One does not really have huge expectations from a film which is based on the life of a sports person. What one expects are situational songs that would go down well with the narrative and take the story forward. There have been heightened exceptions though, what with last yearâs release âBhaag Milkha Bhaagâ having music that not only served as the backbone of the film but also had tremendous value as a standalone album. However whereas that had the mighty SEL behind the music, âMary Komâ has two absolute newcomers being credited; Shashi Suman has composed six of the seven tracks while Shivamm is the guest composer with one song to his credit. Interestingly, both the composers, in the past, have participated in music reality shows as singers.
The album starts off with a kind of song that, by default, finds a place in a biopic of a sports person- a motivational number. âZiddi Dilâ is an energetic song that contains strong influences of rock music. Though it sounds a little templatised and reminds one of the several songs that one has heard in a similar space, there is not much to complain here as the song is fairly engaging. The song largely benefits from the spirited vocals by Vishal Dadlani. Prashant Ingole writes some inspiring lines.
âSukoon Milaâ is a romantic number sung by Arijit Singh. Just when the mukhda starts giving the impression of being a run of the mill tune, the antara, which has semi classical undertones, takes the song to a different direction. The song grows upon one on repeated hearings and instruments like the sax just add a classy feel to proceedings. The lyrics, by Sandeep Singh, are routine. Arijit Singhâs rendition is flawless as always.
âAdhureâ starts off very well with some North Eastern phrases sung in chorus which gives one the inkling of it being a Pahari number. Thatâs not the case as barring the chorus portions, the song does not boast of a Pahari feel. That does not mean the song disappoints. The arrangements are very minimal with guitar and drums heard dominantly and a bit of piano played in between. Sunidhi Chauhanâs singing is very effective and beautifully brings out the pathos conveyed by the song.
After âZiddi Dilâ, comes another inspirational song titled âTeri Baari Haiâ and like the former, this song also has rock elements in it. However, itâs not as aggressive as âZiddi Dilâ and has a late 90s feel to it, which is actually pleasant. Mohit Chauhan sings the song with gusto. The song does not break any new ground in composition or arrangements but makes for a good hear nevertheless.
Arijit Singhâs voice is heard once again in the song âSaudebaaziâ , a playful romantic number. Prashant Ingole writes lyrics that go well with the context of the situation in the film. However, the song is far from being memorable. Even after a couple of hearings, except for the hook line, nothing really lingers in oneâs memory. Arijitâs soothing rendition is undeniably the highlight once again.
Shivammâs only contribution to the album is âSalaam Indiaâ, a patriotic number filled with a lot of energy. The song starts with a flute piece and gradually gathers momentum and turns into a rock number. The contrasting voices of Vishal Dadlani and Salim Sulaiman work terrifically for the song.
The last track on the album âChaoro (Lori)â is rendered by none other than the leading lady of the film itself-Priyanka Chopra. The song, officially, marks her debut as a playback singer and is a short string based lullaby that makes for a peaceful listen. Priyanka makes a very unconventional debut as a playback singer in Bollywood but does well nevertheless.
One had expected a very situational soundtrack in âMary Komâ but the album springs a pleasant surprise by offering songs that not only blend well with the plot of the film but can also be appreciated independently by any music lover. The album wonât be remembered for long but it displays some consistency in having decent songs throughout, particularly when shown on the big screen.