There aren’t too many expectations from the music of Kamaal Dhamaal Malamaal. The major reason is the film’s genre that makes one believe that situational music would be the order of the day. Moreover one doesn’t remember a single song from Malamaal Weekly, first of the installments from the Malamaal series. Nothing wrong with that since the film is still remembered and that’s exactly the expectation from Priyadarshan – a ‘dhamaal’ entertainer. As for the music, silver lining is in the form of Sajid-Wajid who are on a roll. With Wajid along with Jalees Sherwani as the lyricist, one waits to see what they have to offer.
The album kick-starts with ‘Dariya Ho‘ which has an opening rhythm similar to that of ‘Chammak Challo‘ [Rowdy Rathore], a Sajid-Wajid creation. Nevertheless the song comes on its own within a matter of seconds with Shadaab Faridi beginning the proceedings with some ‘desi’ lyrics by Jalees Sherwani. The most attractive part of the song though are portions by Monali Thakur who is good yet again and gives good company to Shadaab in this fun romantic number which has a celebratory feel to it, especially in the ‘remix version’.
Next to arrive is an item number ‘Desi Mem‘ which seemingly arrives a little too early in the day. Comprising of Hinglish lyrics with a tune which carries a distinct feel of deja vu, ‘Desi Mem‘ has Mamta Sharma as the usual suspect coming behind the mike. Yes, the pace is there and so are the beats which would ensure that the song keeps you engaged during its play on screen. However, beyond the film’s run, this Wajid written song that also features Sarosh Sami doesn’t really cover much distance.
Keerthi Sagathia and Sugandha Mishra pair up for ‘Zor Naache‘ and by this time one thing which is quite apparent that the album has a consistent sound to it. Since Kamaal Dhamaal Malamaal is set in a village, there are no Western influences in the soundtrack and that’s something that Sajid-Wajid have ensured in each and every song. Same is the case with ‘Zor Naache‘ as well which has an out and out rustic feel to it with Wajid’s lyrics fitting in well too. Though this celebration number isn’t the kind to find music audience beyond the film’s run, it does well as filler.
‘Ishq Ki Dafli Baje‘ that comes next has a pleasant feel to it with melody as it’s pace. Reminding one of ‘Maayi Ri Maayi‘ [Hum Aapke Hain Koun] in its beats, sound and overall arrangements, this Jalees Sherwani written track has Babul Supriyo, Sugandha Mishra and Bela Shende coming together. The singers remind one of many a song rendered by Kumar Sanu and Alka Yagnik while (yet again) also coming close to ‘Chammak Challo‘ [Rowdy Rathore].
There is added fun with ‘Ringa Ringa‘ which is the best of the lot but surprisingly comes at the very end. A fun celebration item number picturised on Anjana Sukhani, it has an addictive beat and catches on with you in the very first listening. Sung by Ujjaini, it has some ‘desi’ arrangements by Sajid-Wajid that only help the cause further. Jalees Sherwani’s are easy to ears as well and the song has the kind of rhythm that should catch on across age groups. The remix version with Abhilasha Chellam is a good add-on to the album as well and only aids in further recollection.
On the same lines of ‘Ringa Ringa‘ comes ‘Kamaal Dhamaal Malamaal – Theme‘ track. While the style in which Uvie along with Wajid sing this one is aimed at the gallery, expect it to be played at various junctures of the film’s narrative, especially the riotous moments.
Music of Kamaal Dhamaal Malamaal is better than what one expected from it. Though a couple of songs in the interim are decent, at least three tracks (including ‘Dariya Ho‘ and ‘Ishq Ki Dafli Baje‘) do well with ‘Ringa Ringa’ leading the bunch. Collectively, the songs should do well in pepping up the film’s (expected) fast paced narrative.
Ringa Ringa, Dariya Ho