The first song of Tubelight published in the list was Radio; One of the most catchy pieces of the album. Radio is an ode to good, radio when it was still a bulky box and a generation gathered around it.
For the director of Kabir Khan, Tubelight, a Salman Khan star who has the 1962 Indo-Sino War in the background, the release of Pritam’s melodies spread over a couple of months by the producers. Although the singers used on the album deliver seriously, their voices amidst interesting orchestration, the compositions are not as strong as one would want them to be. Then there is the concept of alignment with the theme; There is not much. The four pieces do not capture the feeling of instability, the intensity of an epic war and the longing to wait for a loved one to return.
We have always enjoyed the vintage Pritam (I think Barfi!), But the composer does not give us much inventiveness and creative power here. The only time one notices a spark is during the preludes and interludes on the album – the tense arrangements that are done very well.
The first song of Tubelight published in the list was Radio; One of the most catchy pieces of the album. Radio is an ode to good, radio when it was still a bulky box and a generation gathered around it. Pritam uses an accordion and a shehnai to create the prelude just before Kamaal Khan and Amit Mishra sing this one. Baal banake, Polish joota karwa ke, naachenge hum taata thaiya, saján radio bajaiyo zara – the image that Bhattacharya creates is interesting when it is placed next to the dholak and the drums. But the rest of the song lacks the necessary punch in terms of lyrics. What ripples through and works is the brilliant orchestration that elevates an ordinary composition.
The main agar opens with a piano prelude with a violin playing in the background. The prelude melts into the melancholy piece of Atif Aslam. Just when Aslam is trying to raise the bar by giving his nasal voice a foul despite being in a high pitch, some synthesizers and drums interrupt him. It is a strange intrusion and launches the song, for which the only section that works is the fixed melodic composition and a triumphant ending.
Tinka tinka dil mere begins just after a prelude on a piano. Then there are xylophones and powerful female voices followed by the voice of Rahat Fateh Ali Khan. The beats are large in the last part of the piece. Pritam adds strings and background vocals to give the piece an operatic feel. But after a while Rahat starts to sound too mechanical and it is easy to lose interest. Towards the end, background voices and orchestration are reasons why one continues to hear this. Naach meri jaan by Kamaal Khan, Nakash Aziz, Dev Negi and Tushar Joshi is interesting for two reasons: The Bhattacharya Naach line meri jaan hoke magan tu, chhod ke saare kintu parantu. That’s why it stands out in the current package of lyricists. And the splashes of the people of Pahari. But the song loses its luster in the attempt to tie everything.
In general, Tubelight does not deliver the best of Pritam. He does not even deliver his average style of compositions. They are the ones that one hears in two situations: either they appear in a movie or if it is the work of one to speak of them.All 300MB Dual Audio Bollywood Hollywood Free Upcoming Movies at UpcomingMovies4U.Com