The lyrics (Sameer Anjaan) have to be secondary to the tweaked tune and are largely functional. So we wonder why the composer, who has often diluted the impact of good compositions with below-par voices, has not chosen Sunidhi again. Despite almost mimicking Sunidhi, Aditi falls woefully short in imparting the necessary zing to the song.
But Aditi Singh Sharma just does not measure up and neither does the shockingly cacophonous orchestration in the Hindi version. What remains to be heard is the franchise's anthem, which Sunidhi Chauhan sang so powerfully in Dhoom (with an appealing English version by Tata Young) and which was ingeniously tweaked by the composer in Dhoom:2 to go on the hero. Kausar Munir's lyrics are what is known as par for the course, but a Pritam characteristic is that the strength of his music overpowers even ordinary lyrics and singers. The Western-heavy interludes impart a lustrous sheen to this lovely number, which leads the score in excellence, even if ' Kamli' leads in mass-appeal. Mohit Chauhan accomplishes one of his finest feats in a rapidly increasing repertoire of excellent singing in ' Tu hi junoon', which follows the Sufi-and-love pattern of the score. The part-familiar and part-incomprehensible Punjabi and Urdu terms can be forgiven here as we experience the sheer power of evocative vocals and the lethal combination of the composition and sparkling arrangements. Its orchestration alone is worth a long study that is outside the scope of this review, so nuanced and meticulously innovative it is. Sunidhi Chauhan, whose growth seemed to have reached a plateau till last year and who has suddenly begun evolving from this year (especially under Pritam) is superlative in ' Kamli', another Sufi-meets-romantic song. Like his less-skilful juniors, Sameer panders to contemporary misuse of Urdu words for enhancing phonetics, like the overdone and usually inaccurate mannaton / jannaton / chaahaton and raahaton. The lyrics (Sameer Anjaan) are serviceable and familiar, but a shade disappointing for those wanting good lyrics. Siddharth and Shilpa are made to sing in a welcome full-throated manner, and that is indeed a good change from Shilpa's trademark 'closed' vocals.Īny resemblance to Pritam's scores in Milan Luthria's OUATIM franchise is quickly diluted by the more resonant and trendy orchestration and a classical-meets-Sufi instrumental rendition of the franchise's theme hook, ' Dhoom machale dhoom', which emerges as the highlight of this track. It is not just a love song, but a Sufi-ana number as well. The lead track, ' Malang' (Siddharth Mahadevan-Shilpa Rao) sets the tone for the original tracks in the album. Also, the recent track-record of Pritam with the banner has been better than that of the company with other music makers. An Aamir Khan film for the first time with the composer is also a prestige issue. Pritam has revealed that he quit Yash Raj Films' Ek Tha Tiger because he wanted to give Dhoom:3 preference, as Dhoom the franchise was his fiefdom.
The franchise has been illustrious indeed, even in the music department.
Lyrics: SAMEER ANJAAN, AMITABH BHATTACHARYA, KAUSAR MUNIR & VIJAY KRISHNA ACHARYA