Jhoom Barabar Jhoom

Article Updated 13 June, 2007 10:20:58 PM IST

Jhoom Barabar Jhoom

Maverick director Shaad Ali struck gold with his very first movie 'Saathiya', which had some high quality, melodious and soulful music by the genius A. R. Rahman. Then he switched to Shankar, Ehsaan and Loy with his second offering for the Yash Raj banner 'Bunty Aur Babli' and the rest, as they say is History! The team's 'Kajra Re' still rocks every marriage function, party, club and disco. So naturally, expectations abound from their latest offering 'Jhoom Barabar Jhoom'. Will it be a hat-trick for Shaad and Yash Raj? Will S-E-L be lucky a second time? From the promos it is most definitely YES!

A deadly synthesized harmonium piece commences one of the most enchanting tracks of the year 'Jhoom', picturised on the megastar Amitabh Bachchan, who reportedly plays a sutradhar in this film. The moment the promos of this number hit the TV, everyone was floored by its infectious, deadly rhythm and it was obvious that S-E-L have another winner on their hands. This version is a solo performance by Shankar Mahadevan and needless to add, he is simply fabulous. It's a type of gypsy/fakir songs that used to adorn Bollywood music in the 70s(though accompanied by an ektara). Background classical alaaps add to the charm of this mind-blowing composition. Gulzar Saab's lyrics in typical Punjabi and simple Hindi are the icing on the cake.

The second version of 'Jhoom Barabar Jhoom' is more fun, masti and full dhamaal, compared to the slightly more philosophical first version. It is rendered by highly talented singers K.K., Sukhwinder Singh, Shankar Mahadevan and Mahalaxmi Iyer. It should come at an important juncture in the movie. The start is more boisterous, typical Punjabi folk style. Dhol sounds are more prominent, the lyrics in chaste Punjabi. The infectious harmonium piece, which can be labeled as the signature tune, forms the backbone of this version too and is so very dance inducing. And attention! 'Ba-adab'! 'Ba-mulaheza'! It does have a techno-qawwali feel to it, specially in the antaras. The song concludes on a very pacy note with all the four artists singing in unison and Shankar's high-pitched rendition is excellent.

The third version of 'JBJ' is very similar to the other versions in letter and spirit. It has been sung by Sunidhi, Zubeen and Shankar Mahadevan. The start and the ending is different from the above two versions though. Zubeen's fresh vocals and Sunidhi's excellent singing combine with Shankar to take this song to dizzying heights.

The fourth version is 'Jhoom Jam', which is a totally instrumental version dominated by desi percussions instruments, dhol, daf, etc. Once again, the deadly harmonium piece(this time non-synthesized)gives the extra zing to this collector's piece. An absolute delight.

Traditional ghatam/matka sounds accompanying Rahat Fateh Ali Khan's inimitable vocals commence the second excellent track of the album, 'Bol Na Halke Halke'. This bewitching, romantic piece is a critic's delight. The pace relaxed, the Indian musical instruments like the flute and sarangi give it that beautiful romantic flavour. Rahat starts from where he left off in 'Mitwa' ('KANK') and 'Teri Yaad' ('Namastey London'). His rendition is superlative, so much so that the talented Mahalaxmi is relegated to the background. And just as we were yearning for it, Rahat gives the superb classical touches, which have become his trademark, reminiscent of his illustrious uncle, the late Nusrat Fateh Ali Khan. Gulzar Sahab's lyrics provide the romantic charm to this delightful track.

Next up, is the situational 'Ticket To Hollywood', which can be classified as a sweet, semi-romantic, 'ched-chaad' number, reminiscent of Kishore Kumar's 'Paanch Rupaiya Barah Aana' (we are just talking about the feel of the song). The lyrics of the mukhda is folk lore inspired, whereas the antara is typically filmy. Alisha, who rocked the nation (as Aishwarya's voice) in the team's earlier flick 'BnB', 'Kajra Re', doesn't get much scope. Neeraj Sridhar's vocals are too sugary, but he does sing with feeling. The rap by Loy Mendosa and the background chorus is good and deserves mention.

Vishal Dadlani, fresh from the success of 'Ta Ra Rum Pum' (his 'Saiyyaan Ve' still continues to rock!) and Vasundhara Das join hands in this very up-market, racy, fun 'n' frolic number, aptly titled, 'Kiss Of Love'. The orchestration by the Bombay Film Orchestra, specially the drumming and the single string sounds, enhance the beauty of this number, which may become popular with the Gen X, if promoted well. Vishal's style of singing, similar to R.D. Burman's style and Vasundhara's base rendition gel well together. One does detect a tune familiar to Kishore Da's evergreen chartbuster 'Eena Meena Deeka' in this composition.

On the whole, this album relies too much on one superlative number (not that we mind) and its derivatives. Maybe it was the requirement of the movie. But it does not have the variety of 'Bunty Aur Babli', or even the class of 'Saathiya'. The initial sales have been good and will obviously pick up, as more and more promos are aired and of course when the film releases, next Friday. Definitely worth a buy.

Rating : 8/10

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