It’s these soundtracks that clear up every and any doubt as to why Laxmikant-Pyarelal are considered musical geniuses of the seventies and eighties. An excellent orchestration of melody, vocalization and syrupy tunes is a simple description of the soundtrack for Manoj Kumar’s Kranti. In essence, it’s Manoj Kumar who deserves some credit as well. He is one accredited director who has never failed to acquire excellent musical scores from his directors. Every single film of his, “Purva Suhani Aiye Re” (Purab Aur Paschim), “Hai Hai Yeh Majboori” (Roti Kapada Aur Makaan) and many more contain songs, which define Old Bollywood. A tune that impedes on reminiscence the minute you hear it.

It can be said that “Zindagi Ki Na Toote” started melody trends in Bollywood. Many composers have failed to create such a connective ness that L-P have created here with instruments singers and an effect. Implementing situation wave like tunes and excellent music, this slow love song is a tune that has remained in the hearts of music lovers since it was released in 1982. Lata Mangeshkar, naturally, is excellent. The tune launched Nitin Mukesh in the playback world. (As did several of the other songs on the soundtrack), it is a true love song that makes the romance songs that we hear today seem really bad. Santosh Anand’s lyrics are syrupy sweet and the slow pace make them sentimentally rich. Every refrain captivates the right tone and to add to the effect, the song is repeated on the soundtrack (and in the film).

The interesting thing about Kranti is that it doesn’t contain strictly romantic tunes; the situational tunes are equally as well composed. “Looi Shama Sa” which features Lata Mangeshkar singing perfectly, and “Chana Jhor Gharam” (a situational tune) each are so well composed that one doesn’t realize that they aren’t your typical day tunes. Nitin Mukesh supports well in these tunes as well. Lata and Nitin form an excellent vocal duo here. “The chorus lines of ‘Lehja Pyar Zara Sa’ irresistibly stay on our tongues after the tune is done. Kishore Kumar and Mohammed Rafi lend support in Chana Jhor Gharam for what is a normal contribution with some spectacular vocals.

“Kranti Kranti” is a patriotic number. The song is pleasingly entertaining without resorting to the drums or the Indian national anthem. (We don’t always need such patriotic hymns to observe a patriotic feel). “Mara Thumka” is a festive number that once again hits the right notes. Swift in beats, the tune hits the right notes. It’s even better to see Pravin Bhabi swinging on a chandelier to this tune!

“Durga Hai Meri Maa” and “Ab Ke Baras” are again- well composed relative to the times and the film itself. The former is a regular bhajan now and the latter is a tune, which adores mother earth. Mahendra Kapoor’s strong vocals leave an impact on the listener.

Kranti is an excellent soundtrack, which puts some of the twentieth century hits to shame. More so, its namesake who has just been released couldn’t live up to its name (both musically or film wise). For those that appreciate golden hits, and don’t have a copy of Manoj Kumar’s Kranti you are surely missing a lot.