Album: “Baahubali: The Conclusion” (Zee Music Company)
Music: M.M. Kreem
Lyrics: Manoj Muntashir
That M.M. Kreem cannot go below a certain level of musical caliber is a given, when we consider his Hindi soundtracks. Where he does go down a bit here though, especially vis-à-vis the stunning and absolutely brilliant music of “Baahubali: The Beginning,” is that the (only!) five songs here take time to grow on us, rather than the instant appeal as well as lasting quality of the songs in the earlier album.
However, the orchestration remains immaculate, the use of Kreem’s base instrument – the violin – superb and the sound grand and extremely pleasant. The melodic nuances are strong, as seen in the rousing lead track, “Jiyo Re Baahubali” (Daler Mehndi-Sanjeev Chimmalgi-Ramya Behara). Daler is powerful as always, and Ramya is a nice find, though her vocal timber is similar to so many voices around.
Aditi Paul goes past her tepid work in Hindi cinema under a master composer in the rhythmic (and rather South Indian style) “Veeron Ka Veer Aa.” The song has a catchy beat and co-singer Deepu is alright. Kreem always differentiates his work in Hindi and Telugu cinema and manages the tightrope brilliantly in his bi-linguals. This is clear here as well, and by the time the song is over, the feel is decidedly Hindi! The refrain “Na Na Na Na” is indeed infectious.
The third song “So Jaa Zaraa” (Madhushree) is again pronounced in its South Indian inflection, but its subtle nuances give it a North Indian feel, like the alaaps and the line “Kaanha So Zara.” However, the musical grammar is very South Indian here. Madhushree sings well, and this is her first worthwhile song after her lullaby in “Rang De Basanti.” However, Madhushree continues to be unduly shrill in the higher octaves, which is something she has yet not worked at as a singer.
Kailash Kher (the only singer repeated from the first film besides Kreem’s son Kaala Bhairava) injects life and spirit in the correct dose in “Jay Jaykara.” This is the only song whose musical interludes and choral patterns are partly repeated from that of the first film for thematic reasons. Kher personifies the spirit of “Baahubali” better than any singer and puts in that ambiance that was so omnipresent in the music of the first part and comes in the shade diluted in this film.
Kaala Bhairava sings “Shivam” nicely, and the song again does have what we can call the “Baahubali” sound as well, though it is an average number.
The lyrics by Manoj Muntashir are technically immaculate but lack the consistent excellence and instant lucidity and power of the former film in the first three songs. However, Muntashir asserts himself in the excellent “Jay Jaykara” and “Shivam,” demonstrating his command over classic Hindi.
Overall, this is a better than the good score that will in all probability be perfect for the film. Ironically, because of the hype about what is now a celebrated franchise for even Hindi movie lovers, it will probably be praised more than the superlative score of the original that was completely ignored.