One actually expects Mom to be a song less affair. Given the kind of subject, genre and treatment that it has, this dramatic emotional thriller could well have boasted of a song-less narrative. Hence, it is surprising to see none less than A.R. Rahman has been roped in for the music. Along with Irshad Kamil as the lyricist, he comes up with half a dozen songs.
It is a soothing start for Mom as A.R. Rahman brings himself behind the mike for ‘O Sona’. An easy sounding track that has a touching feel to it, ‘O Sona’ is a well worded piece that has been given an easy going treatment. Simplicity is the name of the game for this situational track that could well be used in the film to establish the relationship between Sridevi and her on-screen daughter. Shashaa Tirupati steps in a little later and plays her part well.
With the soundtrack of Mom taking the kind of start which is easy on ears, it is rather surprising that the song which follows next, ‘Kooke Kawn’, is a club song and that too with a rather odd sound of a crow starting it all. Agreed that this one has its base in traditional music and A.R. Rahman wanted to place it in current milieu. However, despite the effort of Sukhwinder Singh, where he tries to bring in all the energy and Blaaze who steps in with his rap, the final result is not the kind that makes you play this one all over again.
The soundtrack comes back on track with ‘Raakh Baakhi’ where A.R. Rahman brings his wizardry into place with a haunting beginning that is also the signature sound that goes with the theatrical promo of Mom. Jonita Gandhi pairs up with lyricist-singer Rianjali for this piece and sings this one in a husky tone where it is quite apparent that vengeance is in the mind of the central protagonist. This should go well with those portions of the film that turn dark.
Lyricist-singer Rianjali gets to take the center-stage for ‘Freaking Life’ which is a much happier take on affairs and seems to be placed around the life and times of the girl who plays Sridevi’s daughter. A feel good number which is western all the way, right from the lyrics to the manner in which it is composed and sung, ‘Freaking Life’ is situational to the core and has Raja Kumari and Suzanne D’Mello as Rianjali’s co-singers.
In the soundtrack that is dominated by female singers, Shashaa Tirupati gets to render a solo of her own, ‘Chal Kahin Door’. A pensive track that is expected to come at that point in the film where the character played by Sridevi is definitely not in a happy state of mind, this one is situational as well (just like almost all songs in the soundtrack) and while it is easy on ears, it doesn’t have much of a recall value for a listener.
Darshana KT, another singer from down South who hasn’t really been exposed to Bollywood films so far, is the chosen one by A.R. Rahman for ‘Muafi Mushkil’. Really, the song ends up going in many directions and while it could well have given artistic pleasure to A.R. Rahman for the manner in which it has been composed, for an average listener it just doesn’t register. Almost an unplugged song, this one is dark too.
Last to arrive is Sudeep Jaipurwale rendered ‘Be Nazaara’ which is a traditional classical piece and is also the lengthiest of the lot with the running duration of almost eight minutes. Frankly, even after repeated listening, at least I couldn’t really make out what it is trying to convey and how it would be placed in the film.
The music of Mom is strictly situational and though there are seven tracks in there, one waits to see how it all fits into the film and whether they would all play in entirety.
‘O Sona’, ‘Raakh Baakhi’