After being almost two years in the making, Rakesh Roshan’s Krrish 3 finally sees the light of the day this November the 4th. As expected brother Rajesh Roshan does the music for the film. Some say that Pancham, R D Burman, felt that one of the most impressive musicians around is Rajesh Roshan. Whilst the composer has given us some classic albums in the 90s, Koyla, Karan Arjun and Papa Kehte Hai, to name a few, come the millennium we hear very little from the composer except for his work for his brother’s films and the occasional exceptions. Time to see if his latest album for the home production lives up to the high expectations.
Mamta Sharma (‘Munni Badnaam’ – Dabangg) opens the album with Krrish Title track along with Anirudh Bola and Rajesh Roshan’s contribution, although Mama remains the leading voice of the track. Rajesh mixes classical Indian music themes with techno. The track is very much a soundtrack number that will play a role onscreen. Overall tone of the track is a bit cheesy to be honest with its prominent line being “jab jab dhua chahein ga, tab tab banke mashaal aayege” (he’ll come whenever a saviour is needed). It’s this overall cheesiness that stops you from liking the track, which strictly speaking wasn’t a bad composition. One thing we do get out of the track is a new avatar of Mamta Sharma who has been relegated to item songs mostly, courtesy of her smashing debut.
Raghupati Raghav is the next track in line. Its starts off with soft jazz beats, which really suit the vocals of Neeraj Shridhar. Perhaps had the track continued with that feel it would have been more impressive but soon enough it transforms in a filmi-club-ish number. Monali Thakur returns to her Race-esque avatar after the immensely acclaimed ‘Sawaar Loon’ in Lootera. Why ‘raghupati raghav raja ram’ as its chorus? Here’s hoping the film explains that. Like the previous track there also are interludes in this track that impress greatly and then ones that seem completely dated as if they’ve jumped out of a 90s album of the composer. If this one wasn’t fast paced enough there’s a remix in the album also.
Someone we hear very little from these days enters next, the Made in India lady, Alisha Chinoy. No denying her voice is appropriate for Priyanka because for a minute you think Priyanka has sung the track. Dil Tu Hi Bata also features Zubeen Garg (‘Jaana Hai’ – Dum Maaro Dum, ‘Ya Ali’ – Gangster). Unfortunately both the singers who impress normally are really in their worst forms in this track. Zubeen seems to be straining to meet the composition and Alisha Chinoy seems just disconnected. The track is overly influenced by technology, which kills the mood of the romantic number. Things only get worse with the remix of the track in the album.
Alisha Chinoy returns with Mohit Chauhan in You Are My Love. The album had already brought you expectation below the level you started at but when Mohit starts with “you’re my love, my dove you’re my cuddly pudding pie” your disappointment hits an all new low! Alisha Chinoy enters to make things worse! This track is an out and out joke!
When you see the next track features Sonu Nigam and Shreya Ghosal you think that perhaps finally you’re being saved but sadly you are so wrong! God Allah Aur Bhagwan belonged somewhere in the 90s or 80s and even then it wouldn’t fit in! Sonu Nigam and Shreya Ghosal execute a very forced enthusiasm in the track. The chorus repetition only takes the tacky, cheesy and dated element to a whole another level.
As you can read, the running theme through this review has been the fact that this album is as dated as they come! Possibly Rajesh Roshan’s worst work and that too for one of the most anticipated films of the year. The burden of the colossal failure of this album has to be shared with lyricist Sameer Anjjan as the lyrics are as big of a failure as the compositions. Here’s hoping the film impresses to an extent that you forget to listen to the tracks in the cinema hall because sitting for 3 hours in a closed room listening to these tracks will no doubt be a real test!
