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Dil Bechara Music Review Rating: 3/5 (Three Stars)
Music Director/s: AR Rahman
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The untimely death of Sushant Singh Rajput, the heart-aching topic of The Fault In Our Stars, instruments orchestrated by AR Rahman, assembling the team of singers like Arijit Singh, Mohit Chauhan, Raja Kumari, Sunidhi Chauhan, Jonita Gandhi, having lyrics penned by Amitabh Bhattacharya – has this album every ingredient to be memorable? YES! But, will it be? Let’s see!
THIS WILL GROW! A potential AR Rahman ‘slow poison’ track which seems pretty ordinary at the first listen. But soon, it’s a rainy day, obviously, you’re having a laid-back evening, your playlist randomly pops this song up and you’re hooked to it. Though I wish the lyrics should’ve been more in the zone of ‘Tu Bole Main Boloon’ from Jaane Tu… Ya Jane Na.
WHERE IS FALSETTO? When you see Mohit Chauhan and Shreya Ghoshal on the credit-list, the song by default gets a bar to touch. This one sounds like straight-out-of dubbed in Hindi Disney films and Shreya Ghoshal straight out of Chaar Kadam from PK (this actually could be a sequel/spin-off to that song). AR Rahman tries hard to lure you into it till the end but the lazy lyrics play a spoil-sport. I was craving for Mohit Chauhan’s falsetto so much so I heard Jo Bhi Main from Rockstar after this.
This could be a good situational song at its best. Trying to be uplifting, the lyrics still aren’t doing any justice to the music. This is when Amitabh Bhattacharya takes himself too seriously to deliver ‘simple’ content. “Aao filmon ke be-adab gaane gaate hai…” Why ‘be-adab’? You either go all relatable or pen an unimaginable fairy-tale crowded with complex words. The fusion of both worlds ultimately confuses the feel. Even the likes of Arijit Singh and Shashaa Tirupati can’t do much to save this sinking boat and point it home.
For the unversed, Saudade in short means ‘the (lost) love that remains’. Halfway into this instrumental heaven, Rahman decides to shut all the instruments and bounce back with a soft Piano and gut-wrenching Violin. That’s when you know you’re listening to something composed by the man himself.
This is basically a pumped-up version of the title track and I’ve no idea who will ask for this? To be fair, this was apt audio for the kind of video title track has but audio-wise, Dil Bechara is supremely better than this one. When the album’s list was out, I thought this will be the title track and Dil Bechara will have a melancholic feel to it. But, alas!
Before I comment anything about the song, there was no need for a character introduction song in this film and this proves why every such song could not be Alizeh (Ae Dil Hai Mushkil). That still stands one of the best character-intro songs ever, and ironically both of them are written by Amitabh Bhattacharya. This one has a vintage bell to its melody which works well to an extent. AR Rahman has worked the most on this song (till now in the album). Be it the number of instruments or their flawless synchronisation. The only thing he misses to sync-in with the song is its words. Both Aditya Narayan and Poorvi Koutish try their best to serve a half-baked song.
This is where Rahman takes everything up a notch. From last song’s vintage feel to an Arabic touch in this one, it’s a brilliant transition. Will immediately remind you of Mayya Mayya (also by Rahman) and to an extent even Ruby Ruby (also by Rahman). The audio mastering in this one is surely best of the lot till now. It’s backed by very powerful voices of Sanaa Moussa and Raja Kumari. Best served when high!
Don’t blame it on me because every song of this album initially reminds you of other songs. With this, Rahman tries to mimic the magic of Matargashti (Tamasha). Nowhere near it, but this one has its own fun rhythm. Very ordinary lyrics holds the song back from being the fun anthem it could’ve been. Hriday Gattani and Sunidhi Chauhan do well in cranking up the enthusiasm.
Finally, saving best for the last, a song to satisfy the sadist in me. This feels like a song from some another film made just for the climax of this one. AR Rahman calms down himself for Main Tumhara and this has the melancholic feel I was expecting from the title track. Hriday Gattani and Jonita Gandhi pour in their souls along with their voice. “Main jaado ke maheene ki tarah, aur tum ho pashmeene ki tarah” – THIS is what Amitabh Bhattacharya sounds like. Transits you to another world and exactly the song you hunt for in an ARR album.
All said and done, the lyric department in most of the songs struggles to match the wonder orchestrated by AR Rahman. There, of course, are a couple of hidden gems in there but rest of the album doesn’t meet the high expectations which are always at by-default settings when it comes to the maestro of music.
Three Stars!
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