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Wednesday, July 18, 2018

Music Review: Kangana Ranaut’s ‘Revolver Rani’

The album opens with the title song, which is a cracker of a track from Usha Uthup.

Written by Suanshu Khurana | Updated: April 11, 2014 1:22:02 pm
Kangana Ranaut plays the lead in 'Revolver Rani'. Kangana Ranaut plays the lead in ‘Revolver Rani’.

Fine Tunes
Composer: Sanjeev Srivastava
Lyricists: Puneet Sharma, Shaheen Iqbal
Rating:3 1/2

Sanjeev Srivastava, a relatively unknown name in the Bollywood music circuit until now, builds on an odd blend of the usual with big twists for this album, to deliver a brilliant score. The 15 tracks employ an impressive variety of styles, inventive songwriting and sounds with an unusual yet familiar feel. We are also happy to find that the score is triumphant enough, and inspired enough (mostly from RD Burman) to tread a path against the tide and still give us melody, harmony and great rhythm patterns with some
fine lyrics.

The album opens with the title song, which is a cracker of a track from Usha Uthup. The use of saxophone and a brass band and congos is superb and a beautiful tribute to the ’70s era of music. This is followed by Piyush Mishra’s Thaayein kare, an earthy and rollicking number with westernised orchestration.

Impeccable in execution and arrangement, the melodrama and sarcasm makes you smile. Mishra has also sung Chal lade re bhaiya, a track with fantastic chorus and one backbeat throughout. It plays well on a simple orchestration with lyrics that go Saanso mein hi daudta rahega kya khoon/ Rotiyaan hi todta rahega kya khoon. It’s biting, dark and with a lounge groove.

Then comes a soft Kaafi nahi chaand by Asha Bhosle. Its soft melodic textures blend beautifully with Bhosle’s voice. Srivastava gets behind the microphone for Sulgi huyi raakh, the most contemporary sounding track from its album. A sad love song, the song’s USP is it’s haunting feel and soaring electric guitar. And just when we expect a crazy follow-up, we hear Garima Aneja’s rustic and playful voice and dholak beats merging with hip hop. Full marks on this one.

Srivastava also gives us a quintessential shaadi song, right out of a ladies sangeet in the interiors of Patna. But even this one, in Rekha Bharadwaj’s voice, comes with a twist. He bases the song on raag Des with touches of Malhar, not usual for traditional “wedding songs”. There are some intricate and difficult drifts in this one, which are massively executed. Zardozi lamhe bol rahi hai paayal is a very Nadeem-Shravan style tune with Avi Dutta aping Kumar Sanu. Even Sanu’s way of going out of sync in the middle of the tune is replicated to the T. But the song itself is quite boring.

Just when we think Srivastava is done, there comes We mix you Michael Jackson, a crazy blend of a jagran, besura wedding band, disco and MJ’s trademark scream. In a soundscape, where mediocre is finding plenty of attention, Srivastava delivers an inspired-yet-fresh take on things. A precociously diverse soundtrack, buy it for its convincing menace.

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