Fukrey Returns
After forsaking Ram Sampath who composed music for the franchise’s first instalment, Fukrey Returns opts for the in-vogue multi-composer format. Let’s start off the eight-track album with Sharib-Toshi Sabri’s ‘Ishq De Fanniyar’ , a likeable folksy ditty that is backed by a simple, minimal arrangement. Kumaar’s well phrased Ophidian metaphors of love are delivered well by the composers in the male version, but it is Jyotica Tangri who truly owns the soulful melody with her nuanced singing in the female version. Kumaar supplies lyrics to two more songs of the album, neither of which are as impressive. There’s Prem and Hardeep’s ‘Mehbooba’ — adapted from Laxmikant Pyarelal ‘O Meri Mehbooba’ — a forgettable track replete with standard issue remix elements, including Raftaar’s rap. The film’s title song is the soundtrack’s biggest let-down in spite of being composed by the talented Gulraj Singh. On the whole, it’s a banal electronic-dominated fare that even Siddharth Mahadevan and Shannon Donald’s vocal efforts aren’t able to save.
Jasleen Royal reprises her ‘Nachde Ne Saare’ format from Baar Baar Dekho for ‘Peh Gaya Khalara’ . Excepting its vivid familiarity, the track is admittedly fun and delivered well by Royal and Divya Kumar. Shree D writes and co-composes along with his constant collaborator Ishq Bector to perform the rather dated ‘Raina’ . Sumeet Bellary gets two songs, both of which are a remarkable display of the man’s arrangement skills. There’s ‘Tu Mera Bhai Nahi Hai’ with folk instruments like tumbi, alghoza and sarangi embedded in a trippy eight bit-ish electronic base. Unlike in ‘Mehbooba’ , Raftaar’s rap sits well here amidst Gandharv Sachdev’s spirited rendition. The film’s director Mrighdeep Singh Lamba lends his hand in penning the folksy lines (along with Satya Khare and Vipul Vig) of the zesty ‘Bura Na Mano Bholi Hai’ with Sachdev and Shahid Mallya on vocals.
Firangi
Rajiev Dhingr’s period comedy — set in 1920 British occupied India — stars comedian Kapil Sharma. The soundtrack, composed by Jatinder Shah, is short with just six songs. ‘Tu Jit Jawna’ is eerily reminiscent to ‘Bhaag Milkha Bhaag’ featuring Daler Mehndi in his element. The apparent processing of Mehndi’s voice is annoying though. The title song is effervescent, riding on Sunidhi Chauhan’s vocal energy even as composer Jatinder Shah populates the backdrop with cheery Western folk elements (neat use of banjo and violins), and finishes with a twist in the form of an instrumental Outro Waltz. The banjo makes its appearance in the arrangement of the Punjabi folk piece ‘Sajna Sohne Jiha’ as well, led in the vocal department by Jyoti Nooran in her trademark style which is unfortunately beginning to feel repetitive. ‘Sahiba Russ Gaiya’ sounds much better in its unplugged version, beautifully sung by Shafqat Amanat Ali. The other version, performed by Rahat Fateh Ali Khan, is at best forgettable. Mamta Sharma lends her nuanced vocal chops to the courtesan dance number ‘Gulbadan’, an entertaining folk-classical mix. Both film’s albums explore the Punjabi folk aesthetic but the underdog, in this case, Firangi, turns out to be the better one.
