Kaminey Music Review

Sometimes, unexpected movies are promoted in such a way that they become "one of the most awaited movies of the year." Kaminey is one such movie. The movie's director is known to be maverick enough to try out zany, wacky, and hard-hitting stuff. While movies like The Blue Umbrella and Makdee have been a hit with the children and/or families, bringing a smile to their faces, his other movies like the hard-hitting Maqbool and Omkara have boasted of taut, hard-hitting stuff that shook the audiences with the stuff it had. One thing is for sure - Vishal Bhardwaj is a true perfectionist. There was just one problem with his movies - they weren't promoted well at all. The box-office collections of Maqbol, Omkara and The Blue Umbrella have proved testimony to the fact. But it seems, this time, the director has realised his mistake, and has gone out for a fantastic promotion for this movie, the title of which is used as a regular slang by the Mumbaikars of today while speaking Hindi. The trailers are out, and people are going nuts on the song being promoted in the trailers. This means that UTV has gone all-out in promoting a movie that looks like it has a storyline which has not been used a lot (capers, last used in the hit comic fact/fiction thriller 99), and could be a hit with the tastebuds of the moviegoers. Now that the music of this much-awaited movie is out, will the people be satisfied by the musical dish presented by the director himself (who has also composed the music for the movie)?

The answer is - YES! And how! All the songs are pure charbusters which will be a hit with today's youth which is looking for some amazing Bollywood music to suit their tastes. The elders also won't be disappointed, what wioth the retro feel in some of the songs.

Opening with the much awaited 'unofficial' theme song of the movie, strangely called Dhan Te Nan. Starting with the trumpet that made the song so famous, it progresses on to retro-styled beats, after which Sukhwinder Singh opens the song with as much vibrance, energy and zaniness that Vishal Dadlani continues with. The rap by Robert "Bob" Omulo is apt and doesn't go overboard. Vishal's rough, husky vocals remind one of R. D. Burman, whose eclectic retro styled songs are remembered even till today. But the youth need not worry, 'cause they will be hooked to the song by the first hear itself. The rap in the second half by Sukhwinder Singh is amazing, and will make the people try and mimick it. The music is eclectic, what with it's eclectic feel and styling. I guess I'm already singing now. What are you waiting for? Buy the disc, play track one, and go Dhan Te Nan!

This one probably did not need a remix, but when I actually hear the remix, I was amazed, and of course, hooked, with it's even different feel. The R&B/Hip-hop feel in the mix given by Abhijit Vaghani is amazing. The whole essence of the remix is that it keeps it's soul intact while making one love the song even more. I have just one word for the remix - MINDBLOWING! The DJ's will be using this track frequently in clubs in days to come. Dominique Cerejo's seductive vocals work so well alongwih Abhijit Vaghani's rap, which makes it an even more interesting hear! Go for it, as this will give an even more modern, urban and hip feel to the already hooking song.

Next in the offering is something that is a complete antitheses to the previous song. The soft piano rendition is followed by Mohit Chauhan's vocals in a song aptly titled Pehli Baar Mohabbat. One of the most amazing romantic tracks to come in 2009, this song has touching lyrics that go into flashback mode, and at times, make us remember what we call "those sweet moments". It is the lyrics that make the song a striking success. Vishal's music is a high-point, that rises the song to an entirely different level. And that's what makes the song that extra special.

The next track in the offering is another twisted version of Mohit Chauhan's beautiful offering. This one's called Raat Ke Dhaai Baje, where as many as four competent singers come behind the mike to sing their all. Of the four, Suresh Wadkar's vocal's sound surprisingly fresh and fitting, as one would have thought, reading his name behind the vocals, "What the hell is he doing in such a raw-sounding song?" Well, this means we have already predicted what the song is all about, through the names of the rest of the singers present in this track. And we are probably right, as this song has a subtly raw touch, with a modern twist a la Kunal Ganjawala's urban vocals and the rap vocals by Earl. Sunidhi Chauhan is her usual firebrand self. Rekha Bhardwaj is as raw and natural as ever. It is nice and refreshing to hear Suresh Wadkar after a long time. Overall, an amazing track which has that kick.

Well, the remix by Abhijit Vaghani and Aftab Khan ensure that you are hooked to it, atleast in the first hear. Overall, it is not as impressive as their remix to Dhan Te Nan, but good for repeat hearing of the track. I can only say that the remix could have been exploited a bit more, and could have been a bit more experimented with, considering the infectious reggaeton beats, and the overall pace. Well, in other words, an above-average remix to a song that already has an amazing feel.

Ke Bhanwra Bhanwra Aaya Re is what you hear - the seemingly distant vocals are replaced by Sukhwinder Singh's not-so-distant vocals and a crescendo, which makes way to one of the most electrifying tracks given away by Vishal, called (you heard it) Fatak, which remains true to it's title, and makes for one of the most infectious hears in the album. Now, if anyone asked me how was the song, I would say, "Ekdam mast - FATAK yaar, FATAK!". Gulzar's apt lyrics take the song to another level altogether. Sukhwinder Singh pairs up with Kailash Kher to give one of the most vibrant vocals. This was rumored to be an AIDS awareness song - well, it's not entirely an AIDs awareness song, but the last few lines of the song warn us about AIDS in a strangely very non-preachy and poetic way.

Kudos to Gulzar for handling such a sensitive topic with ease and not making it sound uncomfortable. But I guess Vishal Bhardwaj doesn't care if anything sounds uncomfortable - he just wants to deliver the message in the most straightforward way possible. The title of the movie holds testimony to that. People who used to avoid usage of the slander now frequently (and openly) mouth it. Even the radio presenters are forced to use it to credit the title (and a smirk appears on my face). One such radio presenter exasperatedly stated, "Mujhe maaloom nahin tha ki is tarah ka shabd mujhe is tariike se baar baar use karna padega, woh bhi ON AIR!" (translation: I didn't know I'd have to use a word like this in this way, frequently, ON AIR!) Well, coming back to the topic, the lyrics go as follows - "Yeh ishq nahin aasaan, yahaan AIDS ka khatra hai, Patwaar pehen jaana, yeh aag ka dariya hai!" Sukhwinder Singh has taken enough care to sing it as sensitively as possible so that we are left thinking instead of in distaste. There you go, another chartbuster that has the germs to catch up with the listeners. And appropriately enough, this song has no remix (I can hear a few PHEWs (pun intended)).

Sometimes, the last track creates the biggest impact. And this title song is the perfect example of such a track. A haunting pad, followed by appropriate keyboard strokes, makes way for Vishal's equally haunting vocals in this sensitively written song in which the title has been used in good taste - in fact, so sensitively, that it brings a tear or two into your eyes. In fact, the word is so well used that it will never seem like a slang to you. the music is irresistible, and it touches you right there, in the core of your heart. I don't find the need to type out the title of a title song, but if you still want to know it's title - it's Kaminey. Give it a listen, and you'll realise why people never need to shy away from slang if at all it is used meaningfully (I'm not talking about all slangs though).

But that's not the end of the album. The theme piece brings us back to dance-mode. Called Go Charlie Go, aptly titled, maybe after one of Shahid Kapur's characters, Charlie. Brings back memories of the background scores used in the 1978 DON and those (then) stylish thrillers of the 70s. Kudo's to Vishal for bringing retro back in fashion. Farah Khan did it moviewise in Om Shanti Om, and now Vishal does it musically. "Hooking" is the only word I can use for this piece - how I wish it were a bit bigger.

By the end of the album, you alrerady know you are going to play all the songs yet again. Vishal creates a certain punch in the music of this soundtrack that has all the ingredients to make it a hit. While Omkara still sells because of Beedi and Namak, this ome will sell because of all the songs. And believe me, this album will become a commercial blockbuster - well, all of Shahid Kapur's recent movies (Jab We Met, Kismat Konnection) have had fantabulous music, and post Jab We Met, I guess with Kaminey, Shahid Kapur has made a musical hattrick. Well, now it will be decided if the music will be in the stands for a longer time or not. And this will be on the fate of the movie. I don't know why, but I have a strange feeling this movie will click - bigtime - with the audience, and become a sureshot hit at the box office, worldwide.

Music Ratings : ****½