By Satyajit, Glamsham Editorial
KAMAAL DHAMAAL MALAMAAL (KMD) marks the revival of Priyadarshan in the comedy genre, after a series of disasters in action-thrillers (AAKROSH and TEZZ). It promises to bring back the fervor of Priyadarshan' stylized comical feel that has not only entertained viewers but also delivered a promising response at the box-office. On the musical front, Priyadarshan's films have been a mixed bag all-together, but still one expects a potential success from the reliable Sajid-Wajid, composer duo who have been in headlines for delivering back-to-back chartbusting hits in Salman Khan's recently released blockbusters. Can they together create any "Kamaal" or "Dhamaal" and make their producers "Malammal" Let's find out...
Going steady with high thriving-cum-tuneful feel of "Chaiyya Chaiyya" (DIL SE), the first track "Dariya Ho" is a pleasing rustic melodic feel delight. Shadaab Faridi's immensely earthen folksy tones (sounding similar to Sukhwinder Singh) are booming as well as appealing and create a beautiful natural ambience of "feel-good" romance. Monali Thakur's slender voice is an added support that brings the desired femininity in this duet. Jalees Sherwani's simplistic poetic verses are splendidly packed and voices out the tender romantic verve. So are the blend of camouflage of traditional instrumentals (drums, flute) that paves way to catchy signature tuneful impact. Sajid-Wajid starts off optimistically on a high note and raises expectations of quality music in forthcoming tracks. "Dariya Ho (remix)" is a bombastic DJ's "club-remix" bonanza that works in catalyzing out the "pep-factor" in the album. Shadaab as well as Monali's vocals are enlightened pompously with the ballistic "beat-juggles" and DJ spins and the outcome is indeed a rollicking feast. Go for it!!!
"Desi Girl", "Desi Boyz" and now "Desi Mem"! The word "desi" finds its new charm and affixation in the stylishly packed raunchy "item-song" titled "Desi Mem", a song of genre that has recently found a big sect of listener's acceptance. Mamta Sharma tries to rejuvenate the raunchy attires of "Munni Badnam" (DABANGG) with a westernized impish mode, but the spicy punch is too mediocre. This time Jalees Sherwani's spicy lyrics fails to create any major "jadoo" and the Hinglish slang "Beauty-istan" sounds too unimposing. Against all odds, this Sajid-Wajid composition brings out the desired Bollywood pretentious raunchy dancing feel that has so far worked potentially in creating buzz for the flick, and this one too succeeds to some extent. "Desi Mem (remix)" raises the tempo and "oomph" factor sufficiently and sounds a better option. It adds racy disco beat fillers and fires up with Mamta's grueling vocal strokes with some peppy DJ antics.
"Zor Naache", a quintessentially Bollywood rustic-feel celebratory track, brings vivid shades of joyous moods and adds energy to the "feel-good" factor ambience. To be precise, it has the cultural feel of "Dholi Taaro" (HUM DIL DE CHUKE SANAM) and "Phir Raat Kati" (PAHELI) in its enthused countrified signature tuneful appeal and connects well with vocals. Keerti Sagathia along with Sugandha Mishra's motivated voice enlightens up the decorum, but the lyrics are too contemporary this time. It's a decent effort by Sajid-Wajid in creating a multicolored cultured feast but lacks the innovative punch; overall a reasonable audible situational track.
Reminiscing back the peppy festive feel of "Chammak Challo" (ROWDY RATHORE), the next track "Ishq Ki Dafli Baaje" is another frolicsome number that has shades of Bollywood's 90s musical feel. Sajid-Wajid pep up the mood with riotously pitched arrangements that concocts appreciably with Jalees Sherwani's playfully rich lyrics. Babul Supriyo jesters it out in a typical Udit Narayan enthused tempo and tonality ("Mitwa" (LAAGAN), exuding out a delightful rustic feel of enjoyment. Sugandha Mishra's shimmering vocals are the big surprise elements and so are Bela Shende's supporting rendition that adds to the carnival fiesta. If you have cherished "Chammak Challo" then "Ishq ki Dafli Baaje" will surely be another fun-filled entertainer for you; a colorful on-screen presentation will be a great help to its prospects. Amusing!!!
Devi Sri Prasad smartly rechristened his popular track "Ringa Ringa" (ARYA (TELUGU) in "Dhinka Chinka" (READY) and created a ruckus on the floors, a big chartbusting hit that also delivered a peculiar signature "dancing style" in B-town. This time "Ringa Ringa", the last original soundtrack of the album, comes with a typical Goan-cum-Bollywood carnival dancing zing and entertains with its massy bombastic "item-song" feel. Ujjaini's extremely strident and screechy vocals tries to create Goan carnival festive feel; a pompous musical decorum that was lately heard in "Nach Le" (BOL BACHCHAN) with able support of Sarosh Sami's back-up vocals. "Ringa Ringa (remix)" comes in Abhilasha Chellam's (SA RE GA MA Singing Supertar finalist) captivating voice and aggravates the festive mood. It transpires mood to the discotheque fetish decorum and entertains with its pulsating thriving "club-remix" joyous mood; a better listening option than the original version.
Finally there is "Kamaal Dhamaal Malamaal (theme)", a primarily theme-based instrumental number that has strong shades of "Ringa Ringa" with added enthused chorals by Uvie and Wajid, epitomizing out hilarious cum thrilling feel of the flick.
To sum up, although KAMAAL DHAMAAL MALAMAAL may not create any major "Kamaal" or "Dhamaal", but still comes out as another reasonably good musical entertainer on the marquee. There is a typical Bollywood "fun-element" in situational tracks like "Ringa Ringa", "Ishq Ki Dafli Baaje" and "Zor Naache" with a surprise melody in "Dariya Ho" that works potentially, but lacks the presence of one deserving chartbusting hit.