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Music Review Dhoom 2
Dhoom Machale was the biggest chartbuster of 2004 and the track was the year’s largest selling ringtone as well. Dhoom 2 – the sequel of the 2004 action adventure is arriving. Undoubtedly the movie promises to be bigger and better! So does the music. Two years back music director Pritam Chakravarthy gave his first independent hit in the form of Dhoom and came in the top league. Ever since then he has been riding high. Life comes a full circle for Pritam with the sequel of Dhoom. Expectations are inevitably rife. What’s interesting is that lyricist Sameer enters the Yashraj camp with this film.
‘Crazy Kiya Re’ marks an apt start to the album and is an instantly catchy number. Opening with an English chorus, Sunidhi Chauhan quickly takes over and is at her vivacious best. ‘Sexy lady on the floor, keeps you coming back for more’ sings the chorus and rightly so as the sensuous voice of Sunidhi makes you come back to this track for more. Pritam’s music is familiarly unsophisticated and yet amazingly appealing. It won’t take you long to get on the dance floor and groove your leg. There’s nothing exceptional about Sameer’s lyrics with the usual ‘chori kiya, jhoome jiya, Crazy Kiya Re’ rhymes but then who’s complaining. Crazy Kiya Re isn’t a lyric based song but makes you crazy with its zippy music and zany singing. You love it in its entirety and think that it can’t get better until you come across the remix.
Agreed that the ‘Remix version’ doesn’t serve anything new from the original apart from the regular disc scratching breaks, added rapping and a faster pace. But then Dhoomis all about pace and that essentially acts as the USP of this track. Remixed by Bunty Rajput (who was also the song programmer of Dhoom), what sets the remix apart is the accelerator vroom reverberation just before the end of every verse, thereby giving it a speeding effect.
Next comes the much awaited title track of theDhoomsequel. Pritam always quoted that the pressure was immense on him to recreate the magic ofDhoom. To maintain the trademark touch from the original version and yet create a new identity for the title track wasn’t an easy task. Moreover while the original was a female track, he primarily hands over the mike to a male singer this time.
But the major highlight of the song arrives in the form of a whistling interlude (the one heard in the opening note of the trailers) which in most probability will be the theme piece played in the background score at regular intervals.
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