Music Review Sarbjit


First thing that you notice about Sarbjit is the fact that this is a very heavy album. With as many as 10 tracks in there and multitude of talent coming together to composer, write and sing these songs, one expects something truly remarkable in there. Even though as a film Sarbjit is not a musical per se, one looks forward to what has been put together by the makers.


It is pathos filled start for 'Salamat' though after 30 seconds things do change for the better with Arijit Singh and Tulsi Kumar coming together for this Amaal Mallik composed and Rashmi Virag written song. Somehow, one ends up remembering 'Muskurane Ki Wajah Tum Ho' [Citylights] which too was written by Rashmi and sung by Arijit. A good start for the album, this one has romance written all over it.

Yet again, the beginning of a song has a very sad tone to it, as is the case with Jeet Ganguly composed 'Dard'. Jaani and Rashmi Virag come together to write this song which is around 'dard', 'baarish', 'main royoon' and stuff alike. Even the presence of Sonu Nigam doesn't really take this one to the next level and one wonders if the song's placement so early in the soundtrack could have been avoided.

There are some celebratory moments though with Sukhwinder Singh's rendition of Sandeep Singh written 'Tung Lak'. Set in Punjab with an out and out 'bhangra' setting to it, this one actually ups the ante right away and you do like what you hear. Shail-Pritesh compose this one that has Sunidhi Chauhan as the accompanying partner. Shail Hada and Kalpana Gandharv chip in as well for this fast paced rustic number.

It is back to being sad soon after though with Tanishk Bagchi composing 'Rabba' for lyricist Arafat Mehmood. Sung by Shafqat Amanat Ali, this one is a situational track which should play in the background as hunt for Sarbjit continues in the film. One just hopes that this one stays short and crisp in the film and there are interesting visuals to keep the interest element going.

Shail-Pritesh, who get maximum songs to compose in the album, get into the 'qawalli' mode with A.M. Turaz written 'Meherbaan'. Yet another situational track, this one gets into the devotional mode as the Sufi references take precedence. Sukhwinder Singh leads the show with Shail Hada and Munnawar Masoom chipping in as the vocalists.

This is followed by Indian classical music influenced 'Barsan Laagi' which has the team of Shail-Pritesh and A.M. Turaz come together. Shail Hada goes solo for this one and by this time one gets a solid impression that the music of Sarbjit would stay situational right through its duration. Later, they are also heard in 'Mera Junoon' which stays in a similar zone and ensures that Sarbjit has a consistent sound to it.

Sufi influences continue with Tanishk Bagchi composed 'Allah Hu Allah' and it could well have been placed right after 'Meherbaan' from continuity standpoint. Written by Haider Nazmi, this one has Shashaa Tirupati, Altamash Khan and Rabbani Mustafa come together and somehow one gets an impression that director Omung Kumar was influenced by Sanjay Leela Bhansali style of music for this one.

Arijit Singh comes back on the scene with 'Nindiya', a song that has a lullaby set up to it. Composed by Shashi-Shivamm and written by Sandeep Singh, this one allows a listener to take a break from the music that had been heard in quick succession for five songs in a row before it. Meanwhile, Shail-Pritesh conclude the album with 'Sarbjit Theme' which, on expected lines, has pain and sadness written all over it.


Sarbjit works well as a theme based music with situational songs placed right through the narrative.


'Salamat', 'Tung Lak', 'Meherbaan', 'Sarbjit Theme'

Article written by staff at Bollywood Hungama. Read more

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