Music: Amit Trivedi
“Gray Wala Shade” (“Kaala na safed hai/Ishqe ka rang yaara grey wala shade” is a well-written song with very contemporary lyrics, and a fragmentary use of largely comprehensible Punjabi. The Harshdeep Kaur and Jazim Sharma duet works due to the soulfulness both in thoughts and chords.
However, this 14-track album suffers from a Punjabi overdose in the lyrics. This skewers away the bulk of music buffs who not only fail to comprehend the words (which is what connects the listener to a song after its dance-track life or promo value are over!) but also do not understand why there should be so much Punjabi in a Hindi soundtrack! Like Shellee’s lyrics in “Bijlee Giregi” (Babu Haabi, Devender Pal Singh) are clever in the ‘mukhda’ but get too Punjabi-heavy for normal consumption.
The only redeeming point about “Dhyaan Kithe Dhyaanchand” is this super (and superficially!) catchy hook, and that three of its four singers (Vijay Yamla, Nikhita Gandhi, Amit Trivedi and Suhas Sawant) are not Punjabis, yet express and emote well! “Daryaa” (Ammy Virk, Shahid Mallya) and its female version (Deveshi Sahgal) is passable as a melody but the high-pitched parts, complete with Punjabi lyrics, are a nuisance, excuse my blunt language.
“Chonch Ladiyaan (“Naache”)” (Harshdeep Kaur, Jazim Sharma) and “Halla” (Nooran Sisters, Romi) are totally inconsequential because they are forgotten by the time you are in the next song. Also dispensable are “F for Fyaar” (Vicky Kaushal, Mast Ali, Sikander Khalon) and the three filler tracks, “Jala Di,” “Pyaar Pe Duniya Kaayam Hai” and “Sherni,” whose singer credits I failed to get on the ‘Net and which I do not remember hearing in the film after listening to them on the Audio Jukebox by Eros Now. Were they unused?
“Jaisi Teri Marzi” (Harshdeep Kaur, Bhanu Pratap Singh) is a good composition, but why is the orchestration sounding a shade tacky in the earlier parts of the song?. The lyrics again have a dash of Punjabi but guess it is in permissible quantum. Kaur is brilliant (in fact she is very good in all her songs here), and Singh complements her well.
“Kundali” (Meenal Jain, Vaishnavi Mishra, Anita Gandharva) is one of those pre-wedding songs that have clever lyrics akin to Salim-Javed’s clever lines by Amitabh Bachchan for Dharmendra in “Sholay.” Jain shows her promise again after “Laila Majnu,” and we wonder why this unique voice and talent does not get takers.
But for me, the single track that lingers is “Meri Sacchi Mohabbat” by two very fine singers of today, Jonita Gandhi and Shahid Mallya. The Laxmikant-Pyarelal-meets-Punjabi folk composition is deeply melodious, the lyrics not only meaningful for the situation but poignant, and the vocals haunting. To me, this is the album’s true-blue saving grace and one of Trivedi’s finest compositions to date.