सिनिकल लोग संवेदनशील होने का शॉल ओढ़कर मुद्दों के मज़े लेते हैं

सरकार तो यही चाहती है कि एक नेता बेहूदा बयान दे दे, लोग उसी में उलझे रह जाएँ कि क्या बकवास बोलता है। आप लोग हमेशा इसी में उलझकर रह जाते हैं।

Music review: Gangs Of Wasseypur part II

This album carries the momentum of the first part of Gangs of Wasseypur and does it convincingly. The first time you listen to it, you might feel it as a drag but listen it second time and you will realise it’s good. Keep the first part out of the mind and you will find the songs interesting.

Gangs of Wasseypur part two music reviewAlbum: Gangs Of Wasseypur part 2

Lyrics: Varun Grover

Music director: Sneha Khanwalkar

This album carries the momentum of the first part of Gangs of Wasseypur and does it convincingly. The first time you listen to it, you might feel it as a drag but listen it second time and you will realise it’s good. Keep the first part out of the mind and you will find the songs interesting.

This album is much more experimenting in nature than its predecessor. It gives you some of the different genres of Bihar’s folk. It even contains a marriage song in the voice of Sharda Sinha which is a legend of Bihari folk. There are different songs like ‘Moora’ which brings you the mixture of English words into local dialect and how people mould it to suit their tongue.

In general, the songs are fast besides the ‘Kala rey’ which is dark in every sense of it. Sneha Khanwalkar has given two hit albums on a trot and I am sure people will love the songs of Gangs Of Wasseypur part 2 with the same intensity in which they loved the Gangs Of Wasseypur part 1.

Here is the music review of the Gangs Of Wasseypur part 2 which has 12 songs out of which four are instrumental, three are remix/fusion and other five are original.

Dil chhi chha leather: The music is good and if you could get the lyrics even better. The singer is a 12-year old Durga who has sung it wonderfully and her voice is overpowering the music. The vocals are powerful and music, which appears to have beats of typical 70s disco dance numbers, is pacey. The lyrics is playful and mocks someone’s fashion and macho ways of showoff, “daant se khole beer bottle”, “line se loha modey”, “sab rangbaji saath me lekar”. Listen this for the pace and beats and the playful singing.

Taar bijli se patle hamare piya: Sung by none other than the voice of Bihar folk, Padmashree Sharda Sinha, this song is from the genre of “vivah geet” (marriage songs) from Bihar. As the date of marriage approaches the women from the locality will gather and sing these songs. The particular song takes a dig at the ‘sasuraal-wallahs’ for the groom being so thin. The women will sing these sweet songs holding all the relatives from the family of the groom responsible for his physical or mental state (it ranges from the weight, height, complexion, speech… anything). Typically these songs include abusive words of the region but it is just for the fun and tradition.

Here, the singer is asking the grooms father, uncle and even Jannayak and Loknayak Jay Prakash Narayan for the groom being as thin as a wire.

The voice is very very sweet and it is the way these songs are sung with all the rusticity in it. The musical instruments used are ‘dholak’ and harmonium.

Electric piya: Rasika D rani has given the voice for this song. This song uses a mix of Hindi and English words but the accent is Bihari. The music is another kind which is used at the Chaupals or temples in Keertans where as the song progresses the tempo increases. This song uses the lyrics of ‘tar bijli se patle hamare piya’ song and improvises it on a different tune. It is fast and brings the funny ways of singing when school guys will try to translate poplar songs from Hindi to English and put them on the existing tune. Listen this for the another kind of music from the villages of Bihar.

This kind of music is also used by visiting sing-dance parties in villages during pujas or melas. The mood is generally playful the members will sing in a way as if complaining about their own affairs or any random person in the audience and seek your help by their gestures.

Electric piya (fused): This is the ‘fused’ version of the above song. This is a bit fast and uses bass guitar and other western instruments. This sounds different from the original and can’t be said to be just a remix of the original. The music is different.

Kala rey: This song starts with a dark tone, dark words and dark sounds of someone breaking something with a hammer.  Sneha herself has sung it. The lyrics tells you how everything appears ‘black’ from the “saiyaan kaal, tan kala, man kala, jubaan kali’ as ‘saiyaan karte kolbazari’. This brings you how the job that the husband does has made his being dark outside as well as inside. The mood is sad. The later part of song is even darker where the words say everything has gone ‘black’ from the soil to water to air to pearl to everything around. Great words and slow music makes it one of the best of the album.

KKL: This is remixed/edited version of ‘keh ke Lunga’ from the Gangs of Wasseypur part one. But it is diiferent in the sense that the music director uses different kinds of instruments. It seems to be a song without many words and it could as well go into instrumental if you remove the ‘keh ke lunga’ words.

Moora: Sneha Khanwalkar and Robbie Styles sing the song which starts with the words, ‘Frustiyayo nahi moora, narvasao nahi moora, anytime moodwa ko upsetao nahi moora’, (Don’t frustrate me, don’t make me nervous, don’t upset my mood anytime). The lyrics contains a lot of English words twisted with Bihari accent. This brings to you another example of English words entering the general lingo where the words are spoken with suffixes of the mother tongue to convey the meaning without using it in an actual English sentence e.g. frustration becomes ‘frustiya gaye ho kya’. This girl is begging not to frustrate or upset her mood and her. It has a different kind of slow track.

Moora (morning): This another version of ‘Moora’. There is not much difference other than the mood of the song.

Perpendicular: It’s one of the four instrumental songs. This is also the theme song which has used sounds of human beings, random music instruments and put them in a tune so that it sounds good. Pace is fast. It uses brass band used in marriage ceremonies across India.

Tunya: It is another instrumental which starts slowly with instruments such as dholak, harmonium, jhaal . It sounds interesting but nothing path-breaking here. It should be one of the background soundtracks for any sequence.

Bahut khoob: Sung by ‘Kids of Mushar village’, it is a chatter of many kids and they just speak ‘bahut khoob’ and giggle. There are many regional words where kids are encouraging other kids to speak. The composer had mixed the poetry recitation of kid Sardar Khan from part one. It sounds interesting.

Bahut khoob 8 bit: I don’t know what 8 bit means and it sounds similar to the original score.

Overall, another great album by Sneha Khanwalkar. You can place your money and you won’t be disappointed.

Music Review: Gangs Of Wasseypur

The whole album has songs that are different in nature, be it use of Dholak and Jhaal (primary musical instruments of folk songs in Bihar) or the unpolished rusticity of half of the vocalists.

This album has some songs which are unique mix of gibberish, swear phrases, mourning cries to romantic and teasing words. This makes it much more likeable.