Music: Sajid-Wajid & RdbLyrics: Kausar Munir, Sandeep Nath, Shabbir Ahmed & Raftaar
Music Label: T-Series

The Sajid-Wajid duo joining hands for the first time with Tigmanshu Dhulia does raise expectations. So we are surprised when we find that a RDB-composed track is the song that is most promoted.

The rationale, if not reason, is clear: Like 'Lungi Dance' in Chennai Express, 'Tamanche Pe Disco' (RDB-Nindy Kaur-Raftaar) is expected to be the GenY-pulling song of this score. The hook-line is arresting, but better sound balancing could have made a world of difference to this number, which sounds as if cacophony has been unleashed with intentional force!

The lyrics (Raftaar) are functional like all such songs -with rap portions alternating with some romantic verse, a dollop of stuff related to tamancha (technically a crude pistol), a frenetic beat and endless repetition of the hook.

From the Sajid-Wajid numbers, Shreya-Wajid-Bonnie Chakraborty's mellow-dious 'Saamne Savera' flows smoothly like a rippling stream, with Bonnie contributing the Bangla-folk-like Baul portions in the tradition of S.D. Burman (as far as we know of this folk stream in Hindi cinema). Wajid gives Shreya good company with his adroit singing. Kausar Munir's lyrics are sweet.

A nice mix of Indian percussion and Western guitar riffs introduces the different 'Jai Govinda Jai Gopala' (Neeraj Shridhar), a familiar tune into which Neeraj infuses the characteristic light and irreverent tone for which he is known since Love Aaj Kal. The lyrics (Shabbir Ahmed), however, do not make a mark.

Mamta Sharma, one of those singers who can get away with seemingly endless similar songs (in the item genre) without sounding monotonous, brings 'Don't Touch My Body' to life with her spirited delivery. The amusing lyrics (Sandeep Nath) seem bawdy but are actually quite - as we said - amusing and even cute. The Laxmikant-Pyarelal-esque folk tune has a steady graph and is well orchestrated by the duo.

The title-track 'Bullett Raja' (Wajid-Keerthi Sargathia) celebrates the protagonist with a wild rhythm. The sound is a bit over-produced and raucous, even for the loud vocals. Kausar Munir again writes with felicity, the overall familiarity nicely packaged in some fresh verse (Dil jo lagaale to laage lagan / Meera bhi naache re hoke magan / Pakke lagaata hai sur).

Sajid-Wajid's penchant for using Western strings in rustic songs is seen very effectively in the prelude of the satire-rich 'Sataake Thoko' (Wajid-Keerthi Sagathia-Danish Sabri), the other standout track of the score. Sandeep Nath's lyrics are very perceptive, highly incisive (Kanpur ka kaan hai behra / Sitapur mein Ravan thehraa) and trenchant (Arre watan kiya badnaam /Ke ab to satake thoko). Here is a song that gives the ambience of a villagers' nautanki sung on political degradation and raises hopes that all is not lost in lyricdom today!

Tigmanshu Dhulia's films have generally had music of ordinary caliber - with two standout exceptions: Haasil and Saheb Biwi Aur Gangster. This time, the soundtrack is above average, without being exceptional.

'Saamne Hai Savera', 'Satake Thoko'