Munna Michael Music Review

Tiger Shroff is a seen in a still from the song "Ding Dang." (Tiger Shroff/Twitter photo)

Music: Tanishk Bagchi, Javed-Mohsin, Vishal Mishra, Brijesh Shandilya, Rahul Pandey, Kanika Kapoor, Gourov-Roshin, Tanishk-Vayu & Pranaay

Lyrics: Kumaar, Tanishk-Vayu, Danish Sabri & Sabbir Khan

The album begins well indeed. Siddharth Mahadevan spiritedly delivers the theme song of sorts, “Main Hoon,” penned by Kumar and composed by Tanishk Bagchi. The composition proves that Bagchi has a spark in him to make original songs and should steer clear of his boundless re-creations. It’s fine to make money, but not so often that you soon lose touch with your musical feel, as Anand-Milind did in the ‘90s after overdoing their Ilaiyaraja copies.

Amit Mishra and Antara Mitra go through “Ding Dang Karti Hai” with the zesty attention the song deserves. Composed by Javed-Mohsin, the song has amusingly trivial lyrics by Danish Sabri and Sabbir Khan.

But hooks are the bane of today’s Hindi film music. “Pyar Ho” (Sunidhi Chauhan-Vishal Mishra) is a sweet, dulcet, love duet with an arresting turn of compositional phrase in the cross-line (the last segment of the ‘Antara’ that returns to the main lines or ‘mukhda’). But Mishra (also the composer) overuses the hook, deflecting attention from the beauty of the composition. Chauhan is accomplished, and Mishra is good as a singer.

The lyrics are by Khan again. As the director of the film, he revisits his genetic traits with mixed results – he is the son of the late lyricist Noor Dewasi, who has spun a few songs like “Aao Huzoor Tumko Sitaron Mein Le Chaloon” in the Manmohan Desai film “Kismat” with music by O.P. Nayyar.

The last of the interesting songs here is “Beparwah” (Siddharth Basrur, Nandini Deb) which is written by Kumaar and composed by Gourov-Roshin. It has as arresting instrumental riff, is well-composed and skillfully sung.

In “Shake Karaan,” Meet Bros. and Kanika Kapoor come together in a new avatar – they are co-singers for the first time in a song not composed by the former gimmick masters but by the latter. And how’s this song? Obviously, it is a trivial gimmick based on Punjabi folk with fully Punjabi words!

As we all know, in such excrescences, the changes in words and tunes are cosmetic, while in the case of these above music perpetrators, in particular, the technological tweaks overpower the weak ‘song.' How long, we wonder, will the people tolerate this Punjabi-‘paap’ in infinite overdrive in the name of dance-friendly beats? We were well past the saturation point at least six years back! Happily, this one is not too long in duration, so it stops short of being intolerable!

But we wonder why such songs are being assembled on and on – and on and on! How can we possibly listen to the same conveyor-belt rubbish again and again? And what can a music critic do but metaphorically tear his hair, aware that in the film, even a lavish filming will not make a difference!

Another gimmicky number is “Beat It Bijuriya” sung by Asses (!) Kaur and Renesa Baadchi, with lyrics and music by Tanishk-Vayu. Obviously again, there is nothing remotely inventive in any aspect of this template kind of rural-meets-‘maardern saang’ (modern song)!

“Feel The Rhythm Tonight” (Pranaay) is such an open tribute to Michael Jackson in the words (Danish Sabri, Sabbir Khan), music (Rahul Pandey) and groove that the original MJ would have recognized it even if he had got to listen to it somewhere and did not know a word of Hindi! It’s trivial again, but, at least, inoffensive. To give due but late credit, Bappi Lahiri, in the ‘80s, gave a more solid sound and tempo to his MJ-inspired creations!

“Swag” (Pranaay- Brijesh Shandilya) composed by Shandilya (and written by Kumaar and Sabbir Khan) serves its purpose – within the film, with Shandilya sounding like a Mika clone (!!). And “Swag Rebirth” is written by Kumaar and tuned and sung by Pranaay with few changes.

Our advice to the director: please get composers to sink their teeth into your stories – one at a time!

Anu Malik (“Kambakkht Ishq”) and Sajid-Wajid (“Heropanti”) did the best in your films, despite the musical intruders you allowed into both movies! “Baaghi” had the only song that has outlived the film – “Chham Chham Chham.”

Rating: 3/5

(0) comments

Welcome to the discussion.

Keep it Clean. Please avoid obscene, vulgar, lewd, racist or sexually-oriented language.
PLEASE TURN OFF YOUR CAPS LOCK.
Don't Threaten. Threats of harming another person will not be tolerated.
Be Truthful. Don't knowingly lie about anyone or anything.
Be Nice. No racism, sexism or any sort of -ism that is degrading to another person.
Be Proactive. Use the 'Report' link on each comment to let us know of abusive posts.
Share with Us. We'd love to hear eyewitness accounts, the history behind an article.