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Ra One Music Review

Each time Ra.Ones super hero G-One (Shah Rukh Khan) runs into Sonia (Kareena Kapoor) Chammak Challos thunderous groove ripples through time and space, or so we assume.

There are five versions for the track and this very crowd-pleasing shtick begins to grate in light of Himesh Reshammiyas Damadamm, also released this week, with as many as 15 tracks as much asRa.One and that can get testy with this sort of packaging who has the nerve for so many songs? This kind of lazy loop, where you pop in a cd, and mind-numbingly allow repeat numbers to addle your brain, its certainly a challenge trying to sift chaff from grain.

Then, you are disbelieving of Akon singing hindi lyrics with a fluency you associate with say Lehmber Hussainpuri if thats how the sturdy bhangra superstar was singing this track for a hinterland audience. Add to it, Hamsika Iyer swaying the song in her favour with a sinfully sensuous notation in her pitch (vibrato on the word dikhaa) Chammak Challo is a super-addictive highlight but has one too many versions going for an overkill?

The punch Akon smacks in his rendition of the antara Aa meri ankhiyon se ankhiyaan mila le, aa tu na nakhre dikhaa stressing on the syllables to give heft to his attempt, is perhaps as passionately exercised as Himeshs vocal chords, though, in all earnestness, its a disservice using that analogy. Still, Akon gives it his all for this dam-daar score.
Bhare Nainas classical-meets-rock through Yash Raj dhol meadows and Italian operas is grand that sometimes misses the scheme of small and simple arrangements its scale is so gargantuan that it takes an inward rendition by Nandini Srikar to return it to rhythm the word play on unn-bin is a finely calibrated give-and-take of bol and taal.

Akon aside, Vishal Dadlanis voice fluctuates between Shankar Mahadevan/A R Rahman on Criminal the song itself a Jhoom Barabar Jhoom redux although the electronic influence is quite Uff Teri Ada (Karthik Calling Karthik). Shruti Pathaks voice is lost in this medley.

Shafqat Amanat Alis Dildaara Stand By Me how could they mess B E Kings classic? The chorus in the beginning is straight out of Mahi Ve (Kal Ho Na Ho) tweeting, 'When the night has come and the land is dark...and the moon is the only light.' Whaaat? Shafqat takes over, 'Oh mehermaan....oh rehnuma...dildaara dildaara...' Zzzzz, and there was Mitwa (Kabhi Alvida Na Kehna) once. Touche.

The loco-accelerated speed of Raftaarein mimics Dhanno Ki Aankhon Mein (Kitaab) as a tribute to R D Burmans scorcher. Riffs of Duniya Mein Logon Ko (Apna Desh) chug along in Vishal and Shekhars power-singing not since Johnny Gaddaar has a retro mix stood out so well this one has all the stylistic flourish of its progenitor S-E-X-Y.

Sukhwinder Singh borders on treble but descends for Jiya Mora Ghabraye The Chase essentially because theres such a clatter of instruments, its almost Midival Punditz kitchen-sink junk.

Right By Your Side by Siddharth Coutto is Anjaana Anjaani ooh aah pretty, even girly-swirly will G.One pirouette and giggle when he checks in for super-hero suit trial?

Of the three instrumental tracks, Comes The Light has staggering ambition, Im On heroic and Song Of The End - a dramatic closure its these three tracks which gives the musician duo a new dimension they should meddle with background score now that their mainstay numbers are singing the same tune. Wanna be my chammak challooh oh oh oh. Repeat.

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