Music buffs always expect something extraordinary from the man who created popular numbers like Bheegi bheegi (Gangster), Dhoom Machale (Dhoom) and Marjaani (Billu) among others. But composer Pritam Chakraborty seems to be losing his magical touch if one were to go by the album of Ek - The Power Of One.
Bang Bang crooned by Rana Mazumdar starts well with a heavy dose of electronic sounds. The song sets the mood and keeps it intact till the end. Powerful singing and strong musical arrangements make the track a good hear.
Like most Pritam soundtracks, Sambhale is soaked in Punjabi flavour. The song, which has singers like Sukhwinder Singh and Sunidhi Chauhan behind the mike, has a long prelude but picks up well. However, the number offers nothing new and fails to reach the standards set by earlier compositions of Pritam.
Sona Lagda with Shashwati's honey-tucked voice instantly gives a heard-before feeling. Lack of experimentation makes the song very ordinary. It's not something that will stay with listeners for long.
Up next is the remixed version of Sona Lagda in the same singer's voice. This version adds nothing to the quality of the original and falls flat in its attempt to become a chartbuster.
The last song of the album, Tum saath ho, has a distinct resemblance to Pritam's earlier composition Tu hi meri shab hai from the film Gangster. This romantic number is aptly sung by Abhijeet and Shreya Ghoshal.
But once again there is nothing fresh that the song has to offer. It is just a regular mushy track that every other album has nowadays.
On the whole, the five-song soundtrack of Ek - The Power Of One, which stars Bobby Deol and Nana Patekar, fails to impress and doesn't have anything special to look forward to.
The tried and tested formula of using particular genres in the soundtrack doesn't work too well for this album. The lyrics are average and so are the musical arrangements.
Filmmaker Anurag Kashyap's latest offering Gulaal boasts of thought-provoking renditions. The songs are different, original and have substance. The album is a heady cocktail of diverse genres and innovations.
Aarambh, a song soaked in the expression of revolution, sets the adrenalin pumping with its fast pace and hard hitting vocals by Rahul Ram. The musical arrangements are Indian to the core with the sounds of sitar, tabla, trumpets and bells dominating the number. This is not the kind of music you will hear every day.
The highlight of the next song Aisi Sazaa is the deep and enchanting voice of Shilpa Rao. The composition touches a chord and stays with the listener for long. The use of thunder and rain add to the song's mood. This poignant rendition is sure to create a niche for itself.
Rekha Bharadwaj is up next with Beedo, an energetic rustic song with the feel of a mujra. The song might not become a chartbuster but is surely worth listening to.
Next comes Duniya, which can be called a rare work in terms of treatment. Piyush Mishra takes over the vocals too in this number and does a good job with his baritone voice. It has a classical touch and is impressive.
Raat ke musafir gives us music that we haven't heard in years. It is a haunting number that lets the singer's voice take centre-stage. The song rides high on the powerful yet seductive vocals by Rahul Ram. Raat... is what brilliant compositions are made of.
Like Beedo, Ranaji too explores the folk genre and falls in the category of a mujra. But this one is contemporary and wacky. With unusual lyrics and some brilliant singing by Rekha Bhardwaj, the song will surely attract attention.
Up next is Shehar, the longest track of the album, which is categorised by lovely vocals, sparse music and a revolutionary mood. A good effort by Piyush Mishra yet again.
Yaara maula is a classic. Rahul Ram, Piyush Mishra and Aushim have gone behind the mike for the song that has a strong background score without using too many instruments. The number picks up tempo and string instruments are introduced at a later stage.
On the whole, the music of Gulaal is thoughtful and a welcome break from remix numbers stuffed into most albums today. An experimental soundtrack, the composer deserves kudos for creating compositions different from the routine.
Two years ago, Lily Allen was a pixie-faced singer whose saucy, reggae-ish pop debut album Alright, Still nabbed her fame, fortune and competition with fellow U.K. rebel Amy Winehouse.
Now, following a clothing line, TV show and tabloid fodder (from drunken episodes to a publicised miscarriage) the 23-year-old Allen is back. She's still all sharp-tongued wit, but with an adult edge.
Written and recorded by Allen and producer-keyboardist Greg Kurstin (The Bird and the Bee), It's Not Me, It's You is a blend of beat and piano-based dance-pop and darker lyrics. The album may not have the straight zing of her cheeky hit Smile, but its 12 tunes radiate clubby catchiness.
Allen still touches on subjects ranging from weight to bad sex and relationships, but also tells off the paparazzi and contemplates God.
The Fear, an electro single about ravenous media attention, showcases Allen at her best: sassy, funny, descriptive and a bit naughty.
I'll take my clothes off and it will be shameless/ Cause everyone knows that's how you get famous/ I'll look at The Sun and I'll look in The Mirror/ I'm on the right track and I'm onto a winner, Allen sings in her classic sweet vibrato, snapping at various British papers.
The nouveau-feminist ditty 22 swings on finger snaps and circus-sounding organ reminiscent of the Beatles' Sgt. Pepper's Lonely Hearts Club Band. Allen bemoans how a single woman almost 30 is viewed by society, repeating, There's nothing to do and there's nothing to say/ Til the man of her dreams comes along, picks her up and puts her over his shoulder/ It seems so unlikely in this day and age.
Love itself continues to be a squeaky roller coaster in Allen's world, from I Could Say breathing sighs of relief after a break-up to Western-flavored Not Fair lamenting a man who can "never make me scream" in bed.
Joan Osborne mused about God having humanlike qualities in her 1995 hit One of Us, but Allen's Him delves into more irreverent territory, asking if God has ever taken cocaine or been suicidal. This melodic tune breaks the mold of Allen's previous manifestos.