Raj Kumar Santoshi's Halla Bol, is one of those films, whose strength will surely lie in its content and not so much in its musical offering. Sukhwinder Singh takes charge of the music department for this film, and it is no mean task as this is not your conventional film with the mandatory love tracks and item numbers. The music rightly takes second place in this film. But having said that, one still has to give credit to Sukhwinder for coming with a moving score in the movie, specially in the two spiritual numbers of the film.
The film's music begins with the very anthem style 'Jab Tak Hai Dum' rendered by Sukhwinder himself along with a chorus. The words of the song are like the clarion call for a revolt and the number is high on orchestra. The song stays true to its genre and there is nothing which really makes it stand out. But it should go well with the content of the film.
But the Shabad Gurbani, which is the second number of this album, which is truly surprising. The Gurbani is a delightful experience. Sukhwinder sings it with utmost purity and simplicity. The number has a serene feel to it, one that is appropriate for a devotional song. It has the power to transport one to another world altogether. One is not sure if a Gurbani has ever been used in a Hindi film in such an effective manner.
The pious, soothing mood created by the Shabad Gurbani is broken by Harsh Deep's 'Is Pal Ki Soch.' This one is a conventional nightclub kind of a number. Harsh Deep has a voice which suits this genre. The number is probably not going to be a chartbuster but it has the ability to keep one pleasantly engaged.
The Sufi quwali, 'More Haji Piya' sung by the famous Amjad Farid Sabri from Pakistan, is the next offering in this album. Veteran Vanraj Bhatia comes in to compose this quwali, which has been penned by Mehboob Kotwal. Sabri proves his mastery over the form with his exquisite modulations and the feeling with which he suffuses the quwali. Like the Shabad Gurbani, 'More Haji Piya' also arrives at the same destination but through a different route.
The composer in Sukhwinder really makes a mark with the traditional 'Barsan Lagi' sung very soulfully by Sneha Pant. The music of this song owes much of its inspiration to classical and folk music. It has a very melancholic strain and has a predominant Punjabi touch to it. Pant is supported by a chorus, singing faintly in the background.
The album comes to an end with the 'Theme Music'. The chorus and instruments synchorise wonderfully to bring out a sense of urgency and immediacy. One expects to hear it in the film at climactic points.
The distinctive character of this album is such that it does not cater to the conventional tastes. There is hardly any effort taken to cater to prevailing trends. And that is the music's strength. It will never probably take attention away from the content of the film and its theme, but will support it beautifully.
It is the greatness of the composer that he has so well understood the fabric of the film and has tailored his music, subtle, gentle and yet powerfully evocating, so that it can merge into the larger whole, which is the film. The three jewels in this album, the quwali, the shabad and Sneha Pant's number are enough to reiterate the genius of Sukhwinder Singh as composer and singer.
Halla Bol's music is not likely to send you into a frenzy of delight but it is bound to play on your senses gently and subtly.
