MUSIC It is a nice little surprise at the very beginning of the album with Pritam and lyricist Irshad Kamil coming up with a quintessential mushy romantic track ‘Bheegi Si Bhaagi Si’. The moment Antara Mitra comes behind the mike, you are immediately transported into the world of Ajab Prem Ki Ghazab Kahani that boasted of half a dozen romantic tracks like these. The results are very good this time around as well with Mohit Chauhan lending further class to the song. A sweet sounding number which sounds as fresh as it gets, also mainly due to the efforts of the lead singers, ‘Bheegi Si Bhaagi Si’ could well have been what chartbuster tracks are made of had it found a place in a quintessential romantic musical. Naturally, Prakash Jha can be expected to have lapped on to it in the first hearing itself. What would also have impressed him is the semi-classical fusion number ‘Mora Piya’ that Aadesh Shrivastava has churned up for the film. Taking centre stage after a hiatus, Aadesh comes up with one of his best compositions in the form of ‘Mora Piya’. The song requires a few hearings to be grasped but sticks on to your mind after a while. Aadesh entrusts himself with the job of singing this slow moving song as well and does a rather good hob here. Reminding of ‘Kya Karoon Sajni’ (Swami) from the 70s, ‘Mora Piya’ also features supporting vocals by Shashi and English vocals by Rosalie Nicholsan which results in a true fusion track. There is a brief hint of M.M. Kreem’s ‘Tum Mile’ (Criminal) as well but only momentarily. All in all, an engaging soothing track which also sees Aadesh coming up with a ‘twilight mix’ as well as a female ‘trance mix’ version where Kavita Seth lends her vocals. Does the song’s repeated presence come across as an intrusion? Not at all as it only helps the song to be registered further into the listener’s mind. Prakash Jha’s Gangaajal and Apaharan have boasted of rustic and earthy item numbers and Raajneeti is no different with ‘Ishq Barse’ finding a place in the film. Undoubtedly the best that Jha has seen in his films, ‘Ishq Barse’ has a hint of Rajasthani folk but that only stays in the periphery via vocals of Pronob Biswas and Swanand Kirkire. Otherwise it is Hamsika Iyer’s show all the way who brings in just the right kind of sensuality in her voice that makes ‘Ishq Barse’ stand apart from numerous item numbers that one hears today. What impresses most about this Shantanu Moitra composed track is the ‘The Bombay Bounce Club Mix’ version which is bound to find a place in the clubs and discotheques. A definite hit in the making, this Swanand Kirkire written track helps lending a commercial appeal to Raajneeti. Finally comes ‘Dhan Dhan Dharti’ which is based on the tune of ‘Vande Mataram’. First Shankar Mahadevan and then Sonu Nigam come up with their own solo versions of this Gulzar written track which has been put to tune by Wayne Sharpe. The only true blue situational track in Raajneeti, this one is the ‘call of the soil’ number (as is stated in one of the versions of the song as well) and ensures that Raajneeti stays on to have a classy appeal to it. However, it’s reach is restricted to the film’s narrative.
OVERALL Music of Raajneeti delivers more than what one would have expected. Since the film is not a romantic musical, there would be quite some effort required by the makers to help the music reach out to masses. Also, around the release of the film, the focus is bound to shift towards the political drama that would mean that music may take a backseat. However, those who would catch the music would certainly not be disappointed.
OUR PICK(S) ‘Bheegi Si Bhaagi Si’, ‘Ishq Barse’, ‘Mora Piya’