One expects a situational score in Jolly LLB which is basically centered on a lawyer played by Arshad Warsi. Yes, there is Amrita Rao in the film as well which brings in a romantic angle. However, since this Subhash Kapoor film narrates face-offs between Arshad Warsi and Boman Irani, the music is expected to focus more on complimenting the core story instead of deviating into anything quintessentially Bollywood. With Kapoor turning lyricist for the entire album and Krsna (of Tanu Weds Manu fame) coming together, one waits to see what eventually unfolds.
First to arrive is Krsna's own take on the Punjabi folk track 'Jhooth Boliya'. He does make it interesting indeed, what with lyrics by Subhash Kapoor and Vayu bringing in further spice into the proceedings. A satirical song around the state of affairs that the country has been in for ages, this one is a foot tapping number that stays on to be entertaining right through its four minute duration. Singer Kamal Khan too seems to be enjoying his time behind the mike as the song turns out to be double the fun with a 'remix' version following next as well.
Mika opens the proceedings for 'Daru Peeke Nachna', a song that hails 'daaru' and 'dance', Punjabi ishtyle. By the time the song begins, one gets a clear idea around Krsna's good hold over music belonging to this genre, as was evidenced in his 'Saddi Gali' [Tanu Weds Manu]. It is a surprise that this foot tapping number hasn't been on air yet since it has enough potential to be definitely popular. Also, watch out for a reference to Munni and Salman, even as Shreya Ghoshal makes a mid-way entry and immediately makes her presence felt. The 'remix version', a solo by Mika, is done well and only accentuates the fun factor.
There is 'thehrav' in the proceedings with Mohit Chauhan and Shreya Ghoshal coming together with 'Ajnabi'. Set in the 70s style while carrying the kind of lyrics that Gulzar has written and the setting which Hrishikesh Mukherjee boasts of, 'Ajnabi' goes easy on instruments playing in the background and maintains a calm and easy approach. Almost a conversational song between the two protagonists who are exploring love, 'Ajnabi' may not be the next chartbuster in the making but is easy on ears. One wonders though how much of this four minute long song would eventually make it in the film's final cut.
The song that takes the album a tad down is 'Hans Ki Chaal'. With Kailash Kher heard in his characteristic style, this situational number could well be playing as a part of the film's background score. Yet another satirical number, this one too carries a 70s sound but hardly makes one revisit it after hearing it once. Perhaps it may come across as engaging to some level as a part of the film but as a standalone number it hardly catches your attention.
Last to arrive is Bappi Lahiri as he goes solo with 'L Lag Gaye'. Though this has been pitched as a flagship number in the album, the fact remains that it hardly makes you root for it. Yes, there is a 'studio recording video' that has been shot for it, what with an attempt being made to recreate the 'Kolaveri Di' magic with everyone from Arshad and Amrita to Boman, Subhash and Krsna cheering and rooting for Bappi as he takes the stage behind the mike. However, despite an aim of bringing in some fun element, the end result is unexciting in both the original as well as the second version 'Law Lag Gaye'.
One never expected Jolly LLB to musically roar and hence the end result doesn't put off you either. On the contrary, there are a couple of songs that do stand out and carry enough ammunition to be popular, if promoted well. Onus is now on makers to ensure that momentum doesn't go down on 'Jhooth Boliya' and 'Daru Peeke Nachna' if the music has to get popular in weeks to come.
Jhooth Boliya, Daru Peeke Nachna