Composers Sajid-Wajid bring their knowledge of hardcore Indian music into play and give Tevar's music a different flavour, says Joginder Tuteja/ Rediff.com
This year has been quite good for Arjun Kapoor as far as the music of his films is concerned.
After chartbuster tracks in Gunday and 2 States comes his home production Tevar. The romantic action drama provides ample scope for good music.
The album starts with Superman, from Sajid-Wajid. The lyrics are by Sajid, Kausar Munir and Danish Sabri.
A first of its kind with a good four-and-a-half minutes spent paying homage to Salman Khan, Superman has some good energy, courtesy Wajid.
He does really well singing this Lakshmikant-Pyaarelal inspired number from the 1980s that also finds a remix later.
From this point on, Kausar Munir goes solo for every song in the album featuring Sajid-Wajid as composers.
At the onset, Radha Nachegi sounds like a routine Radha-Krishna filmi number. However, the mood changes within a minute as Ritu Pathak moves on from classical rendition to contemporary Bollywood. Shabab Sabri and Danish Sabri add to the chorus.
A well orchestrated number, which is again a product of the Lakshmikant-Pyaarelal school of music, Radha Nachegi is perfect except for the part where Ritu Pathak sings westernised out-of-place lyrics like ‘Music bajega loud.’
Let's Celebrate is simple and superbly engineered with the kind of club sound that hooks you instantly. This guest composition by Imran Khan is very catchy.
Imran does everything right, from putting together the funky Hindi-English-Punjabi lyrics, to the way he renders the song.
With the kind of pace that this quickfire 200-second piece boasts of, one can already hear it playing in loop during the New Year celebrations.
Sajid-Wajid return with Shruti Haasan singing Joganiyan. It’s a contemporary number which has passion and a hint of pathos. It is also poetic as the girl's love for her lover is heard in various shades.
This number will be appreciated by those who want their music to be different. The composition is off the beat and Shruti's vocals bring in some freshness.
Up next is Mika Singh and Mamta Sharma’s item number, Madamiyan. Everything from kalakand to gazzak is mentioned in this song, which is meant to cater to the front benchers. It looks good too, with Shruti Haasan taking centrestage.
Sajid-Wajid impress with Main Nai Jaana Pardes where they come together with singer Shafqat Amanat Ali. The best track on the album, it is a simple number with the minimum of instruments in the background.
The semi-classical number shows the hold that Sajid-Wajid have on ‘Hindustani’ music.
A number that barely passes muster is Tevariffic (Mashup) which brings together each of the songs from the album inside 200 seconds, but turns out to be rather abstract.
The soundtrack of Tevar starts and concludes very differently. If the beginning is hardcore masala with an eye on commercial viability, in the latter half composers Sajid-Wajid bring their knowledge of hardcore Indian music into play and give it an altogether different flavour. This is a pleasant ending to the album.
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