Cloudburst of South-Indian remakes is the new format of multiplex-cinema that has not only rejuvenated the genre of 'action-packed' cinema in B-town but also has promised truckloads of box-office success. ROWDY RATHORE (official remake of Telugu super-hit VIKRAMARKUDU (RaviTeja, Anushka Shetty) follows the successful trend of films like WANTED, SINGHAM, BODYGUARD and READY (all South-Indian remakes). After the super-success of WANTED (remake of Telugu blockbuster POKKIRI), actor turned director Prabhu Deva is back again in news as the director of this action-packed entertainer. Sajid-Wajid, a composer duo associated largely with Salman Khan entertainers are the composers for this album. After delivering out bountiful of successful comedies in last few years, Akshay Kumar, the original 'Khiladi' of Bollywood makes a swashbuckling comeback in the genre of action-packed cinema. Expectations...indeed big this time as this type of music and genre is specially designed for masses and one hopes for a possible big commercial musical success. Can Sajid-Wajid make it this time? Let's find out...!!!Sounds, sounds and more sounds! Whether it was 'Dhan Te Nan' (KAMINEY) or 'Desi Beats' (having 'Tyon Tyon' as recurring signature sounds), flamboyant loud sounds of 70's have always been masses choice that have hit high on charts. 'Chikni Kamar Par (Dhadang Dhadang)', a song fuelled with typical South-Indian thumping drumming and contemporary Bollywood's massy arrangements brings out the garish opulence of this stylishly action packed potboiler. Wajid's immensely enthused vocals triggers out a compassionate feel of 'boy-wooing-girl' with fervent support of cheeky Shreya Ghoshal's voice and makes this a amiable fun-fare. Sajid-Wajid's composition tries to bring out Bollywood's 70's action flick feel where iconic sounds made their special place in the narration of the flick. It also recreates the massy flavor of composer's earlier composed tracks like 'Love Me' (WANTED) and 'Bodyguard' (BODYGUARD) and gives enough ammunition for lead players to hit floors high on big screen. If 'Ringa Ring' (ARYA (Telugu)) can become 'Dhinka Chika' (READY) then its time to hear 'College Pappalo (Jinta Chitha)' (VIKRAMUDU (TELUGU)) getting rehashed prosperously into 'Chinta Ta Ta Chita Chita' with great anthem-ic feels. Rhythmically synchronized hand-clapping with tangy electronic beat fillers forms a frothy hook-line that is not only 'street-smart' catchy but also raises humor-quotient potentially, and makes this as another fervently loud dancing track. Mika Singh, the naughtily crooned voice behind many mischievously penned tracks, is the perfect choice as lead soloist. To suit the impish mood of the track, his playful nasal twang in varying tones makes things boisterously happens and connects well with the boisterously loud jovial mood. Wajid's back-up chorals gives it an added festive touch that connects well with infectiously played arrangements. Pompously played orchestrations, 'tongue-in-cheek' wording ('Soorat masoom hai neeyat mein khot hai, Payjama tang hai dheela langot hai...) and vociferous vocals makes this a 'hot 'n' happening' fervent chartbusting and surely an eye-grabbing feast on silver screen. Aggressively promoted and already a rage, 'Chinta Ta Ta Chita Chita' is likely to be the new youthful anthem and Sajid-Wajid's next big massy number that will be rising high in charts in weeks to come, one strongly misses a well-deserved 'club-remix' of this fun-filled musical piece. Chartbuster!!! Touted to be 'Rowdiest Item Song of the Year', 'Aa Re Pritam Pyare', a fiery raunchy 'item-song' with Mamta Sharma at the helm of affairs fires up all cylinders to raise adrenaline. Screechy and atrociously loud, it is targeted at frontbenchers where bawdily penned lyrics makes chirpy chemistry with 'dhin-chak' branded music. Once again, this aggressively crooned track has a typical South-Indian drumming that forms a progressive signature tune and gives bountiful of hip-shaking dance moves for the floors. The loud drumming and fervent sounding chorals gives it a typical Laxmikant-Pyarelal feel of 80's but there's nothing too spectacular to discuss about. Going with massy trends, this track is likely to be fetching maximum takers but it will be more of visual spectacle than a listening delight. Welcome back Kumar Sanu! In 90's, Kumar Sanu was a singing icon and made headlines with consecutive five 'Best Male Playback Singer' to his credits. The next track, 'Chammak Challo' brings his voice back but the striking feature is Shreya Ghoshal's versatile voice that captures all lovable feminine emotion with aplomb. To be precise, it has shades of Jatin-Lalit's 90's composing and sounds, somewhat similar to least heard 'Chammak Challo' (Sunny Deol's AJAY) with a contemporary Bollywood's duet feel. Sajid-Wajid's composition sticks to the conventional roots and hardly adds any form of techno-improvisation to make it uber-cool stylish, as one might have expected it in a big budgeted entertainer. Kumar Sanu's comeback is not as grandeur as his profile but comes more like a situational score that befits a romantic situation in the flick. For all the 90's music lovers, it will be a bliss and so do Shreya's sweet-honeyed voice, but one misses a fabulous Kumar Sanu, who used to be a major feature in almost every major romantic track of 90's, hope to hear more of him in future. Tracing back the audio credits of VIKRAMARKUDU, the original and official inspiration of this flick, Sajid-Wajid refurbishes the gentle innocent charms of 'Joo Lali' (Lullaby sung by Malavika) into 'Chandaniya (Lori Lori)' with great dexterity. Like 'Luka Chupi' (RANG DE BASANTI) and 'Nanhe Nanhe' (DRONA), this mellifluously sung track in least explored genre (lullaby) is indeed a soothing listening pleasure, a promising narrative feature that will positively add to the emotional quotient. The eloquence of Shreya Ghoshal's tender vocal charms is the prize factor that makes it's so resplendently comforting in soft tones. To make it even more soulful, the melodic decorum of wind-chimes and stringed instrumental sounds works brilliantly in tandem with almost 'unplugged' rendition. To sum up, this album sounds more like a Shreya Ghoshal special album, where all her singing moods are extracted and exuberated with excellence, and 'Chandaniya (Lori Lori)' is just one great example of it. Adorable!!! If one goes by past successful musical trends of South remakes, no South-Indian action-packed 'action-dhamaka' can ever be completed without musical piece fuelled and fired with fiery 'dialoguebaazi', showcasing the characteristics or traits of the lead character. It all started with 'Ek Baar Jo Maine Commitment...' (WANTED) followed by 'Mujh Par Ek Ehsaan...' (BODYGUARD), and now its Akshay Kumar's turn to voice out his sentimental feelings about his character in 'Rowdy Remix'. Counting high on one-liners, with Sarosh Sami as back-up vocalist ('Don't Angry Me', 'Faulad ki Aulad' etc), it's a tailor made musical piece that will surely be rising high, if the flick and the character (Rowdy Rathore) finds the acceptance of masses, a reasonably good musical move for the promotions. To sum up, ROWDY RATHORE is an action-packed musical 'dhamaka' that will surely be a huge draw among masses and 'masala' film lovers. Like all successful Salman Khan South-Indian remakes (WANTED, BODYGUARD, READY), this one too promises 'street-smart' musical fun with tracks like 'Chinta Ta ta Chita Chita' and 'Dhadang Dhadang' making it big on the charts, while item-song 'Aa Re Pritam Pyare' having sufficient buzz to make things flashy on big screen. There is some quality musical substance in 'Chandaniya' (Lori Lori)' but the feel is strictly situational, a super-run at the box-office will positively be an encouraging factor for album's sales prospects. Rating - 3.5/5 | |||||||||||||||||||||||||||
Friday, May 18, 2012
Music Review Rowdy Rathore Rowdy Rathore Music Review
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