The maverick tiptoes again. Review on Anwar Songs

Recent hip-hop sounds, which captured the shelf space as

sound tracks for some of the latest movies, left me completely dejected and I

decided not to look at film tracks for my dose of music. Its not that all were

bad; some of them were bearable enough, but after a certain time, they all

sound like a cacophonous crescendo, especially when every radio station in town

is in a mad race - who blurts them out more.

But as they say, ‘ignorance is bliss, not always’, which I

learnt a tough way. Just the other day, while swapping TV channels, I discarded

a sight of disheveled looking Siddharth Koirala in a rather unimaginative film

promo, apparently for his new film, Anwar. Now I always had a fair share

of skepticism about his acting prowess. Thus I must confess I wasn’t expecting

anything from the movie, despite the fact that it’s another directorial venture

by Manish Jha, who made critically acclaimed Matrabhoomi. It must have

been something which prompted him to rope in such an unimpressive and weak

cast, comprising of Koirala siblings, Nauheed Cyrusi, Hiten Tejwani, Vijay

Raaz, Rajpal Yadav, Yashpal Sharma etc.

Human mind has such a short attention span and it is proved

because what initially started as a discussion on recent music scene, took shape

of a film’s criticism. So without being out of focus much, I return to the

native – my intentions to write a review for Anwar’s music. Now I picked

this one up despite my newly acquired irritation for film music because a

friend informed me that Anwar’s soundtrack is designed by Pankaj Awasthi

– my old favorite.

For the records, Pankaj Awasthi is a homegrown singer and

music composer and has an album named ‘Nine’, a fascinating piece, to his

credit. He also crooned the title track, ‘Tera hi karam’, for a film named

‘Karam’. Incidentally, I also have a CD, which has some of his unreleased,

equally amazing, work.

Anwar has nine tracks and that makes me wonder, does Pankaj

have something for figure 9. In Anwar, Pankaj shares the stage with

Mithoon, but predominately, it’s Pankaj’s baby. The opening track, Muala

is sung by inimitable Roop Kumar Rathod in his melancholic voice and style,

which has become his signature of a sort. It is composed by Mithoon on Sayeed

Quadri’s https://lyrics. The track is a fusion between Sufi styled renditions on a beautiful

classical fabric. The song captures the very mood of film and sets the tempo

right. Initially a slow number, it grows slowly on you, and the effect gets

denser as it passes. I don’t doubt if the local lounges play it with a slight arrangements

on turn tables.

The next is Dilber mera, which incidentally is a

track from Pankaj’s album Nine. Those who have heard it in Nine are in for a

treat. Without losing on the songs hypnotic quality, the music and lyrics has

been tweaked a little. So it’s just another great version of an amazing song, a

typical Pankaj Awasthi song. Shyam Ravindran wrote the song, who is Pankaj’s

partner in crime, err...musical journey. The number is sung and composed by

Pankaj himself. A transcending experience, this song takes you beyond – beyond

the unknown; a wonderful mix of electronic and traditional sounds.

>Bangla khula is the 3rd track. Here Sayeed

Quadri has tried to do a Gulzaar and attempt is laudable. It’s sung by Megha Sriram

in a husky tone. This track seems to confirm that item numbers have become an

integral part of Indian films. It has a very rustic feel to it and reminds us

of some of the raunchiest item numbers in the past.

A flute piece is called Anwar’s dream, is next. A

very soothing and relaxing symphony by Pankaj keeps up the mood and paves way for

something which is next to come.

>5th track *Jo maine

aas lagayi* starts with a distinctive haunting alaap by Pankaj Awasthi, a

typical of him. The track lasts for two minutes, which is enough for Pankaj to

inspire pathos and agony; composed and performed wonderfully by Pankaj himself.

>Into the black is the 6th track. A semi

instrumental and partly vocal track, it’s much on the lines of psychedelic

trance, an evident trend that film music too is undergoing an experimentation

age.

Mela sounds like an extension of the previous number,

carrying forward the spirit Into the Black evoked. There is something with

Pankaj’s voice. It fits into the bill, whenever he steps closer to microphone

to croon. He executes it with certain fineness, only he mastered it. He mustn’t

be a master vocalist but he surely knows his music.

8th track is the remixed version of *Bangla

Khula*. Nothing much to say about it because the track doesn’t offer you

much besides some hip shaking. But an item number, a remixed version at that is

nothing about but jiving crazily, after all.

Last track is Tose naina laagey re by Mithoon on

Kamal Hasan’s lyrics and sung by Kshitij & Shilpa Rao. A perfect song to seal

the album, it is infused with Sufi spirits and haunting voices, heavily

impregnated with classical texture. It talks about the metaphysical, the

sublime love and its implications on human life. The track expresses the predicament

of two souls in love with each other. True, the most beautiful songs in this

world are the songs of love, pain and death.

The album may not become a hit, but it surely has a

discerning audience. It’s a much shift from Pankaj’s previous work and those

who put Nine and Anwar in the same league would be disappointed. But Anwar

does have a distinct quality.