In Madhur Bhandarkar's methodology of filmmaking, music and lyrics don't
really hold center-stage; this is reinforced with the album of his forthcoming
venture "Traffic Signal".
Though Shamir Tandon is credited with music and Sameer with the lyrics,
five of the 13 tracks are from Sony Music's old stock and one is borrowed
from Nusrat Fateh Ali Khan's oeuvre.
The first track titled "The Spirit of Signal" seems to embody
the spirit of a traffic signal. The composition by Raju Singh is completely
devoid of lyrics. The vocal rumbles and the drum play sounds like a
tribal celebration in a jungle.
Inspiration derived from Western bands is also clearly audible. The
track succeeds in representing the chaos and disorder of a traffic signal.
"Yeh zindagi hai to kya zindagi hai" portrays life at its
most uninspiring, pessimistic and chaotic levels. The song has been
rendered by Hariharan and supported by Sangeet Haldipur, who constantly
chants 'zindagi' in the background.
The slow paced track shows a clear classical influence supplemented
with a well-synchronised drum play with a guitar sequence in between.
"Na jis din teri meri baat hoti hai" has two versions. The
first one, sung by Kunal Ganjawala and Yogita Pathak, makes you feel
they are crooning a song while suffering from a slipped disc. The track
is utter chaos.
Bhupinder Singh has rendered a stylistically different version of the
number.
With his deep husky vocals, he not only enlivens the track but also
lends a new dimension to pain and longing inherent in the lyrics. Flute
and drums in the background improve the effect.
"Aai ga" has been crooned in typical Aamchi Mumbai style
by Vaishali Samant and Bhavika, with one singing in a rustic Mumbaiya
style and the other sombre and polished. The track begins on a 'bhajan'
note but slowly picks up pace, transporting listeners to the street
smart Marathi neighbourhood.
"Signal Pe" crooned by an assortment of singers-Vinod Rathod,
Baba Sehgal, Neerja Pandit, Raj Pandit and Navin Prabhakar-brings about
the quintessential importance of a traffic signal as an integral part
of urban life.
The track and its rendition are closer to rap genre. Every character
of the movie finds a voice here and seems integral to the movie.
The amalgamation of borrowed songs includes "Dilruba" and
"Albela saajan" from Kailash Kher's "Kailasa" (2006).
The joint poetic venture between Jagjit Singh and Gulzar's poetic joint
venture "Marasim" (1999) has lent two gems, the ghazals "Haath
chhute bhi to rishtey nahi chhuta karte" and "Din kuch aise
guzarta hai".
Apart from that, Nusrat's "Tere bin nahin lagda" and "Piya
basanti", a romantic number rendered beautifully by Ustad Sultan
Khan and Chitra adds to the album's appeal.
"Traffic Signal" can be described as a compilation as it
has only four original tracks and one music composition. The movie seems
to have shirked music creativity. But Sony Music has at least jogged
our memories by including masterpieces from the recent past.
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