'Delhi Belly' will always be known as one of those albums which brought about tectonic shift in the soundscape of Hindi cinema. Though Ram Sampath, a big name in the advertising circuit, had done some noteworthy work in Hindi cinema ('Khakhee') before, his admirably eccentric soundtrack for Delhi Belly put him on the map. Though the music of Abhinay Deo's other films ('Game' and 'Force 2') was far from being memorable, he seems to have forayed into the black comedy genre for the second time after 'Delhi Belly' with 'Blackmail' and with Amit Trivedi being credited as the music composer, one has good expectations from the album.
Before Amit Trivedi takes over the reins of the album, Badshah and Guru Randhawa get a track each to further showcase how monotonous their music is becoming. "Happy Happy" by Badshah and "Patola" by Guru Randhawa are the kind of tracks you expect the musicians to come up in their sleep. These are also the kind that will put you into a slumber because of their templatised and monotonous sound. Though the Guru Randhawa track, originally composed by Preet Hundal, is a recreated version of a popular track, it does not make a lasting impression.
"Bewafa Beauty", the video of which features Urmila Matondkar, comes across as a spoof on the item numbers of the 90s. One is not sure if Amit Trivedi had set out to do something in that zone but the sound of the song definitely gives an impression that he did. The result is a track that is reasonably entertaining but is not the kind you would like to hear on a loop. Pawni Pandey sounds very different from the way she did in "Laila Main Laila" ('Raees') but does a fairly competent job as a vocalist.
"Badla" has an edgy sound accentuated by the lyrics (Amitabh Bhattacharya, rap: DIVINE and Dhaval Parab). If you listen carefully to the song, paying due attention to the sound and the lyrics, you will realise that it encapsulates the theme of the film. One expects it to be played at a crucial juncture or at multiple points in the film. As a standalone audio track, it does not make much of an impression and the way it is picturised will make a huge difference to the way it perceived by the audience/listener.
One finally sees some spark in the soundtrack with the arrival of "Nindaraan Diyaan", a lullaby-like track which Amit sings himself in his velvety voice. The song does bear resemblance to a couple of the songs composed by him ("Aahatein" - 'Ek Main Aur Ekk Tu', *) but keeping aside those comparisons, this one is a very soothing number and is in sharp contrast to the loud and edgy tracks one came across in the album so far. Amit gets behind the mic for the second time to croon "Sataasat", a quirky song composed in the same mould as "Badla". The familiarity of the song, accentuated by Amit's voice, does not help the cause and it is yet another track one would rather see on the screen than play as a standalone audio track.
There was a phase in Amit Trivedi's career when he was accused of belting out songs, which seemed like clones of each other. Amit started out on a very promising note and has evolved greatly as a composer but most of the songs in this album sound like they were handpicked from Amit's old stock of songs.