Music Album Details
♪ Music by: M.M. Keeravani (M.M. Kreem)
♪ Lyrics by: Manoj Muntashir
♪ Music Label: Zee Music Company
♪ Music Released On: 1st July 2015
♪ Movie Releases On: 10th July 2015
To hear the full songs of this album on Hungama CLICK HERE
To buy this album on iTunes CLICK HERE
Baahubali – The Beginning is an upcoming Telugu period epic film, that is simultaneously being made in Tamil and dubbed into Hindi and Malayalam as well. The film stars an ensemble cast consisting of Prabhas Raju, Rana Daggubati, Anushka Shetty, Tamannaah Bhatia, Ramya Krishnan and Sathyaraj playing crucial roles. The film has been directed by S.S. Rajamouli, and produced by Shobu Yarlagadda and Prasad Devineni. In Hindi, the film is being distributed by Karan Johar’s Dharma Productions. It is touted to be the most expensive film in the history of Indian cinema. Also, the sequel is already in talks as the story is going to be presented in two parts! Now, time to speak about the part I’m concerned about — the music! Rajamouli has roped in someone for the music and background score, with whom he has had an aaliance ever since his first film, right up to their last film together, which was ‘Makkhi’ (‘Eega’ in Telugu). That someone is none other than M.M. Kreem. After giving us one spectacular song in ‘Baby’ this year, he has returned, this time with a dubbed album. Hopefully, his work is something appreciable (since I hadn’t like the album of ‘Makkhi’ much) and something that would give the film a good start. Manoj Muntashir has done the lyrics of the Hindi version of the soundtrack. So let’s see how this combo of M.M. Keeravani [Kreem] and Manoj Muntashir have done!
1. Mamta Se Bhari
Singer ~ Bombay Jayashri
The soundtrack starts with a song, that has been made from the point of view of a mother. We have heard many songs from the viewpoint of children in Bollywood, but very rarely do we come across a song having a mom sing prayers for her child’s success, in Bollywood. Well, thanks to Telugu cinema, now Bollywood listeners can hear such a song too after quite some time. 😃 As is my system for dubbed soundtracks, I try as much as it is possible, to ignore the misfits of the words in the tune, and do not criticise them unless too unbearable. This system, I will continue for this album too. So, in this song, though the lyrics sound a bit odd, they are pretty meaningful, about a mother singing for her son. Manoj Muntashir has written apt lyrics and managed to fit it well with the tune. The lyrics aren’t only from the mother’s point of view, but later on, the chorus also enters, acting as the subjects of the main character who’s a king. This also makes the song sound more like a song in an epic film set sometime long ago. Bombay Jayashri’s voice, heard in Bollywood very less, doesn’t sound perfect, but I think there was an intention to that. It also makes her sound more like a mother. The male chorus, uncredited, supports her well. Kreem’s composition is really apt for the situation, and very trademark South-Indian, with all the grand instruments like trumpets, nagadas, and flutes coming together to make the song sound epic, like a real ode to a warrior. Kreem and even Rahman have made such songs in the past very successfully, and Kreem just aces it once again. The percussion in the song is also wonderful. The santoor and violins in the beginning are also charming. Cello plucks are quite prominent throughout the song. A song, perfect to start the album with, as it is a sort of description of the main character, plus a song full of grandeur! #5StarHotelSong!!
2. Jal Rahin Hain
Singer ~ Kailash Kher
Kailash Kher’s name in the credits for the next song really got me excited. And when I played it, I was not disappointed at all, but that feeling lasted only for 30 seconds. The first 30 seconds of the song showcases the immense talent of Kailash Kher, but I guess the makers didn’t want to showcase any more of his talent, because he has ABSOLUTELY NO MORE LINES after these thirty seconds are over! After that, some backing vocalists, male and female, take over, and keep singing (or may I say, droning) some monotonous line over and over again. Manoj Muntashir’s lyrics might be good, but aren’t really something that you can catch hold of — they sound really outdated and I don’t think anybody would find any kind of instant connect with them. Of course, according to the film, they are perfect, but again, they are unintelligible. Kreem’s composition is really monotonous. I don’t even know how to describe it here, but I really don’t want to tell you to hear it and then be called names for making you hear it! 😂 However, one department in which the song excels is the arrangements. Those grand and epic arrangements really make you feel sorry that in all the other departments, the song fails. Trumpets, gongs, and strings help to at least make the background of the song likable. But what’s the use of good arrangements if the stuff they connect is just too monotonous to sit through??
3. Swapn Sunehere
Singers ~ Bombay Jayashri & Swetha Raj
Bombay Jayashri returns in this track, for a sombre piece with a very short duration of just one and a half minutes or so. She is supported by Swetha Raj, who I guess, sang the vocal “oh-oh-oh” in the starting, and does it well, imparting the needed soothing and slightly shady tone to the song. Once Bombay Jayashri joins, the song gets even more haunting, with the composition. A continuous cello plays in the background, which makes it even more serious. Lyrics are again, pretty old fashioned. The composition, however, is something that again, doesn’t appeal even after quite a few listens. The best parts of the song are the vocals and the string arrangements.
4. Khoya Hain
Singers ~ Kala Bhairava & Neeti Mohan
This one starts with entrancing female vocals, and some interesting arrangements consisting of percussion. Then Neeti Mohan starts off the main composition, and you finally develop an interest towards the album again, after those two slightly disappointing tracks. Neeti sings in a high-pitch here, sounding all the more sweet. The composition by Kreem takes absolutely no time to grow on you, and instantly would apeal to you, having wonderful twists and turns and a trademark South Indian stamp on it. (That’s a compliment!) The antara is especially, too awesomely composed. The hook sounds like it has a slightly Westernized yet dominantly Hindustani tune. The backing vocals that join in the hook, which is either Sanskrit or Telugu, are hauntingly charming as well. Neeti sounds extremely angelic in the song, thanks to wonderful programming on top of her already sugary voice. She gets to sing most of the song, the remaining part sung by a male singer, Kala Bhairava, who I’ve heard of for the first time. Anyways, his voice is a bit rough than what you would expect for an ideal male singer in a romantic song like this one. Dubbed Lyrics are good, and fit perfectly into the tune, not at all sounding odd anywhere. And now, to talk about the best part of the song — the arrangements!! Beautiful classical instruments have graced this song with their presence. The enchanting sounds of timpani, matkas, santoor, some entrancing techno sounds, flutes and awesome strings occasionally, really leave you spellbound. The percussion makes it sound like a really imposing song. The superiority of the arrangements are just unmatchable! Towards the end, a wholly Sanksrit conclusion to the song increases the divine feeling of it all. Just HEAVENLY!! Ignoring this song, is ignoring some of the best stuff that the album has to offer! #5StarHotelSong!!
5. Kaun Hai Voh
Singers ~ Kailash Kher & Mounima
So Kailash Kher is back, and before playing this song, one can’t help but to hope that he gets more time to display his singing talent in this song, at least. And the song, which starts with a divine percussion show of damroo, starts with a powerful Shiv Tandav, and then the chorus makes way for Kaikash Kher, who sings a catchy yet powerfully divine tune, which instantly grasps the listener, provided the listener likes classical music. Kreem’s composition is something that could be reserved for only classical music lovers and understand-ers. And the lyrics are again, really pure Hindi that might not be accepted very nicely by today’s generation. Kailash’s powerful vocals, however, really provide something worth hearing the song for. The divine composition doubled with his energetic vocals sums up to give a song that radiates energy no matter what. Whoever hears it, will instantly find himself full of energy thanks to the great arrangements and divinity of the song. The arrangements by Kreem are a class apart. Wonderful percussion is there, but apart from that, some stellar shehnaai solos steal your breath away. It gives you the feeling as if you have actually been transported through time, and that you have landed up at the time of this king, whom the film is about, and you are a resident of his kingdom. Wonderful brass fanfares sum up the great arrangements. Mounima is mostly in the background, along with the chorus, but she really spoils it when she comes to sing solo at the end of the song. She gets only one line, and that too, she sings with the least interest ever!! I can’t even imagine how she could sing so uninterestedly under a legend such as Kreem’s direction! So she ends the interesting song on a boring note. One of the better-off of the average songs in the album, just because of Kailash and the powerful tune and arrangements!
6. Panchhi Bole
Singers ~ M.M. Keeravani & Palak Muchhal
This one starts with wonderful and optimistic-sounding strings, which may remind you of Rahman’s ‘Saans’ (Jab Tak Hai Jaan). But the resemblance lasts for a short while, and soon the violins make way for a wonderful Keherwa rhythm on the dafli, making the song fall into that very-distinct 90s template, yet making it sound very appealing! Palak sings her lines with immense sweetness and sounds very happy singing it, just increasing the optimistic nature of the song. (I don’t know since when songs can be optimistic, but I guess I discovered this property of songs right now!) Kreem himself comes behind the mic to support her in this sweet romantic duet, but sadly, his voice doesn’t have that punch which would be required to complement a female singer as efficient as Palak in the song. Also, he sounds too exhausted which totally spoils the effect of the song. His composition is instantly likable, and I had loved it in the Telugu version, which had Karthik singing Kreem’s parts. Had he been retained in the Hindi version as well, this song would have definitely been better. Arrangements are awesome, with the dafli constantly playing the Keherwa taal in the background, and strings doing the rest of the magic. In the first antara, beautiful matkas, and bansuris join. The second interlude has a wonderful and very short santoor piece. Manoj’s lyrics, are typical 90s type romantic lyrics like “Dil ne dil se yeh vaada kiya…” and “Abb toh jeena hai tere liye…”. Sweet melody, beautiful arrangements, but spoiled by the presence of the composer as a singer!!
Singers ~ Divya Kumar & Neeti Mohan
Heavy and intense percussion kicks off this song, followed by a wonderful vocal rhythm and an awwwwwwweeeessssssoooooommmmmmeeeee guitar piece, that is just so intoxicating! Neeti, when she starts, sounds really great!! Her voice has never been this addictive, and rustic at the same time. Divya and Neeti’s combo is unusual, but together, they actually rocked it!! Their combo is like a firecracker! Kreem’s tune is very creative and very addictive, and you never want to stop listening to it. It is probably the only song of the album with any mass appeal at all, and also the only one that would instantly connect with today’s audience. Divya and Neeti really give you a reason to hear the song, but I would credit Kreem before them, because he has stirred up such an intoxicating song, that you can just drown in and hear again and again. Wonderful arrangements in this song, as well, keep the interest of the listener maintained at a high level, making him find no faults whatsoever in the song! And the Antara, is just Bravissimo!!! Very 90s-ish, but not typical at all! Kind of like what Kreem and Rahman were experts at in the 90s — churning out something experimental (for those times) and at the same time being sure that it would become a mass hit. The conclusion of the song really leaves you craving for more, and hoping that the song was a bit longer. That feeling is created because of a heavenly sitar solo, in the tune of the mukhda of the song. Neeti’s sugary voice plus Divya’s rustic vocals provide for continuous repeat listens to a song that has been graced by wonderful arrangements, and composition by Kreem! The best track of the album!! #5StarHotelSong!!
Baahubali – The Beginning is an album that wouldn’t really appeal to each and every person who takes it up for listening. However, some tracks are such that, no matter who hears them, they will instantly catch on to the listener. Others are such that, no matter how many times someone hears them, he/she will never find them interesting. However, one thing is common amongst all songs, and that is the stupendicular arrangements on each track, wonderfully representing the era that the film is set in. Also, the recording has been done wonderfully. So Kreem has to get the appreciation he requires! It is evident he has worked hard to recreate the era, but just didn’t live up to standards. Not a bad album, but has very little appeal!! However, some tracks are a must-listen!! What I want to say is: “Ye Toh Bas Shuruaat Hai!!!”
Final Rating for This Album: सा < रे < ग < म < प < ध < नी < सां
Note: The letter which is underlined is the final rating.
Recommended Listening Order: Manohari > Khoya Hain > Mamta Se Bhari > Panchhi Bole > Kaun Hai Voh > Swapn Sunehere > Jal Rahin Hain
Which is your favourite song from Baahubali: The Beginning? Please vote for it below! 🙂
Next “dish” : Bajrangi Bhaijaan, Chef: Pritam Chakraborty