Even accounting for the obvious Pancham influence, composer Sanjeev Srivastava does an imaginative job of arranging the thoroughly engaging title song. And he strikes gold in getting Usha Uthup to sing, the lady nails it – the attitude, the scatting and everything. The slower reprise version has much less of RDB, and hence helps establish the composer’s prowess better (particularly loved the use of violins in the whole thing). Thaayein Kare Katta carries a dominant folk flavour that goes very well with the lines by Puneet Sharma and Piyush Mishra’s trademark singing. But Sanjeev also incorporates some curious synth sounds into the proceedings, and quite neatly and unobtrusively. Asha Bhonsle’s Kaafi Nahi Chaand too, like the title song, has distinct borrowed retro elements (I was reminded of Asha’s own Raat Akeli Hai in places), but the composer builds on those elements very nicely. Age has definitely caught up with Asha tai, but that doesn’t stop her from doing a fab rendition, with some of her trademark touches. Chal Lade Re Bhaiya again has Piyush Mishra leading the vocals, and again has a folk-techno combination like his first song. But here the techno dominates, background featuring a lot of intriguing chopped-up sounds. It is Piyush’s singing that gives the song its repeat quality though. The composer himself gets behind the mic for the rock-flavored Sulgi Hui. The melancholic base is all too regular, but the singing is commendable. The apparent wedding song of the protagonist, Banna Banni, is celebratory without being boisterous, the arrangement led by percussion and strings in a slightly Rahman-esque manner (I think I even heard a thavil in places). Being the expert in folksy style that she is, Rekha Bhardwaj owns this one with some good backing from the chorus.
I am Brutal is one of the songs strongly reflective of the “B-Grade”ness of Revolver Rani, particularly the lyrics. In Saawan Ki Aaye Hawa too composer jazzes up a folk base, though not as effectively as in the previous cases. Garima Aneja’s singing is decent, but following the likes of Piyush Mishra and Rekha Bhardwaj works against her. Garima gives an even weaker rendition in the lullaby Chanda Ki Katorie. The lullaby itself is pretty middling for that matter. An alternate version has Piyush Mishra doing the singing, but that doesn’t improve matters much either. Bol Rahi Hai Payal is modelled on the 90’s kind of music, but not on the most desirable sample set from that era. You can listen to this to hear how authentically Sanjeev has reproduced that sound, and Avi Dutta’s Kumar Sanu mimicry (joined by Anwesha), but otherwise chances are you will be bored of the song very soon. The anthemic Pehle Lohe Ki Chingaari is impactful but in a forced and predictable manner; there isn’t much variation in the song per se. Good singing by Sameera, Gorisa, Keka and Manjeera. We Mix You Michael Jackson too belongs to the B Grade line-up; in fact this is the most random song of the soundtrack. Once again the composer gets the sound perfect in terms of a badly done stage show (I presume that the misspelling of Michael is also in keeping with that), and Saleem Javed does a good Mohammad Aziz/Shabbir Ahmed impression. But otherwise as a song it is terrible; I hope it will make more sense in the movie. Zardozi Lamhe is a hummable melody (occasional shades of raag yaman I thought) whose datedness is mitigated to an extent by some nifty elements in the arrangement; best of which is the sarangi. Also helping is the fact that it is very well sung by Moin Sabri.
Given its number of songs, multifarious inspired sounds and kookiness, it is only natural to draw parallels between Revolver Rani and a Gangs of Wasseypur or a Dev D. And by that yardstick, this soundtrack isn’t quite there, but is done well enough to make me look forward to Sanjeev Srivastava’s next.
Music Aloud Rating: 8/10
Top Recos: Revolver Rani, Banna Banni, Kaafi Nahi Chaand, Thaayein Kare Katta
