You expect Jai Gangaajal to be a song-less soundtrack. However, there is a surprise in store when you come across a full-fledged album with as many as 11 tracks! Composer duo Salim-Sulaiman
and lyricists Manoj Muntashir & Prakash Jha do the honors.
Since it is a Prakash Jha film with a rustic set-up to it, one is pretty much sure that the music would stick to the roots as well. Sukhwinder Singh’s powerful rendition of ‘Tetua‘ is just
the kind of start one looks forward to in the soundtrack and the musical team does complete justice to make a statement around taking on the wrongdoers. There is ‘Sufi’ influence to the manner in
which Pravesh Mallick begins to render ‘Maya Thagni‘ while Salim-Sulaiman add on Western arrangements to this four minute piece. Yet another song which is about taking on the
criminals hands-on, this one continues the situational appeal of the film.
It is always a pleasure to hear the voice of Udit Narayan and one has to admit that the 60 year old singer doesn’t seem to have aged beyond 30 for three decades now. He brings on youthful flavor to
‘Joganiya‘ and as always, sings with a smile which is translated through his vocals. What doesn’t work at all though is ‘Dheere Dheere‘ which is annoying to the hilt,
right from the way it is composed to the manner in which Pravesh Mallick sings it in a weird accent. This one is a quick skip even before one is half way through it.
In a series of solo tracks that fill the album, Keerthi Sagathia steps in for ‘Ghanghor Ghana Ghan‘. The song pretty much continues from where ‘Tetua‘ and ‘Maya Thagni‘
left as far as the musical setting is concerned. By this time though, one does get a feeling of ‘enough’ and one begins to wonder how music would play in the film. A female voice is heard for the
first time in the album once Richa Sharma comes behind the mike for the ‘mujra’ ‘Najar Tori Raja‘. The song is on the same lines as ‘Namak Ishq Ka‘ [Omkara] though it
stays on to be hardcore ‘desi’ in its treatment right through.
Divya Kumar gets a song to his name in the form of ‘Dinu Baadar‘ which has the same musical base and beats to it as ‘Dil Haara‘ [Tashan]. However, the lyrics here are
way too rustic and hence don’t quite reach out to a wider Hindi speaking audience. There is some excitement that comes on the scene though once Bappi Lahiri‘s voice is heard for ‘Sanke Hai
San San‘. He brings on his happy persona to play all over again, something that works for this fusion track that is one of the better ones to feature in the soundtrack.
Child artist Sugandha Date gets a song to her name in the form of ‘Maai‘. The track has a pathos filled beginning to it and stays on the same course right through its four and a half
minute of playing time. Incidentally, it is also the lengthiest song in the album, though one has to admit that it hardly leaves any impression. ‘Sab Dhan Maati‘ is the concluding
song of the album and has Arijit Singh at the helm of affairs, who sings the ‘Radio Mix’ version. This one stays rooted though throughout and has an inherent sad appeal to it. This is followed by
another version which is sung by Amruta Fadnavis, though not to much avail.
‘Tetua’, ‘Sanke Hai San San‘