SLB felt like he needed to bring a bit of massy-ness into the film so he gets Aditya Narayan next for your typical hero-entry song, Tattad Tattad. The composition by this point in the album is very expected and nothing out of the ordinary. Dhoop is a track we know Shreya can pull off in her sleep therefore nothing you’ll be raving about especially. Shreya brings us another solo number however this time the mood of the track is much different to the earlier one. The track isn’t really everyone’s cup of tea and likely to play a bigger role in the film. And in case you were forgetting, they bring you Mor Bani Thanghat Kare, a complete Gujju/Rajhastani number featuring Osman Mir and Aditi Paul. The music doesn’t let you forget that the film is based in Gujrat even for a second. This one is extremely dated and down right, tacky! The lyrics make very little sense and the composition is that of a rejected Govinda track from the 90s. Unimpressive doesn’t suffice as a description of the track. We hear very little from Aditya Narayan who’s a gem of a singer and while it’s great that Ram-leela brings him back into the limelight, its shame a it’s with a song like Ishqyaun Dishqyaun. Musical interludes of the track are larger than life and do bring back memories of Devdas and Saawariya soundtrack but you don’t mind it in in the least. There’s a new sense of maturity to his voice we’d not heard before. He proves that he’s more than just a pleasant voice but also that he’s very credible and versatile.
RAM LEELA SONGS FULL
Arjit Singh is in full form in an avatar that we had not seen him in till date. The number is incredibly peaceful and academically profound. Attempted reinvention of dholi taro or not, this one is mediocre at best.Īrjit Singh (‘Rabta’ – Agent Vinod) delivers what is the most impressive number of the album, Laal Ishq. It’s almost like she rushes through the track rather robotically. For starters, Shreya is a complete let down as her vocals lack feel and emotion. Sadly the number is not even close to earlier garba number from Bhansali’s blockbuster. This one is a blatant attempt to reinvent ‘Dholi Taaro’ ( Hum Dil De Chuke Sanam) in a new light. Shreya Ghosal gives us a garba number with Nagada Sang Dhol. Of course that doesn’t mean the song ought to be written off. The downside of the track is that it sounds like a leftover composition from Saawariya with Gujju flavours added to suit the new film. The track once again has very dark undertones in the vocals and has obvious Gujrati/Rajhastani flavors. Shail Hada delivers another solo with Poore Chand. Then we have the mandatory chand song which Bhansali film OSTs are more often heard featuring.
RAM LEELA SONGS MOVIE
Musical interludes take unexpected turns which is always a welcome change for a movie soundtrack where all too many adhere to strict formulas. Aditi Paul is a revelation and the highlight of this hypnotic, sex and essentially, romantic number. No doubt this one has a distinctive style so some may not take to it as easily as others.Īditi Paul, Indian Idol season 1 contestant, joins Shail for the next track, Ang Laga De. Shail carries a lot of attitude in his vocals and the music surrounding his vocals is very Gujrati, heavy on dhols and others traditional instruments. Shail Hada ( Saawariya title track) comes in next with a darkly seductive number, Lahu Muh Lag Gaya. Kudos to lyricist Siddharth-Garima for a song well written. The sets the scene of the love story that the film boasts of.
At the same time, the lyrics remain down to earth with occasional throw-in of an English word here and there. What is the highlight of the number is the ultra desi lyrics and the fusion it creates with the composition which is anything but Indian in its essence. But then it all takes a surprising turn and the song turns into a fast paced rock number. Ram Chahe Leela starts off as expected with a candid Gujrati conversation that gives the feel of a pre-gig chat. Indian Idol 5, 2nd place winner Bhoomi Trivedi opens the album with a track you’d least expect to be in this album. So does the collaboration of two houses of talent deliver a winning album? Read on to find out. SLB established himself as a composer with Guzaarish and although the album didn’t acquire a chart buster status, it did introduce Bhansali in a new light.
For Ram-leela he collaborates with Monty Sharma, of Saawariya fame. The fate of Sanjay Leela Bhansali’s film isn’t always pleasant but there’s no denying that the music of his films leave an impact. Expectations for a movie soundtrack don’t come as high as they come for SLB’s Ram-leela often.
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