Atul-Ajay’s music for Sairat’s Hindi remake is still a solid listen despite Amitabh Bhattacharya’s lyrics
Lyrics for dubbed songs can often be tricky — those who love A.R. Rahman’s music will most likely resonate with this sentiment. There have been so many instances where people prefer a song in a language they don’t understand, in lieu of a dubbed version. I imagine a similar situation arising with ‘Pehli Baar’, the Dhadak equivalent of ‘Yad Lagla’. It is not that Amitabh Bhattacharya’s lines are terrible, but they still make for an awkward fit in a song where composers Ajay-Atul retain everything else from the original version, down to a humming cameo by Shreya Ghoshal.
The lyrical fit is not much of an issue with the other reused song in the soundtrack, the boisterous dance number that turned out to be the biggest hit from Sairat — ‘Zingaat’ (the punchy title phrase is retained). Once again, everything except Bhattacharya’s lines remain the same — composers handle the vocals as effectively as they did in Marathi. I have never been a huge fan of the track — and I am probably part of a very small minority — owing to its tempo, and my feelings are the same the Hindi ‘Zingaat’ too.
It is one half of the composer duo, Ajay Gogavale’s seeming insistence at featuring his voice in every song of the soundtrack that presents a minor blip in the otherwise well-orchestrated ‘Vaara Re’.
The singing is quite good, to be fair, but it might have sounded better with someone else’s vocals. Some really nice touches by the composers in the backdrop — like the sitar phrases that open and close the song, and the flute and chorus that appear in the more tender moments — contribute to the song’s charm. Even though I didn’t appreciate it as much when it came out, I am now absolutely addicted to the fil’s title track.
As is the case with most of Ajay-Atul’s best work, this one is too is laid over a stunning fabric of orchestral strings — especially love the fact that the song is almost entirely devoid of any percussion, accentuating the prominence of violins.
Gogavale and Shreya Ghoshal’s delivery of the haunting melody is equally spectacular. Ajay-Atul’s work rates a tad lower than their own music for the Marathi original, but the soundtrack is a still a pretty solid effort by itself.
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