MUSIC First to come is a semi-classical ‘Kaare Kaare Badra’ which sees a fusion mix with a bit of rock. Sung by Shankar Mahadevan (with backup vocals by Akbar Ali), ‘Kaare Kaare Badra’ is strictly for those who are hunting for that Indian classical feel in their songs. Not quite the kind of song that comes at the very start of the album and makes you keenly await what’s next in the offing, ‘Kaare Kaare Badra’ isn’t a chartbuster that Mirch may have been looking at. More than a couple of decades back, there was a song called ‘Saanjh Dhale Gagan Tale’ [Utsav] which had seen some popularity coming it’s way. Circa 2010 and ‘Mann Bhi Hai’ arrives which is structured in a similar format with it’s theme of sensuality in the darkness of night. Bela Shende sings it in a similar manner as the yesteryear song. However, even though the song has a classical setting to it and brings with a certain quality feel, it is tough to imagine it getting popular amongst the masses. What follows next is a track that immediately connects one to the world of Sanjay Leela Bhansali. Reason being that ‘Zindagi Tu Hi Bata’ has the kind of sound which one has heard in Bhansali films, especially in the recent release Guzaarish. A slow paced track that stays on with the kind of mood that ‘Mirch’ has established for itself, ‘Zindagi Tu Hi Bata’ is a decent sounding track rendered by Kunal Ganjawala and Vaishali Samant with back up vocals by Sharmishtha. Situational in appeal, it again is niche in treatment. The proceedings see a shift for better with the Western version of ‘Tikhi Tikhi Mirch’ actually managing to bring in some spice in the proceedings. No, the song isn’t path breaking by any means but given the kind of pace that Mirch was following so far, it is refreshing to hear a sensual track like ‘Tikhi Tikhi Mirch’ which is rendered quite well by Akriti Kakkar. This is one track that could see some eyeballs coming it’s way if aided by some enticing picturisation. There is a folk version of ‘Tikhi Tikhi Mirch’ that follows soon after and it has a North Indian flavour to it with signs and moans accompanying singer Kalpana. Though this one comes with it’s own distinction and isn’t a bad hear, one would still prefer the Western version. Finally comes a traditional track ‘Mora Saiyyan’ which follows the ‘moans and signs’ formula, as patented by Ila Arun, who sings this one as well along with Pt. Girish Chattopadhyay. A short three minute long, this one is again attached to Rajasthani folk flavour with a fusion setting to it by means of English interludes. Chaaru Semwaal too comes behind the mike a little later for ‘Mora Saiyyan’ which should do well with the film’s narrative but that’s about it.
OVERALL Mirch is an ordinary album that doesn’t promise any chartbusters. Add to that a semi-classical feel and a not-so-happening star-cast coupled with the fact that there is not much awareness around the film and one can safely assume that the soundtrack of Mirch won’t quite find many takers.
OUR PICK(S) Tikhi Tikhi Mirch – Western