Dhol Music review of Dhol by Joginder Tuteja

Off late, one factor which has become common in each of the films coming from Priyadarshan is Pritam's music. Garam Masala and Bhagam Bhag had the composer creating

 

some catchy rhythmic tunes for the film maker. Now it is expected that Dhol too would be carrying forward the trend, especially so since the film is touted to be a breezy youthful

 

entertainer with predominantly young starcast comprising of Sharman Joshi, Tusshar Kapoor, Kunal Khemu, Tanushree Datta, Rajpal Yadav and Payal Rohatgi. While Irshad Kamil writes

 

majority of songs, Mayur Puri, Amitabh Verma and Ashiesh Pandit contribute with a song apiece too.

 

In recent past not many films have come up with a soundtrack that is worth remembering. Marigold, Dhokha, Dhamaal, Go and Ram Gopal Varma Ki Aag have all been

 

disappointments. After hearing Dhol, you realize that even this won't result in revival of fortunes at the music stands, though comparatively this Pritam soundtrack turns out to be the

 

best when compared to the aforementioned albums.

 

It's the sound of 'sexy' that kick starts Dhol. Also, as required by the genre of the film coupled with adequate justification as necessitated by the film's title, there is ample use of 'dhol'

 

in this racy composition by Pritam. Written by Irshad Kamil, 'O Yaara Dhol Bajake' has a youthful flavor throughout and is blended with Punjabi rhythm and beats.

 

 

Mika Singh makes an appearance in the first version of this song that could soon be heard in festive celebrations and marriage processions due to instant retention power it comes with.

 

There is ample liberal interspersion of rap as well throughout the song but for a change one doesn't mind that at all as 'O Yaara Dhol Bajake' turns out to be a track which has good

 

potential to get the album into the charts.

 

Later the song appears in a 'remix version' by Labh Janjua which doesn't hamper the flavor of the song and only adds on some more 'dhol' to the proceedings. The more you hear the song,

 

the more you feel like dancing to it on the streets. This feeling is strengthened further when you hear the song again with Soham Chakraborty and Sohail Kaul pairing up for the third

 

version. This one is a winner.

 

 

Funk and rhythm continue to fuse well in the track 'Namakool' that follows next. Written by Ashiesh Pandit, it has lyrics like 'Namakool...we are cool' which may hardly make for

 

poetry but go well with the genre of the movie. Even Pritam's tune isn't the most original that you may have heard as it only follows the youthful tues that he has made in the past.

 

Still, credit it to arrangements and mixing which makes this youthful track fairly enjoyable as Kunal Ganjawala and Shaan come together to croon a number about four friends looking at

 

making at their own rules and reigning the world. The song should be good fun as a part of the narrative though it won't be remembered for weeks to come.

 

 

'Haadsa' crooned by Sunidhi Chauhan and Akriti Kakkad seems like a night club number which could have been choreographed on Payal Rohatgi. Though the song doesn't sound

 

much exciting to begin with, as one gives it an extended hearing, one senses a scope for an engaging five minutes if 'Haadsa' is supported by stylish choreography featuring eye

 

candy babes.

 

There is a certain foot tapping feel to this Irshad Kamil written number which catches your attention even though the song isn't the kind which makes you go 'wow' in the very first listening.

 

Nevertheless, on hearing it a few times, you realize that it may not be a bad inclusion after all as a part of the film.

 

Yes, now here comes a kind of track that you definitely want Pritam to be composing more often. 'Bheega Aasmaan' has that trademark Pritam touch to it, something which he

 

demonstrated for songs in films likes Chocolate, Ankahee, Hat Trick and most recently Metro. A track set in a rock mode, 'Bheega Aasmaan' is very well written by Irshad

 

Kamil as it depicts the feeling of love in a different 'avtar'.

 

The arrangements are just perfect for this yet another youthful number which could have well been a part of an urban romantic film. While the first half of the song is dominated by Shaan

 

who is best suited for songs belonging to this genre, it is refreshing to hear Vijay Yesudas coming towards the latter half of the song. 'Bheega Aasmaan' is truly the best of the

 

enterprise so far and deserves to be on air soon with aggressive promotion to increase it's reach.

 

Usha Uthup is associated with a particular genre of songs all these years. Majority of her songs are set in a carnival/celebration mould and 'All Night Long' is no different. While the

 

opening sets the mood for a party time ahead, the 'antaras' bring in a flavor similar to Biddu songs from the early 80s. Written by Mayur Puri, the song is at best situational and isn't expected

 

to become on the major reasons for the music of Dhol to work inspite of a western setting and racy rhythm.

 

Shreya Ghoshal rendered 'Dil Liya Dil Liya' brings the album to a close and as conveyed by the setting of the song, it appears like an item number in the making. Bordering on being

 

'chalu' in it's setting, it is a trademark 'dhin-chaak' Bollywood number which relies strictly on beat-one-beat-two formula, keeps you reasonably involved during those five minutes, courtesy

 

promise of some lively choreography, and makes you forget it pronto. One also gets to see a different side of Amitabh Verma who otherwise has been associated with some lovely love

 

ballads in last 2-3 years.

 

Dhol begins well with 'O Yaara Dhol Bajake' which is absolute 'dhamaal'. Though 'Namakool' and 'Haadsa' manage to keep you moving ahead in the album, 'Bheega

 

Aasman' takes Dhol to an all time high and makes you start expecting a lot from the tracks to follow. Nevertheless 'All Night Long' and 'Dil Liya Dil Liya' do well as

 

gap-fillers but that's about it. In the nutshell, the songs on which one may put money are 'O Yaara Dhol Bajake' and 'Bheega Aasman'.