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You would remember this youngster is the son of the famous Udit Narayan. I was pleasantly surprised to discover that Aditya Narayan sang here.
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In track seven, SLB changes the mood completely by giving us the very peppy Ishqyaun Dhishqyaun. By the end of it all, you may just end up in a trance-like state reciting the name of your loved one (your name is love…passionate, red love)…I know I did. Singh is flawless! This song is soft to the ears and will make a convert of any hardened unromantic. And the fact that SLB used that talented guy, Arijit Singh here ( Tum Hi Ho – Aashiqui 2) is another huge advantage. Laal Ishq (red love…passionate love) is sensual, brimming with love in every note of its six-and-a-half-minute duration. It is a smouldering ember of passion waiting to unleash itself onto an expectant music world. I can see this one being played…often…on repeat play!įor me though, the show-stopper of the album is track six. There is a certain calmness in Ghoshal’s voice, ensuring that the pacy beats don’t completely overwhelm her. The pace picks up slightly with track number five where Shreya Ghoshal unilaterally delivers a knock-out performance in Nagada Sang Dhol. Listening to this track, one is able to conjure up all sorts of images including ornate pictures of a bridal procession of sorts. For me, the music orchestration-especially in the middle and end parts-give an impression that something is incomplete (in a good way, hence the song title too).
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The beauty of this song lays in its simplicity and the use of traditional instruments in the background. We are treated to another moon song Poore Chand Ki Yeh Aadhi Raat Hai by Shail Hada.
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No SLB movie is complete without a chand (moon) song. I loved the lyrics here too: raat banjar si he, kaale khanjar si he, tere seene ke or meri andhar bi he, tu hawa de isse tho mera tan jale (this night is like a roaming dagger, piercing through me…I am immersed in you…and you in me…fan these fires and allow my entire body to burn up).
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It’s a song that pierces through, especially the harmonies. This track leads us into the intoxicating Ang Laga De Mohe Rang Laga De Re, sung beautifully by Aditi Paul and Shail Hada. This track kind of sets the mood for the remaining songs still to appear. Also, there is an element of rawness in this song. There is a magic in the way the trumpet and shehnayi are used here as if there is a pregnant anticipation of something big yet to happen. This track makes ample use of Rajasthani and garba beats. Song number two Lahu Munh Lag Gaya introduces us to the talented Shail Hada (from Sawaariya fame). It’s the perfect title song to kick off the album. I loved the end especially where a snippet of Raghupati Raaghav was brought in. It has a modern sound, with some very spunky lyrics that elevate it to a tapori-styled track. The album opens up with the beautiful Ram Chahe Leela sung effortlessly by Bhoomi Trivedi. Ram-Leela has ten tracks in total, each with its own unique identity. You would recall that he did score a few tracks in Sawaariya (2007)-in addition to those composed by Monty-and Guzaarish (2011). However, with Ram-Leela, I can safely say that Sanjay Leela Bhansali-that phenomenon we all grew to love in the late 1990s and early 2000s-is back in a huge way! The man even turns music director here. After his Shah Rukh Khan-Aishwarya Rai-Madhuri Dixit period piece Devdas, the director pretty much took a break from giving us grand music, settling for original soundtrack scores that add to the overall ambience of his movies ( Black, Sawaariya, Guzaarish). The man did it with Khamoshi (1996), Hum Dil De Chuke Sanam (1999) and Devdas (2002).
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Take away the high drama, lavish sets and superior acting, music in SLB films are also accepted as huge plus points. Sanjay Leela Bhansali (SLB) films are accepted as highlights on any movie calendar.