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Prem Ratan Dhan Payo

Lover boy Prem (Salman Khan) is back with Sooraj Barjatya. And if you’ve watched Barjatya’s films, you would know exactly what to expect in the duo’s upcoming film Prem Ratan Dhan Payo. Like a throwback to his earlier directorial Hum Aapke Hai Koun…! (HAHK) Or Hum Saath Saath Hain (HSSH), the soundtrack of Prem Ratan Dhan Payo is heavy on pure melodies filled with a celebratory mood. This situational album doesn’t have a single dull moment and true to Barjatya’s style, offers songs to suit every mood.

Himesh Reshammiya, who has churned out several chartbusters for Salman Khan, has come on board to compose these grand Rajshri songs. A composer who has experimented plenty during in his career, Reshammiya has played around with earthy folk sounds for this 10-track album.

Released during the festive time of Dussehra, the opening track Prem leela instantly connects with listeners as it syncs with the festive mood. Although it seems like a compositional spin on the Ram-Leela festivities during Dussehra, the track has an interesting lyrical offering from Irshad Kamil. The musical composition relates to the ‘90s’ sound, which was filled with orchestrations. Here too, Reshammiya has offered a base full of trumpet, bass and dhol sounds. The composition might be simple but it’s the lyrics that scale up the song. With the fitting vocals of Aman Trikha and Vineet Singh, this is a hugely hummable track.

Next up is the title track Prem ratan dhan payo, which reflects the grandeur of this film very well. Filled with orchestrated beats comprising percussion, harmonium, trumpet, guitar and an addictive tabla hook towards the chorus, it promises to be a good dance number. The romantic, soft vocals of Palak Muchhal work wonders for the track and further elevate the flavour of the song.

Jalte diye brings in the ghazal flavour with the vocals of Harshadeep Kaur. But it soon changes sound as it morphs into a traditional Indian composition offering a classical component such as taal. The musical treatment is heavy on percussion beats and the sarangi solo towards the bridge is commendable. Apart from Kaur, the track also features singers such as Anwesshaa, Vineet Singh and Shabab Sabri. With Singh’s melodious voice, listeners will remember the unique singing style of Sonu Nigam.

Remember, Chocolate lime juice from HAHK or ABCDEFGHI from HSSH? Well, the next song, Aaj unse milna hai, is on similar lines. The lyrics talk about gifts and sweets being packed. Sung by Shaan, the composition is once again filled with ‘90s’ orchestrated beats comprising the sarangi and tabla.

Sung by Palak Muchhal, Jab tum chaho, once again brings the retro ‘90s’ sound that is common during Navratri. It is a peppy track filled with orchestra music, where Muchhal is accompanied by Mohammed Irfan and Darshan Raval.

Radha-Krishna banter is back with Halo re, and the lyrics once again take the lead in this song. Trikha’s vocals complement this musically heavy, high-tempo track that is built on Indian beats.

The famed ‘ouch’ is back with Tod tadaiyya. Neeti Mohan and Neeraj Shridhar come on board to sing this cheeky situational track. The musical treatment is in sync with the defined palate of the album, which is Indian orchestrated music. The ‘ouch’ and heavy breathing appear out of place but it could be justified in the film.

Reshammiya goes behind the mic for Bachpan kahan. It seems like the character takes a nostalgic trip back to his childhood with this song. Unlike his previous nasal singing style, Reshammiya’s vocals are melodious here. The soundtrack, heavy on classical music arrangement and orchestration, makes up for the cheesy lyrics.

Although titled as Murli ki taanon se, this one’s a short and sad version of Aaj unse milna hai. Shaan has succeeded in offering emotional depth to this track and it sounds much better than his previous version.

Aaj unse milna hai also comes in a female version, sung by Palak Muchhal and Aishwariya Majumdar. Both singers have distinctive singing styles, which is evident in this track. The song blends with the title track towards the end, the transition jars a little in the beginning but it soon finds its pace.

Verdict: The album is a treat for lovers of orchestrated melodies.

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