, Kaminey, or the absolutely stunning Haider, the duo’s music has always been thematically unified with the film and worked well separately. A lot of it is to do with the fact that Bhardwaj composes the music of the films he directs. As for Rangoon — the Kangana Ranaut, Shahid Kapoor and Saif Ali Khan-starrer based on the life of Mary Ann Evans, Bollywood’s first original stunt woman remembered for the film Hunterwali — the tunes lack cohesive pacing and the perfection the composer has delivered in the past. The 12 pieces are versatile, but Bhardwaj doesn’t risk much. He roams around in the tried and tested waters, which results in tunes that are interesting but yet derivative. That said, in the current soundscape, they are by far more impressive than a lot being delivered.

The album opens with the upbeat Bloody hell in Sunidhi Chauhan’s voice. The over-the-top summit of this piece comes mostly from Chauhan’s husky vocals and the fantastic brass arrangements. It is an impeccably produced track with lyrics in Hinglish that go No no sorry sorry karte, ishq kiya angrezi mein, baji ek bell tring tring, Bloody hell — a testament to Gulzar’s range and his bold artistic ambition. This is followed by the sombre Ye Ishq hain. To the sound of a single cascading guitar, Arijit Singh croons and Bhardwaj lets the cracks in his voice be heard. Then in a track, loosely based on Raag Jog, a flute interlude makes matters interesting. Singh changes octaves with the ease that only he can. And then comes a line by Gulzar that describes life in one line. Sufi ke sulfe ki, lau uthi allah hu/ Jalte hi rehna hai, baaki na main na tu, he writes, in search of transcendence. The female version of the piece by Rekha Bhardwaj is turned into a qawwali and has a hearty harmonium interlude helming it together. It’s interesting how the composer makes one track have such wonderfully different interpretations.

Here is Rangoon songs | Saif Ali Khan, Kangana Ranaut, Shahid Kapoor

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Mere miyan gaye England has Gulzar playing around with the age-old Mere piya gaye Rangoon. Bhardwaj keeps some touches from the old one in a song about a woman whose lover left her and went to England. She wonders if Hitler has any idea as she sings Ke Hitler chauke na, ke Churchill chauke na. Rekha Bhardwaj falters here but what’s interesting, however, is the way Gulzar and Bhardwaj twist an ode just enough and turn a syrupy ditty into something quick-witted.

Alvida by Singh is the melancholic piece of the album. It is one of those few times when a trumpet’s been used to deliver an interlude in a sad number. As brilliantly as that is done, hear this for Singh’s vocals. Shimmy shake by Vivienne Pocha is brilliantly sung and transports you into the jazz world of the ’40s.

Rangoon’s Tippa

Tippa by Sukhwider Singh, Chauhan and Rekha has the chugging of the train create the song hook. Tippa is impressive in its interludes which come with the sound and drama of a Hollywood musical. The transitions midway into a string showcase is wonderful. The song, however, isn’t a cohesive. Ek dooni do is a guitar and percussion Latino pop piece and Rekha’s voice just doesn’t have enough power to lift this otherwise upbeat and fun number. She goes off key so many times that one wonders if Bhardwaj was present in the recording. Julia is a tribute to the character, and a theatrical and flamboyant piece but has a weak compositional structure. Choro chori, with its accordion and claps prelude is a retro tune that will remind one of the music of the ’50s and ’60s. Rekha does pick up her game here but a Sunidhi Chauhan would have been better.

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The sound of Rangoon lacks the gloriousness the past records by this lyricist-composer duo has had. The album is acceptable, just not edgy enough.