Planet Bollywood
Gori Tere Pyaar Mein
 
Producer: Hiroo Yash Johar, Karan Johar
Director: Punit Malhotra
Starring: Imran Khan, Kareena Kapoor
Music: Vishal Dadlani, Shekhar Ravjiani
Lyrics: Anvita Dutt, Kausar Munir, Kumaar
Singers: Mika Singh, Mamta Sharma, Sanam Puri, Aditi Singh Sharma, Shankar Mahadevan, Shalmali Kholgade, Nitesh Kadam, Shruti Pathak, Sukhwinder Singh, Sanah Moiduty
Audio On: Sony Music    Number of Songs: 9
Album Released on: 01 November 2013
Reviewed by: Ankit Ojha  - Rating: 8.0 / 10
 
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The duo of Vishal Dadlani and Shekhar Ravjiani are known for their highly eclectic sense of music composition and production. Right from their pure gold album Jhankaar Beats to such highly successful musical chartbuster albums as Om Shanti Om, Anjaana Anjaani, I Hate Luv Storys, Student of the Year, and more recently, the highly underrated extended play of Gippi, their songs have charmed one and charmed all. It’s no small wonder then, that Punit Malhotra, in his second collaboration with Dharma Productions after I Hate Luv Storys brings back Vishal and Shekhar for Gori Tere Pyaar Mein. Post their average-to-decent, and yet successful stint with Chennai Express, the potential listener’s expectations of a strong music album stand on a doubtful plank of wood. Despite quite an endearing trailer to boot, with two potential commercial chartbusters to boot (Tooh, Chingam Chabake), one continues to wonder if the whole album would be the strong marriage of completeness and commercial chartbuster material that the soundtrack of I Hate Luv Storys ended up being. The writer of this article sets to find out as the reader of this article continues to read.

The album’s smash opener Tooh hits just the right notes of cute-meets-fun with its overall uptempo packaging – appropriate sound arrangements and mixing – and energetic vocals. Mamta Sharma, known widely for her contribution toward the vocals of tracks like Munni Badnaam (Dabangg) and Fevicol Se (Dabangg 2), now gets to do something generically way different with this track – and you must notice her dynamics in the highly energetic mukhdas of the track. Already having been publicized as the kind of zany track that pleasantly reminds one of the rip-roaring Aunty Ji from Ek Main Aur Ekk Tu, this one gives the viewers a different spin on your – erm – behind, if this writer politely may. The interesting fusion of a stylish bassline and background instrumentation with beats boasting of a hardcore desi flavor. Mika Singh, alongwith Sharma, contribute to the vociferously infectious energy of the track, which (at the risk of repeating myself) when reaching its inevitable mukhda, gives the listener a different high altogether. By the track’s climactic moments, the listener will be enamored by the heights the song has already reached. This is one track that’s not just a given chartbuster, but has the potential to appeal to audiences of all kinds. This is not just because of it’s sound arrangements, mixing, or vocal dynamics, but also the absolutely crazy writing that supports it. It’s quite rare for a lyricist to write something as eccentric as, “Shake that Tooh”, and yet for any composer to make the line sound completely innocent as the team of Vishal-Shekhar and lyricist Anvita Dutt have done. Also, to create a song completely on the basis of buttocks and to make it sound so nonchalant is a feat in itself. Highly recommended. Why? Because, “everybody does it, and you can do it TOOH!”

Oh, the travesty! Oh, the obstacles that shackle the young and the restless in the form of the inevitably dangerous black hole called the “generation gap”!

If the reader wonders what is the context of the above lines of this review, worry not. The writer of this article will get back to you just in time for that. But first, the basics: If you’re a music buff, you may, at some point of time in your life, have come across Daft Punk’s eclectic fusion of the music of two different points in time, supported by a masterstroke of mixing. This is when Vishal and Shekhar bring you what will be an absolute showstopper in the music charts in the coming days. Quite a tribute to the flamboyant nature of R. D. Burman’s music and Daft Punk’s pure dance, Dhat Teri Ki couldn’t have arrived at a better time to burn up the dancefloor. If you’re tired of item numbers going all overkill on you, worry not! Here comes a youthful track that doesn’t really need a Zandu Balm or a Fevicol, but rather features a telephone as appropriate prop. If you’ve come from a contemporary desi family, you will relate to Kumaar’s smooth, easy going urban lyrics that deal with the everyday youth’s problems of being torn between family and fun. The ‘young and the restless’ will revel in all of the song’s relatability, and clearly dance to the tune! Armed with a strong bassline and fantastic beats with that 80s feel, the song also features some interesting instrumentation (acoustic and electric guitar) and splendid vocals of new entrant Sanam Puri, this song hits the right notes through and through. Let this writer add here that Puri has the potential to become the voice of the future; he’s a lambi race ka ghoda! Accompanying Puri is Aditi Singh Sharma, who does a fabulous job of adding just the right amount of sensuousness to her vocals, without any overkill. The track’s also available in DJ Rishabh’s decent-but-conventional dance mix version that will gain more exposure over airplay in its pre and post-release stages.

Style marries kitsch in this brilliantly arranged and mixed desi number Chingam Chabake, with Shankar Mahadevan simply killing it with his vocals here, accompanied well by Shalmali Kholgade, who sound quite interesting together in all honesty. Vishal and Shekhar know their desi real well, and this is how they can combine together an interesting fusion of high voltage dholak beats with the flamenco guitar blending in pretty well in the background. Anvita Dutt writes lyrics that are a zany combination of naughty and cute, and hearing Mahadevan and Kholgade bring them to life in their free-spirited vocals is like quite a different thing altogether. The interesting twist in composition before the second stanza adds to the overall fun in the hearing process. The climactic moments of the song, consisting of the mukhda, features a contemporary melodic end, mixed with a firm vision that comes to life here. Reappearing in Kiran Kamath’s remixed version, the song brings in a heavy-handed dance version with a really mild rustic reggae-meets-the-Middle-East flavor hovering in the background.

All through a hattrick of breathless chartbusters back-to-back, one looks for that thehraav the album can bring the listener, and this is where Naina makes its magical entry. Right from the start of the beats through the appearance of the string-driven piece in its prelude, this is a dreamy, calm track that deservedly takes the cake as the winner of the album. Bringing back fond memories of Vishal-Shekhar’s Falak Tak (Tashan) and Jaane Hai Who Kahaan (Honeymoon Travels Pvt. Ltd.), Naina is a heartfelt track helmed by Kamaal Khan’s passionate semi-classical vocals and Neeti Mohan’s calming croons. The use of dholaks are prominent in the beats of this track, but the mixing is what makes the track a well-balanced composition, what with each layer of every instrument sample (guitars, dreamy pads, percs, strings and the lovable cameo of the accordion) given it’s own chance for the listener to notice and indulge. Kausar Munir’s lyrics give one more of an excuse to let go and delve deep down. Kamaal Khan (at the risk of repeating myself here) brings his passion to the fore of this song, effectively enveloping the listeners in the very emotion of the song. The entry of Neeti Mohan is armed with perfect timing and makes the listener feel surreal. Vishal and Shekhar’s composition pulls the right heartstrings here. This writer has always held on to his opinion that the duo’s strength lies in making some of the best Hindi romantic ballads in the Industry, and this track continues to fuel the credibility of the statement.

Looking for some light-hearted fun? Dil Duffer is just the kind of track for you. Reminiscent of Anjaana Anjaani’s Tumse Hi Tumse and Jab Mila Tu from I Hate Luv Storys, Vishal and Shekhar bring the listener something as fluffy and light as a cream cracker. The composition is an eclectic fusion of acoustic guitar, a dash of accordions, a whole lot of groovy beats, armed with a fantastic bassline. This track is just the kind that’s playable in long drives over the weekends. The lyrics are lightweight and frothy enough to be enjoyed well. Having a romantic underscore through and through, the writing is smart and relatable with the younger crowd, or simply those looking for a fun track to tap their feet to. Surely not the powerhouse track of the album, Dil Duffer, however, stands out pretty well individually.

As soon as the last original track of the album kickstarts, the listener is made to listen a situational that would amplify it’s impact only in the proceedings of the movie. Another amicable track, this one should be one of the slightly weaker tracks of the album. Should the visuals of the movie complement the track, this may just be a successful track. Moto Ghotalo, however, appeals to niche audiences and niche moods, and may just not raise itself to the standards the album has set already. Sukhwinder Singh and Sanah Moidutty do lend fantastic support to the song howsoever. The reaction to this particular track must, however, be kept to oneself till the release of the film.

Moto Ghotalo, however, does not close the album; the soundtrack closes with a mashup of all the songs by Kiran Kamath. While this move is predictable and a good marketing gimmick (unstoppable airplay potential), this album didn’t really need a mashup per se. For a highly commercial soundtrack with one-dimensional songs to include a mashup would be a smart move. Including one here, however, makes it quite redundant, listening-wise. This, howsoever, is a raging trend for the laymen and will definitely work over extensive airplay and inclusions in the everyday sets of local Bollywood DJs.

Gori Tere Pyaar Mein, as a whole, is one album that agreeably has something for everyone. From a stylish dance number to a lazy day track, all the way to some pumped up hardcore desi singles, this is a nice little commercial album that will warrant a good amount of repeat hearings. Vishal and Shekhar have redeemed themselves from a relatively average soundtrack to Chennai Express, what with the abundance of nauseatingly marketed situational tracks eclipsing a couple of rather good finds. This album, however, has tracks that are not just highly marketable material, but also have some superbly composed and produced pieces within them.

Worth a spin, and some more!

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