Blazing Classical!! (Bajirao Mastani – Music Review)

Sanjay Leela Bhansali is back with yet another period drama after a long time with grand sets and enduring classical based music.

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Music: Sanjay Leela Bhansali;  Music Label: Eros Music

1. Deewani Mastani – Singers: Shreya Ghoshal, Ganesh Chandanshive (Qawwali vocals: Mujtaba Aziz Naza, Shahdab Faridi, Altamash Faridi, Farhan Sabri);  Lyrics: Siddharth-Garima (Qawwali Lyrics: Nasir Faraaz, Marathi Lyrics: Ganesh Chandanshive) –
Huff! So many credits! No wonder, it’s the grandest song of the year (if you have seen the video). There’s a Marathi portion with which Ganesh Chandanshive begins the song, Shreya soon takes over with an enormously endearing melody to perform. Without doubts, she justifies it the way nobody else could have. With Oud, the composer has also poured qawwali essence beautifully into the composition and it is melded with sufi-ism found in the lyrics. Percussion in keherwa makes it sound even more royal. The royal garden of melody.

2. Aayat – Singer: Arijit Singh (Qawwali Vocals: Mujtaba Aziz Naza, Shahdab Faridi, Altamash Faridi, Farhan Sabri);  Lyrics: A.M. Turaz (Qawwali Lyrics: Nasir Faraaz) –
A semi-classical ghazal that has the potential to captivate you and spread its charm the moment you begin listening to it. Arijit’s echo-ed vocals have been designed perfectly letting the melody to impact you to a great extent. Bhansali hasn’t dealt much with the complications and kept it simple enough to get on the nerves of listeners quite easily. Arijit is able to mesmerize with beautiful harkats in the lines consisting of “ki tarah”. All the qawwali vocals have been arranged impressively. Violin has been aptly infused in the later part, creating deep emotions and diluting the technicalities. Mesmerizing. 

3. Malhari – Singer: Vishal Dadlani;  Lyrics: Prashant Ingole – This calls for Vishal Dadlani for removing the hangover still left from Ramleela. The fast-paced rhythm of Dhol takes you to the Tatad Tatad zone right away. The song doesn’t offer much and hence becomes the weakest song of the album. It is well arranged and could have been given the soft corner, if the annoying gasping vocal sounds were omitted. On the lines of Tatad Tatad.

 4. Mohe Rang Do Laal – Singers: Pandit Birju Maharaj & Shreya Ghoshal;  Lyrics: Siddharth-Garima – This is the only pure classical song of the album. Based on the raga Poorvi (it seems) although it’s technically limited to the listeners, the song has been sung by Shreya in a way that gives it a slight filmy flavor due to which the song doesn’t land up catering to very limited technically sound listeners but to each of those who have the knack of listening soft music. A rare film track. 

5. Albela Sajan – Singers: Shashi Suman, Kunal Pandit, Prithvi Gandharva, Kanika Joshi, Rashi Raagga & Geetikka Manjrekar;  Lyrics: Traditional – This traditional song that was sung by Sutan Khan in Hum Dil De Chuke Sanam was based on the raga Ahir Bhairav while the composer has this time converted it into raga Bhupali which doesn’t actually seem to be a good decision as this song in Bhupali is less appealing and the presentation of it in chorus of six singers is more looking like an All India Radio melody rather than a film track. Anyway, it’s a good attempt and hopefully goes in favor of the film. The Bhupali version. 

6. Ab Tohe Jane Na Doongi – Singers: Payal Dev & Shreyas Puranik;  Lyrics: A.M. Turaz – Payal surprises with her engaging vocals, handles each note, takes every harkat so maturely with ease and not letting the composition predominate her in any way. Infact, she seems to be controlling the composition. Shreyas is impressive too, entering in the second half, providing the much needed totality to the melody. A successful semi-classical attempt written aptly by A.M. Turaz. A heavy melody handled amazingly by both the singers. 

7. Pinga – Singers: Shreya Ghoshal, Vaishali Made;  Lyrics: Siddharth-Garima – “Pinga” is a ceremonial activity that is performed by Maharashtrian (typically Brahmin) married women on the occasion of Mangalagaur. So, there must be this occasion shown in the movie. Shreya and Vaishali have maintained the already lifted spirit of this Marathi track which Bhansali has composed really well keeping it quite engaging, making the listeners remember of Dola Re Dola from Devdas. Percussion is aptly utilized in the arrangements giving nuance to the whole track.  Well-attempted Pinga!

8. Aaj Ibaadat – Singer: Javed Bashir (Backing Vocals: Shahdab Faridi, Altamash Faridi, Shashi Suman, Shreyas Puranik);  Lyrics: A.M. Turaz – A beautiful blending of Hindu devotional and Sufi elements in the composition as well as in the lyrics. Enchantingly played Sitar laid on the Sufi vocal texture of Javed Bashir who spellbinds with his enormous harkats because of which the track is beautified. Well-Ripened.

9. Fitoori – Singer: Vaishali Made (Folk Sung By: Ganesh Chandanshive,  Backing Vocals: Aishwarya Bhandari);  Lyrics: Prashant Ingole (Folk Lyrics: Ganesh Chandanshive) –
Sanjay Leela Bhansali has created a tune which so much goes with the mujra flavor. Lyrics do not even need to show its impact, the tune itself is so much in accordance with the mood of a mujra. Vaishali has nailed this one with the vocals the song really needed. Without seeing anything, you’ll be able to visualize a mujra in front of you. Impressive!

10. Gajanana – Singer: Sukhwinder Singh;  Lyrics: Prashant Ingole – Another Ganpati song added to the huge list of such amazing songs being composed. Having Sachin-Jigar, Ajay Atul coming into the scene, the creativity level is so high that this song by Bhansali doesn’t at all grab your attention. Unfortunately, It remains to be a repetitive attempt. 

Certainly, Sanjay Leela Bhansali’s best work as a musician.

The Final Verdict:   AGREE





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