Isi Life Mein

EXPECTATIONS

There is a certain quality of music that one expects from the soundtrack of a film comes from the house of Rajshri. However, one is still apprehensive about what Isi Life Mein has to offer due to multiple reasons. First and foremost the film is not directed by Sooraj Barjatya himself. Secondly, the film stars absolute newcomers as a lead pair. Thirdly, the music is composed by Meet ros. and Anjjan who don't quite have a body of work to boast of. Though there are half a dozen odd songs (all written by Manoj Muntashir) in the album, one still plays it on just with the hope of being pleasantly surprised.

MUSIC
A Hinglish track, 'Isi Umar Hai' has Mohit Chauhan taking lead as a singer. In the process, he makes the song pretty much his own as there is not much distinction that one sees between this rendition of this and a dozen odd other songs that he has sung for Bollywood flicks in the past. However, the song (which has Shreya Ghoshal entering the scene pretty late in the day) isn't what one terms as a cracker of a start as it's laidback pace coupled with some average lyrics (references to Facebook, Twitter, Orkut don't quite make it cool) end up making it barely passable.

If it is a Barjatya outing, it is hard to ignore references to Ramji. This is what happens in Isi Life Mein as well where a song by the title of 'Ramji 24X7' comes in next. Kavita Seth kick starts this fun track along with Shreya Ghoshal and aim at complimenting its rhythmic setting. Singing praises around Lord Rama and how He looks after you 24X7, the song tries to reach out to youth. However, one would wait to see how this song (which has Debojit Saha entering the scene a while later) is picturised since that would make all the difference to it's eventual popularity.

'LOL - Live out Loud' is the theme of Isi Life Mein and hence it was inevitable that a song by that name also appears in the album. A rock track that tries to be all girlie, funny and naughty, 'LOL - Live out Loud' has Shreya Ghoshal, Meet Bros. and Suzanne D'mello coming together to make it a fast paced funky outing. One hardly recollects the lyrics of this high on beats and full on pace track that doesn't quite have a shelf life beyond the film.

With a title like 'Tere Pyar Mein', one expects the first quintessential love song to finally make an appearance in Isi Life Mein. There is an elaborate orchestra at the beginning of the song that makes one look forward to something grand in the offing. Shreya Ghoshal begins the proceedings and does give an elaborate start to the song. Kunal Ganjwala joins her two minutes into the song and while he too tries to ignite the required passion between the two singers, the overall result just passes muster without making you long to listen to it all over again.

Kavita Seth gets a solo for herself in the form of 'Banni Avela Tharo Banna'. A traditional celebration track that belongs to the kind that one has heard a zillion times before and would continue to be played for years to come, it is a harmless song that should do well with the film's setting.

A devotional number which follows next just manages to complete the template which one expects from a Rajshri album. Udit Narayan sings 'Tum Darshan Hum Naina' which tells the tale of Lord Rama. One would have expected Isi Life Mein to deviate a little from the template approach and fill in the album with back to back songs about youngsters. However, what follows next is another version of 'Tum Darshan....' which is titled 'Apna Kaun Paraya Kaun' and is a sad take on affairs.

The album closes with three and a half minute long instrumental piece which is titled 'Taming of the Shrew Reborn Theme'. Seemingly created for a dance setting in the film's narrative, it would again all depend on the choreography to decide if the piece would have a wider reach in weeks to come.

OVERALL

Isi Life Mein is a barely average score that hunts for that one chartbuster to make it stand amidst the crowd. However, absence of a single track that would much of an impact, whether amongst the youth or the family crowds, coupled with the fact that there is no solid foundation that the album carries means that it would struggle hard to make its presence felt.

OUR PICK(S)

Isi Umar Mein

Spanish Beauty / A Beautiful Wife

EXPECTATIONS

Ok, now one can't be expecting much from the soundtrack of a film which is a dubbed version of a Spanish movie and features songs that are a mix of some new and some heard-before non-film tracks. Add to that, the fact that one is not even sure whether the songs would really feature in the film in background (seems improbable) or have been placed together just to create a music album only makes it further tricky for Spanish Beauty to find much reach for itself. Nevertheless, one plays on this album which has three tracks by Aravind-Shankar and a couple of old numbers by Atif Aslam.

MUSIC
Omer Nadeem, a new entrant on the Bollywood musical scene, croons 'Thum Zara'. A soft track and almost laidback in its appeal, this Dhiraj B. Jha is a love song with a touch of sadness to it. Moving at a slow pace, it comes pretty close to the kind of tracks that Atif Aslam is known for. A decent track, the kind of music style adapted here is on the same lines as that of MM Kreem. Towards the end of the album, Karthik comes behind the mike for a 'remix version' of the same song which turns out to be just about okay.

'I Wanna Have Sex' - Now can there be anything more direct than this? Half a decade back when Akshay Kumar-Priyanka Chopra starrer Aitraaz had featured a song 'I Wanna make love to you', there was an outrage. However, it seems there won't be much noise this time around for this Chev & Shaheen Iqbal written track because: a) audience has become much more tolerant and b) the song will anyways go unnoticed due to its small reach. A fusion lounge track with Chev, Rita and Cha-Cha coming together to bring in a mix of sensuality and racy rhythm, this Aravind-Shankar composition just about passes muster without quite igniting the heat.


The song which follows next carries the mood of the ones that preceded it and maintains a fusion flavour of the album. Sung by Devika, 'Kothay Uttay' has a Punjabi traditional touch to it with a bit of sort rock thrown in. Written by Shahi & Adeel, the song bears the mood of being non-filmy and seemingly brought out of a private album. Yet another slow paced song which conveys the sadness of the protagonist who is missing her lover, 'Kothay Uttay - Remix' is yet another passable track.

There is some life that comes to the album in the form of Atif Aslam's super hit chartbuster 'Doorie' which is played till date despite being around for years. However, those who like it now would definitely be having this song in their collection anyways. Same holds good for 'Maula' which is an old track of Atif and has been popular as well amongst his fan base. Credit it to the instant recall value but it won't be wrong to say that these are the two tracks that immediately perk up the album.

OVERALL

First and foremost, the music of Spanish Beauty isn't the kind that one expects from a regular Hindi film soundtrack. While the songs don't really belong to 'skip them now' variety, they aren't instant chartbusters either that would make one go and pick up the album pronto. Add to that the fact that the album has only seen a scattered arrival on stands and that too less than week before the release of the film means that Spanish Beauty doesn't stand a chance to make much of an impression.

OUR PICK(S)

Doorie, Maula

Phas Gaye Re Obama

 EXPECTATIONS

One expects Phas Gaye Re Obama to be a songless film. Hence, the very fact that its soundtrack has arrived on the stands is surprising. On checking credits, it turns out that there are just two unique songs along with a few remixes and theme instrumentals. Expectedly, there isn't much to look forward to except to here from this album that has music by new entrant Manish J Tipu.

MUSIC

Shelee writes 'Sara Pyaar Hai Bekaar', a short track that has a duration of less than three minutes and has an out and out rustic setting. With a Punjabi touch to it, this Kailash Kher sung reminds one of 'Chak De Phatte' [Khosla Ka Ghosla] and the title track of Love Sex aur Dhokha though the overall impact isn't on the same lines despite a couple of 'remix versions' (one also featuring Richa Sharma) coming in later. A song about money holding prominence over everything else, 'Sara Pyaar Hai Bekaar' also features Neha Dhupia rapping away with a couple of lines.

'Amrikwa Ne Loot Liya' has a funny band introduction at the beginning where a male voice introduces its various members in a rustic manner. What follows from there on is a satire on America where the country is held responsible for all the good and the bad happening in the lives of an average man. Sung by Manish J Tipu, 'Amrikwa Ne Loot Liya' takes a funny route and one can expect a music video around it. However, lack of any promotion till date means that the song would largely go unnoticed.

What follows next are five theme instrumental pieces, all lasting between 60 to 90 seconds. Mainly composed for filling in the background score of the film, these theme tracks seem to have been included in the album for the sake of making it appear as a heavy album since otherwise there are just two unique tracks.

While 'Returning Home' has a happy feel to it, 'Welcome to the Gang' has a racy feel to it with a bit of haunting touch. 'Yes We Can' starts off on a very feeble note and is almost inaudible for the first 30 seconds. It starts picking up pace thereafter and turns out to be an interesting piece with a grand feel to it. 'American Meltdown', as the title itself suggests, begins on a sad note and stays like that for its 90 seconds duration. On the other hand, 'Run for Ransom' has a frantic setting, something which goes with the situation that it has been created.

OVERALL

Phas Gaye Re Obama has a couple of tracks which may have made some impression had they been aggressively promoted through music videos. However, limited promotion coupled with the fact that the songs by themselves aren't spectacular means that the album will go largely unnoticed.

OUR PICK(S)

Sara Pyaar Hai Bekaar

No Problem Hindi Movie

EXPECTATIONS

Honestly, one isn't overtly enthusiastic about checking out what exactly does No Problem have in store. It doesn't boast of a quintessential hero-heroine fare. Also, since it is an Anees Bazmee film, it isn't meant to be relying on music as it's USP as the story telling by itself is expected to bring in the audience. Moreover, the earlier promos of the film haven't quite placed music on the forefront. Add to that the fact that three set of composers - Pritam, Sajid-Wajid and Anand Raaj Anand - come together to get the album in place means one is further apprehensive about what really is in store here.

MUSIC

As it turns out, the opening song No Problem doesn't quite turn out to the best attraction that the title track of a film is supposed to offer. Coming from the same school of music as the title track of Welcome, this one does have a catchy rhythm to it with Wajid, Suzzane Demello, Khurram Iqbal, Bhishak Jyoti, Kamal Khan, Suganda Mishra and Altamash Faridi teaming up behind the mike. However, it somehow ends up being 'heard today, forgotten tomorrow' kind of a track. Yes, if the film ends up doing tremendously well at the box office, this song written by Shabbir Ahmed and put to tune by Sajid-Wajid can expect a decent recall value for it. However, unless that happens, this title track would have to make way for other songs in the album.

The album picks up miraculously with the arrival of 'Shakira', a fun number where the focus is on the leading ladies (Sushmita Sen, Kangna) ending up being far more enticing in their moves when compared to none other than Shakira. While Hard Kaur kick starts the song with her rap, Master Salim and Kalpana come together to get an authentic Punjabi flavour to this Pritam composition, hence making Kumaar written 'Shakira' a definite chartbuster in the making. The song, which also has a 'remix version' for itself has a distinct Pritam stamp to it and makes one wonder that why wasn't this celebration track the first to come on air.

Energy of the album continues to be on a rise with 'Babe Di Kripa' being the next to come. This one is akin to listening to two songs with Kalpana bringing on a Western rendition while new find Vikrant Singh brings on a hardcore Punjabi element. Yet another celebration track written by Kumaar, this one is not just foot tapping but also is noticeable for the way Vikran goes about singing this one. An original voice which is not quite an imitation of any other established singer, Vikrant does quite well in 'Babe Di Kripa' which should work well, especially up North with it's 'remix version' expected to find it's way into the DJ's collection.

Surprisingly, just when No Problem was reaching its peak comes a low in the form of 'We Are Innocent' which turns out to be totally wannabe. In fact after doubly checking the credit details, you are shocked to know that the man at the helm of affairs is none other than Pritam himself. His tune sounds like belonging to the world of late 80s/early 90s when such campus tracks like these were in the vogue. A forgettable track which is sung by Suraj Jagan and written by Kumaar, it tries to be all cool and fun but falls flat.

Thankfully it is the unusual suspect Anand Raj Anand who comes to the rescue with 'Mast Punjabi', third Punjabi based track in a row after 'Shakira' and 'Babe Di Kripa'. Does it work? Oh of course yes, as it turns out to be a highly addictive celebration track that gets hooked on to you in the first listening itself. In fact hearing this song (which comes again in a 'remix' version) makes you believe that Anand Raaj Anand needs inspiration to come up with a song belonging to the chartbuster variety since 'Mast Punjabi' is definitely one instance where he has delivered well. In fact he plays a triple role of a composer, lyricist as well as singer here with company from Sunishi Chauhan.

OVERALL

As stated earlier, there weren't many expectations from the music of No Problem. However, it ends up throwing a pleasant surprise with three of it's songs - 'Shakira', 'Mast Punjabi' and 'Babe Di Kripa' ensuring that there are enough foot tapping elements in the album. All that the makers have to do now is get aggressive on each of these three songs. Moreover, if the film turns out to be a huge success, these songs will have a greater distance to travel for sure.

OUR PICK(S)

'Shakira', 'Mast Punjabi', 'Babe Di Kripa'

Rakht Charitra - 2

 EXPECTATIONS

A few weeks after the release of Rakht Charitra arrives part two of the film. Just as in case of the first part, this time too there are multiple composers (Sukhwinder Singh, Dharam-Sandeep, Imran-Vikram, Kohinoor Mukherji) roped in to contribute to the soundtrack. Shyamraj Dutta, Vayu, Sandeep Singh, Shabeer Ahmed, Vayu and Prashant Pandey write. Also, yet again one expects the music to the kind that acts as a part of the background score and is strictly situational instead of having an eye on commercial gains.

MUSIC

A couple of songs from the first part of Rakht Charitra - 'Maar De' and 'Mila Toh Marega' - are placed in Rakht Charitra 2 as well. Best tracks from the enterprise; there presence is pretty much justified as they well convey the ferocious mood of the film. 'Maar De' is all about bloodshed and singer Jojo does a good job in this Imran-Vikram composition which has lyrics by Shabeer Ahmed. This time around it is just the 'remix version' that appears in the album.

Similarily 'Mila Toh Marega' too comes in a 'Electro Mix' version. As stated even earlier, 'Mila Toh Marega' is on the same lines as 'Govinda Govinda' [Sarkar]. This one sung by Ravindra Upadhay, Vishvesh Parmar and Sandeep Patil with lyrics by Vayu is one of the better tracks in the album and also has some bits in English. Composed by Dharam-Sandeep, 'Mila Toh Marega' has the kind of beats that are infectious and difficult to let go off one's mind and hence it is all the more justified to find an inclusion all over again in the second part of the film.

There are a few songs that are heard for the first time ever in Rakht Charitra 2. One such song is 'Khel Shuroo' which is so haunting that it could well have been included in a vampire film. Armaan Malik sings in such a husky tone that one can well challenge a listener to listen to the song ten times in a row all alone in the night and still not get scared. Lyrics by Vayu are downright violent as well with blood, darkness, killings and dead bodies forming the core of this Dharam-Sandeep and Kohinoor Mukherji composition. Really, a song like this is most enjoyed in a theatre but can hardly be picked up for a standalone hearing outside it.

To compliment the ferocious mood of the film arrives 'Patthar Ko' where Sukhwinder Singh gets into a hard hitting mood, well literally. He co-composes this song with Amar Desai and also comes behind the mike for this Sandeep Singh lyrics that boast of some heavy duty words. Lasting barely two minutes, this thumping track is also heard in a 'theme version' that comes sans any vocals.

'Nagendra Haraya' is akin to a couple of different songs being merged into one. While the part sung by Sukhwinder Singh is yet another version of the theme of Rakht Charitra, and hence follows the same format as the rest of the album, the initial portion sung by Viveka is set in a style that belongs to an out and out South zone, something which is justifiable considering the film's setting.

OVERALL

To reiterate the point mentioned in case of the music album of the first part as well, if looked at as a theme album that works with the film, the soundtrack of Rakta Charitra 2 scores. However, its disturbing feel and setting doesn't promise the kind of appeal that would make masses drool over it. Coupled with this the fact that music is not really the USP of the film and it would be hard to imagine the album of Rakta Charitra 2 to be making much impression at the stands.

OUR PICK(S)

Maar - Remix, Milatoh - Electro Mix

Tees Maar Khan

 EXPECTATIONS

2010 couldn't have ended on a better note. One expects nothing but the best to bring on the smiles as one moves on from one year to another. With the music of Tees Maar Khan arriving at the stands now and expected to make waves by the time the film releases on Christmas, it couldn't have been any better for a music lover. After all Farah Khan has been known for her keen music sense when it comes to masala soundtracks (Main Hoon Naa, Om Shanti Om are testimonies of that) while Vishal-Shekhar too have been enjoying a good year with Anjaana Anjaani & I Hate LUV Storys turning out to be successful and Break Ke Baad boasting of a different sound as well. With lyricist Anvita Dutt joining all the fun, one looks forward to check out what does Tees Maar Khan have to offer.

MUSIC

It is a cracker of start with title song 'Tees Maar Khan' bringing with it the kind of hook that is totally addictive to begin with. A true blue theme track that can be expected to make an appearance at regular intervals right through the film's running length, 'Tees Maar Khan' is a guest composition by Shirish Kunder who has written it as well. One can confidently say that if at all a 'khiladi' film was to be made today, it would have proudly boasted of a song like this. What also impresses is the way Sonu Nigam contributes with male, female, child, chorus as well as other quirky voices to make it a unique affair. Not just that, the 'dhol' beats in the end make it a truly entertaining affair that ensures that 'Tees Maar Khan' would be heard for many more months to come. No wonder, there is a deserving 'remix version' that arrives later in the album as well, hence making it a complete 'paisa vasool' affair.

After warming up the listener enough comes 'Sheila Ki Jawani' which clearly has to be one of the most erotic item tracks to have been heard in a long-long time. There has been a 'munni badnaam' or a 'beedi jalaile' in the past, both being tremendous hits while belonging to the world of item songs. Now comes 'Sheila Ki Jawani' which has an urban setting to it with a fusion of 'desi' sound which makes it an irresistible and one of it's kind affairs. The way Sunidhi Chauhan sings the track, especially to the kind of lyrics that are out rightly suggestive, one can well expect Katrina Kaif to find a new fan base once the song is seen in entirety. With added vocals by Vishal Dadlani (who has also written the song), this one (appearing in a remix version as well) would easily go down as one of the most erotic compositions ever by him and his partner Shekhar since 'Khuda Jaane' [Bachna Ae Haseeno], which belonged to romantic genre but still resulted in soaring temperatures.

It is time to bring an altogether different world in Tees Maar Khan with 'Wallah Re Wallah' which has been clearly designed for Salman Khan. Though the makers claim to have brought in Salman in the film at the last minute, it seems highly improbable that this 'qawalli' track would have been thought to be picturised on anyone else. With Akshay Kumar and Katrina Kaif matching steps with Salman in the song, there are multiple singers like Shekhar Ravjiani, Kamal Khan, Raja Hasan and Shreya Ghoshal coming together to make 'Wallah Re Wallah' an energetic song. The song has to be heard multiple times though as it doesn't make an instant impression just like 'Tumse Milke Dil Ka' [Main Hoon Naa] or 'Deewangee' [Om Shanti Om]. Also, remove Salman from the song and it is difficult to believe if the song would have managed a similar reach. This is a major reason why one waits to see how Farah Khan has picturised this song since in a standalone mode, it is good, not fantastic even after one has heard it's remix version as well.

A situational track with a village setting to it, 'Badey Dilwala' is a catchy number and has a good mix of Hindi and English lyrics that keep the fun element on. Also, even though this is mainly a Sukhwinder Singh song, it is Shreya Ghoshal who seems to having maximum fun. Check out the way in which she modulates her voice at numerous junctures in the song, hence bringing in the mood of the 60s and 70s. Also, one has to listen to Anvita Dutt's lyrics carefully as they convey quite a lot about the film and the situational setting of the song. This is yet another track that keeps the momentum right through its five minutes duration, hence ensuring that there are racy visuals to compliment it's overall mood. With a 'remix version' to boast of, 'Badey Dilwala' makes it crystal clear that Farah Khan wanted ample variety in each of the five compositions for her film.

Prajakta Shukre, Harshit Saxena, Abhijeet Sawant and Debojit Saha - some of the major constestants from various talent hunt shows on TV - are brought to one floor with 'Happy Ending', a song which is designed for the end credit sequence, something which is the hallmark of Farah Khan cinema. This is not the kind of song that one instantly warms up to though there is nothing in it that puts you away either. It is just that due to the situational appeal of the song (which is about everyone being happy in successful in life, whether supporters or opponents) keeps it's prospects limited. One waits to see how the song has been picturised as it could well have various moments of 'bring on the smiles' moments.

OVERALL

One expected a moon from Tees Maar Khan, especially so since it is coming together of a team which believes in bringing to audience a full-on 'masala' outings. Such immense expectations means that a relatively lesser volume of content in the album (there are in total five original songs) with a couple of them being situational results in one left with a slight desire of something more. However, if one looks at it as an album that would find itself picked up from the shelves pronto, Tees Maar Khan is bound to become one of the top selling in the year due to high curiosity value. While 'Sheila Ki Jawani' and title song 'Tees Maar Khan' are two sure shot chartbusters to keep the first time listeners happy, one can definitely expect some eye catchy picturisation and choreography by Farah Khan to make 'Wallah Re Wallah' and 'Badey Dilwala' stand out as well after the release of the film.

OUR PICK(S)

Sheila Ki Jawani, Tees Maar Khan, Wallah Re Wallah

Maalik Ek Music Review

EXPECTATIONS

In a film which is about 'Sai Baba', it is but natural that the soundtrack too would boast primarily of devotional songs. With hundreds of devotional tracks already made for Sai Baba, one looks forward to what does composer Anup Jalota have in store for the audience with his score in Maalik Ek.

MUSIC
Its a bunch of kids that brings on a collective laughter to kick start 'Sai Baba Achche'. A chorus track with Jackie Shroff (playing the role of Sai Baba) holding the baton for the song with intermittent laughter being thrown around; ' Sai Baba Achche' has an innocent appeal to it which goes with the genre. Written by Amit Khanna, this one is about Sai Baba narrating the tale of Lord Rama.

Anup Jalota brings himself on a singer as well for 'Sai Naam Mein Jadoo Aisa' which is written by Manoj Kumar. Expectedly a devotional track, this one is in praise of Sai Baba and Shirdi. Strictly for the followers of devotional tracks and especially Sai Baba, this one takes the album forward in the expected direction.


Sameer writes 'Sagare Jagat Mein' which has Jagjeet Singh at the helm of affairs in the singing capacity. One can sense a marked difference coming in the album as the experienced singer leaves his mark yet again in this yet another devotional track. Accomplished singers continue to make their presence felt, this time with Ghulam Ali arriving on the scene. This time around, the mood is that of exuberance and celebration with Amit Khanna written 'Diwali Mein Ali Ram Ramzan Mein' turning out to be a fusion of faith with Hindu as well as Islam religion being equated as one.
It is back to Sai Baba soon after though with Anuradha Paudwal (returning after a hiatus) coming behind the mike with Anup Jalota and Sumeet Tapoo. Titled 'Sabse Pyaara Mera Sai Baba', this devotional track is about a 'rakhi' being tied to Sai Baba. It is surprising though to hear Shreya Ghoshal singing ' De De Thoda Sa Pyaar' which deviates the album from it's devotional setting. Still, one doesn't mind that since it brings some variety into the album which was primarily one-dimensional so far. The element of simplicity remains intact though in this Amit Khanna written number.

It isn't every day when Anup Jalota and Pankaj Udhas come on the same platform. However, the devotional mood of the album makes that possible as well with Pankaj Udhas singing a traditional number ' Sai Baba Geet Sudha'.

OVERALL

Maalik Ek is the kind of album which is basically focused at those who wish to hear an array of devotional tracks in one single setting. This also means that as a movie album, this won't have much reach since the film by itself hasn't been promoted at all. However, as a standalone album that could be marketed without the trapping of being a score for a film in particular, Maalik Ek does have a few tracks that would be picked up by the followers of Sai Baba.

OUR PICK(S)

Sagare Jagat Mein, Diwali Mein Ali Ram Ramzan Mein

Golmaal 3 Exclusive

EXPECTATIONS 

Fun. That's in one word to describe the expectation that one has from the music of Golmaal 3. Films coming form the house of Rohit Shetty have time and again celebrated life and are aimed at youth. Whether it is Golmaal, Golmaal 2, All The Best or Sunday, music in each of these films has been vibrant with no single dull moment. This is what one expects from Golmaal 3 as well that has composer Pritam and lyricist Kumaar coming together. With the film being third in the series, one expects double the fun this time around, if not the triple. 

MUSIC 

It's time for some 'Golmaal' all over again as K.K., Anouska Manchanda and Monali Thakur come together for a high on energy title track. The beginning is exactly on the same line as what one would have expected here, which means that the sound of ' Golmaal Golmaal' is heard all over again. The 'remix version' ensures though that there is a lot of spunk ready to be exploited on the dance floor.

Next to come is a song about togetherness, 'Apna Har Din', which is all set to be picturised on the entire principal cast of Golmaal 3. A fun number with a touch of carnival mood to it, ' Apna Har Din' (which also arrives in a 'remix version') has a 70s style composition with Shaan and Anouska Manchanda sounding genuinely happy while crooning this one. However, the overall impact that the song creates is that of being a situational number. 

'Ale' sounds better though and goes full throttle in getting the club mood on. In fact after listening to it a couple of times, one does tend to remember the kind of beats and rhythm that one had heard in the title song of Tum Miley. The song is good but not the kind that makes one stand up and hail it as the next huge chartbuster. A foot tapping track nevertheless with youth written all over it, this Neeraj Sridhar and Antara Mitra sung number is about a bunch of friends who have paved their own path and don't care much about the outside world. 

Surprisingly, the best song of the album comes at the very end. One expects at least one massive chartbuster from Pritam in each of his albums. In Golmaal 3, it is 'Desi Kali' which has all in it to rock the charts in its arrival. A smash hit from the word go, 'Desi Kali' has the kind of beats and rhythm that ensure that you get a hang of the song in the very first listening. With Neeraj Sridhar and Sunidhi Chauhan coming together for this song, they ensure that this one turns out to be one of the more popular songs in the offing. Deservingly, there is a 'remix version' of this club track as well which brings on some more spice in the album. 

Last to arrive are a couple of songs from Disco Dancer - 'Disco Dancer' and 'Yaad Aa Raha Hain'. Since the film features Mithun Chakravorty in an important role, inclusion of these two songs does not come as a surprise. None of the two songs are presented as-is though and have been re-arranged slightly to go well with the contemporary times. While Bappi Lahiri sings 'Disco Dancer', it is Sudesh Bhosle who comes behind the mike for 'Yaad Aa Raha Hain'. 

The shower smiles in a politician.

OVERALL

Golmaal 3 has a chartbuster in the form of 'Desi Kali' with instant recall value coming from title track 'Golmaal' as well. The other two tracks - 'Apna Har Din' and 'Ale' add on to the situational appeal as well. As expected, the music of Golmaal 3 is a fun ride that should go well with racy visuals, which is the hallmark of Rohit Shetty cinema. 

OUR PICK(S)

Desi Kali, Golmaal  click here to listen

Action Replayy Music Review

EXPECTATIONS

There are good expectations from the music of Action Replayy. After all more often than not, music of Vipul Shah has been popular with the masses. Though London Dreams couldn't find a wider audience, music of Namastey London, Waqt as well as Aankhen had worked with the audience. Even otherwise, his production Singh Is Kinng boasted of chartbuster music. With Pritam at the helm of affairs who pairs up with his lyricist partner Irshad Kamil all over again, you do expect a good soundtrack. However, you are not quite sure about the genre it would belong to. Whether the music would turn out to be out and out romantic or would it have a strong element of fun to it? Let's find that out.

MUSIC

What catches your attention even before you play on the album is the sheer number of songs that have been included in Action Replayy. Really, after the likes of Ajab Prem Ki Ghazab Kahani or a Love Aaj Kal [incidentally both of them have Pritam as a composer], Action Replayy has to be the heaviest album around. There are as many as nine distinct songs with remixes of four of them. For an Akshay Kumar starrer, this has to be the biggest musical album ever since one can remember.

First to arrive is 'Zor Ka Jhatka' and call it incidental but the song indeed leaves a 'zor ka jhatka' from the very first note. This one is a thumping hit for sure, as evidenced in the manner it keeps a relentless pace right through its four minute duration. Indian in appeal and carrying a theme (evils of marriage) which is not hard to relate, 'Zor Ka Jhatka' is a fun track that has Daler Mehndi pairing up with Richa Sharma. Both the singers thoroughly enjoy their stint behind the mike and this is visible in the energy that comes along. A sure shot chartbuster which has Master Salim singing for the 'remix version'. However, it is the Daler Mehendi version you want to go back to.

A complete mood shift is enabled with 'O Bekhabar' which has a distinct Yash Chopra feel to it. Swiss Alps and chiffon sareers aren't difficult to be visualised in this romantic track where Shreya Ghoshal gives yet another good account of herself. This one belongs to the kind of Bollywood tracks that have never failed for decades. Pritam along with Irshad Kamil grasp the 'pyaar mohabbat' theme well and present a melodious song to the audience that they won't mind listening on a repeat mode.

If you have seen the promos of Action Replayy, you wouldn't have missed listening to the sound of 'Nakhre'. A fun celebration track that brings on a carnival affect, 'Nakhre' is a true blue retro track that has singer Francois Castellino getting the Elivs Presley mood recreated. While the intentions are noble here and the core tune right as well, it is the singing that makes one a tad dissatisfied. In an attempt to recreate the Elvis magic, the final result isn't as desired that makes one feel that 'Nakhre' (which also appears in a 'remix version') could have been far better.

However, the disappointment doesn't stay on for long as Sunidhi Chauhan and Ritu Pathak come together for the 'holi' number 'Chhan Ke Mohalla'. Really, this one turns out to be as instantly catchy as 'Zor Ka Jhatka' and turns out to be yet another chartbuster knocking on the doors. With a Laxmikant Pyaarelal flavour to it, 'Chhan Ke Mohalla' reminds one of their 70s compositions and is instantly likeable. Also, there is an instant element of seduction to it, something which is expected from a 'holi' number, which further makes one listen to the 'remix version' with added anticipation.

What comes next though is a song straight out of Pritam territory with 'Tera Mera Pyaar' turning out to be a song that would have been gladly picked up by Bhatts or Imtiaz Ali. A soothing love song with Karthik, Mahalakshmi and Antara Mitra doing quite well to get the lovey-dovey mood on, 'Tera Mera Pyaar' (also arriving later in the 'remix version') continues to add on to the different moods of Action Replayy. By this time around, one is sure that the soundtrack is a mix of love songs as well as fun numbers which leads one to check out what next is in store.

This is the reason why one is not surprised when it is a fun dance number that comes in immediately. 'Dhak Dhak Dhak' has Mika going ballistic and after hearing it a couple of times, you too join all the fun. With a core Indian feel to it, 'Dhak Dhak Dhak' - a dance number - never really rests and maintains its tempo right from start till the end.

Next to arrive is 'Luk Chup Jaana' which is yet another track that has the potential to make it into the charts. This one again requires just half a listening to realise that it has a Pritam stamp all over it. In fact one is surprised that this well orchestrated and arranged dance number sung by Tulsi Kumar and KK hadn't arrived in the album a little earlier. It really deserved to and if promoted well, could be one of the highlight tracks in the film.

Even with so much to offer, the platter doesn't get empty with Pritam churning out yet another number - this time a rock track - 'I Am Dog Gone Crazy'. Though the lyrics suggest an out and out whacky number, which is not really the case as singer Suraj Jagan keeps his vocals under control. Rather than turning out to be hardcore rock that leads to a restricted audience for itself, it stays within boundaries to auger well with the quintessential Bollywood followers as well.

Shreya Ghoshal, the only singer in the album to enjoy two solo tracks for herself, returns with 'Baki Main Bhool Gayi'. A love song that has a definite tempo to it and moves ahead with some racy beats, 'Baki Main Bhool Gayi' may not be the chosen one from the crowd. Still, as a part of the package in Action Replayy where there is no full moment, this last song in the album as well manages to make its own contribution.

OVERALL

Action Replayy is a fun album and better than what had initially expected. In fact while it is 'Zor Ka Jhatka' followed by 'Nakhre' and 'O Bekhabar' which are being currently promoted, there are quite a few other songs that deserve to find attention for themselves. With exactly a month to go for the release of the film, one would definitely want to see more of 'Chhan Ke Mohalla', 'Luk Chup Jaana' and 'Tera Mera Pyaar' at the least. An entertaining album that doesn't have a single dull moment.

OUR PICK(S)

Zor Ka Jhatka, Chhan Ke Mohalla, O Bekhabar, Luk Chup Jaana, Tera Mera Pyaar

Imran & Deepika shoot special music video for Break Ke Baad

What happens to an on-screen couple in love after the film is over? It seems filmmaker Kunal Kohli won't make us wait for a sequel to get an answer.

For Break Ke Baad, the film Kohli is producing with Deepika Padukone and Imran Khan in the lead, the team recently shot an additional epilogue, after the screenplay had its say.

Explains Kunal Kohli, "When I made Hum Tum, everyone wanted to know what happens to Saif and Rani after THE END. Do they live happily ever after? I've lost track of how many people have suggested a sequel to Hum Tum. That's something I won't do. Why go back to a film when there're so many virgin stories waiting to be broken into?"

What Kunal would henceforth do is add an "after-story".

"In Break Ke Baad, we've shot a story beyond the screenplay narrating a small improvised screenplay about the life that Deepika and Imran lead after the film is over. I could be using the same device in my other films in future if the characters seem to have a life after the film."

Last week, Kohli and his Break Ke Baad director Danish Aslam also shot a music video which was initially cut down by Kunal Kohli. But the director and his lead pair Deepika and Imran insisted on it.

Says Kunal, "I really didn't want to do a music video. I was the first one to do music video in our films for Hum Tum. But now everyone is doing it. So I was against doing one in Break Ke Baad."

What convinced Kunal were the lyrics. "I wanted a song about separation. But I didn't want the words, 'Break Ke Baad'. Prasoon Joshi came up with such a wonderful line. 'Dooriyan Zaroori Hai'. I was like, wow! All our love songs talk about separation being not worth considering. And separation was seen as important in every relationship. Every relationship needs space. I liked that concept."

The music video would be part of the newly-shot epilogue in Break Ke Baad.

Dunno Y Na Jaane Kyun... Music Review

EXPECTATIONS

First and foremost, you don't really expect a musical score for Dunno Y Na Jaane Kyun. An offbeat film exploring an unexplored theme (same sex relationship), Dunno Y Na Jaane Kyun didn't quite promise any songs; let aside being mainstream or unconventional. This is the reason why one is surprised to see a pretty loaded album with as many as half a dozen songs and a few theme pieces as well. Put together by composer Nikhil and lyricist Satya Prakash, Dunno Y Na Jaane Kyun does make one wonder what really to expect before it is played on.

MUSIC

There is a surprise in store with none other than Lata Mangeshkar gracing the very opening track. She is in charge of the title track 'Dunno Y Na Jaane Kyun' which actually turns out to be a soothing song from the very first note. A love song about falling in love with no explained reason whatsoever, 'Dunno Y Na Jaane Kyun' has a haunting feel to it and should work as a part of the film's background score. A really long track that extends to almost 10 minutes, 'Dunno Y Na Jaane Kyun' is a soft number that also had Shaan crooning the male version. His rendition has a slight rock feel to it though the overall arrangements still remain the same.

It is apparent that the makers wanted songs to last for a really long duration. No wonder, the very next song 'Dabi Dabi Kwahishien' too has a good 7 minutes duration. Yet another soft song, this one boasts of a better tune and has a romantic feel to it. Though there isn't overtly new or extraordinarily different about this number that comes with a mix of Hindi and English lyrics, in the given scheme of things when one had played 'Dunno Y Na Jaane Kyun' with not much expectations, 'Dabi Dabi Kwahishien' isn't a bad hear after all.

This track appears in as many as four versions with the first being a duet by Shaan & Shreya Ghoshal, second being a Shaan solo and third seeing the pair being joined by Farhad Bhiwandiwala, a fresh voice which does make its presence felt. The fourth is titled 'Saiyan Saiyan' and this one has a Sufi flavour to it. However, this attempt seems a little strange since this Nikhil and Farhad Bhiwandiwala sung number turns out to be one of those rare sufi outings with bits of English lyrics in it.

However, there is a complete shift in mood soon after with 'Mumbai Meri Hain' which seems like a quintessential Usha Uthup song. The singer though is Anee Chatterjee here and honestly, this carnival track doesn't leave much of an impression. Belonging to the world of late 70s/early 80s, this one is a quick skip as it doesn't even attempt at being any different in today's world.

The album goes further downhill with 'Atariya Main' which is written by guest lyricists Vimal Kashyap and Fanindra Rao. One is immediately transported to the world of 'Gutar Gutar' [Dalal] which actually is not a good sign by any means since that era has been left behind years back. Rekha Rao croons this fusion mix track where all the sound of seduction and kinky lyrics don't quite come together to create any excitement whatsoever.

There is some semblance that comes in the proceedings with 'Lagi Lagan Teri Saiyan' taking a soft opening. However, the opera like touch which is given soon after seems a little odd. A relatively shorter number with a running duration of a little over 3 minutes, this Farhad Bhiwandiwala and Anee Chatterjee track appears to be for the background rather than a full fledged love song. What follows next are a series of classily designed theme tracks with 'Jenny Ashley In Love', 'Helen - Theme' and 'Zeenat Amaan - Sad Theme' arriving in quick succession.

OVERALL

Dunno Y Na Jaane Kyun isn't quite a complete pushover but then it also doesn't have any chartbuster track that could be its USP. For a film where one expects the songs to mainly work for the background score, Dunno Y Na Jaane Kyun does have a couple of high points in the title song, 'Dabi Dabi Kwahishien' and a couple of theme tracks. However, from the sales perspective the album has a tough journey ahead with the coming weeks being cluttered with as many as a couple of dozen album releases.

OUR PICK(S)

Dabi Dabi Kwahishien, Dunno Y Na Jaane Kyun

Jhootha Hi Sahi Music Review

EXPECTATIONS

A couple of years back, A.R. Rahman and Abbas Tyrewala created a very good musical outing in the form of Jaane Tu Ya Jaane Naa. But naturally, you do expect something magical all over again in Jhootha Hi Sahi as well. Of course, this one is not a traditional romcom that would result in those template created songs that time and again do fit into the situation. Jhootha Hi Sahi has a telephone instrument pretty much playing the other lead character as well and hence you do expect lyricist Abbas Tyerewala and composer A.R. Rahman to do something different from what is conventional. Still, a feel good score is what you do want to hear eventually.

MUSIC

Honestly, you don't quite warm up to the opening number 'Cry Cry' instantly. The slow movement of the song coupled with some very simple, though average sounding lyrics, don't make you sit up and notice beyond a point. While Rashid Ali begins crooning this song about being happy in life rather than worrying about things which are not in one's control, Shreya Ghoshal joins in only after half of 'Cry Cry' is through. However, the fact remains that despite giving the song a repeated hearing, it doesn't quite settle down to be the kind of number that qualifies as an opening track in an album.

Slightly taken aback by this time, one plays on 'Maiyya Yashoda' that comes next. This is one of the unlikeliest of Rahman compositions though one doesn't mind that as the simplicity factor pretty works this time around. A festive number about the folk fare of Krishna, his 'Yashoda maiyya' and the 'gopis', 'Maiyya Yashoda' arrives in a 'desi Jamuna Mix' and a 'videsi Thames mix'. The two versions highlight the cultural dissimilarities due to Jamuna and Thames rivers to be on the opposite sides of the continents.

Though the songs do bring on some energy into the album, you still are in lookout for the kind of songs that make an A.R. Rahman soundtrack something special. Thankfully you start getting a glimpse of that with 'Hello Hello' coming in next. This one could well qualify as a theme track since it narrates the tale of the protagonist who - as the receiver of a hotline number - is attached to his phone instrument. Though from the theme perspective, it does remind one of the title theme track of Karthik Calling Karthik, in spirit it is far livelier when compared to the dark undertone that the Farhan Akhtar version carried.

However, the wait to hear something remarkable is finally over with Sonu Nigam coming up with one of the best songs rendered by him - 'Do Nishaaniyan'. Not just the music arrangements are fantastic; the overall flow of 'Do Nishaaniyan' is extremely pleasant as well that makes one play on the number repeatedly. Reminding one of the kind of Mohd. Rafi numbers from the 60s, though presented in a contemporary manner, 'Do Nishaaniyan' not just promises to make an impact in the film's narrative but also stay on with the music lover to be played for many more months to come. No wonder, the song deservedly appears in much slower 'Heartbreak version' as well.

Have you already been impressed with the sound that accompanies the talkie promo of Jhootha Hi Sahi? In that case, there is a reason to celebrate as most of it actually comes from the fun track 'Pam Pa Ra'. A sweet song about a girl being happy with the conversation that she had with a stranger on the hotline, this Shreya Ghoshal rendered track has a heart felt appeal to it and brings on the expected exuberance of the protagonist. Expect some gloss and fluorescence when this song appears on screen.

Vijay Yesudas brings on an international experience with his Hinglish track 'I've Been Waiting' which has a jazzy blue feel to it. Reminding one of 'My Heart Is Beating' [Julie] even though this one is different in theme and spirit, 'I've Been Waiting' works even though it has some heavy duty poetry forming the Hindi lyrics. This one is for a romantic night out and is bound to make your heart beat go even slower if it is in anticipation of your beloved's arrival.

Beginning the album with 'Cry Cry', Rashid Ali ends it with much better 'Call Me Dil'. In fact one really wonders why this song didn't arrive at the very beginning of the album since it has an intrinsic sweetness to it that would have set the context of the film there and then. Telling the tale of the protagonist who is required to hide his identity as someone on the other side of the hotline, it also features the words Jhootha Hi Sahi that lay the foundation of the song.

OVERALL

Jhootha Hi Sahi starts on a jerky note and actually takes some time to settle down. However once it does, it turns out to be a pleasant sounding album that has at least a couple of songs that have a long lasting appeal, if not instant. These A.R. Rahman songs may not turn out to be roaring chartbusters now. Still, it can pretty much be rest assured that if the film works at the box office, the music too would find itself in much demand. Also, for those who can get a hand on the wonderfully packaged 'Collector's Edition', there is also a Karoake CD of all the songs to play around with.

OUR PICK(S)

Do Nishaaniyan, Call Me Dil, Pam Pa Ra

Allah Ke Banday Music Review

EXPECTATIONS

One doesn't play on the music of Allah Ke Banday expecting anything that would be a quintessential feel good affair. After all the film, as the promos and the title suggest, is pretty much a gritty dramatic tale revolving around children and crime. Hence, you expect a theme score that would be haunting to say the least, a la Ram Gopal Varma films like Satya, Company or the Sarkar series. With multiple composers coming together for different songs in the album, you look forward to the kind of songs that would primarily play in the background with lip synch numbers being totally out of question.

MUSIC

The album gets a hard hitting start with Chirantan Bhatt coming up with exactly the kind of sound in 'Maula' that one expected from Allah Ke Banday. Sung in high pitch by Hamza Faruqui and Krishna, this fusion between sufi and rock does bring in the kind of high intensity impact that Allah Ke Banday required. Sarim Momin gets the right lyrics in place as the protagonists' plea before God to make life better for the underprivileged.



Next to arrive is a Kailash Kher, Naresh & Paresh creation titled 'Kya Hawa Kya Baadal'. Written and sung by Kailash Kher, the track has a sad intrinsic feel to it. However, what takes the song down is the fact that it turns out to be pretty sad not just in the way it is sung and the theme that it conveys but also the way it overall sounds. Clearly, this one just doesn't go anywhere and though it does aim at bringing on the theme feel of the film, the overall sound of 'Kya Hawa Kya Baadal' is such that you aren't really excited to check out the much longer version that appears later.

New entrants Tarun & Vinayak come up with a two minute long piece 'Rabba Rabba' which has director/actor Faruk Kabir himself coming behind the mike. This is the same song which is currently playing in the promo and is strictly situational. A rock number which has lyrics by Ravi Khote, this song yet again gets into the territory of lost childhood and innocence. However, even as one starts warming up to a little extent, it reaches an end.

Sunidhi Chauhan goes almost unplugged for 'Mayoos' with just about a couple of instruments playing remotely in the background. As the title itself suggests, this one Sarim Momin written song has a sad feeling to it. This is understandable though as this film couldn't have afforded to carry anything feel good. Despite the fact that this Hamza Faruqui number does turn out to be better than the couple of songs before it, it would be challenging for 'Mayoos' to make its presence felt outside the narrative of the film.

There is an attempt to get some fun in place with Ishq Bector playing the double role of composer and singer with the track 'Kaala Jaadu'. Sarim Momin writes for this situational track that could be set in the juvenile prison. Sounding so much like an 80s track, it is barely passable and though it tries to bring on the fun element on it, the maximum impact it may manage to make it within the context of the film if picturised well.

OVERALL

Allah Ke Banday was never expected to be a commercial score. However, despite this limitation, the overall results are not the kind that would make one gaga about the intrinsic quality that the album would have brought with itself. One now looks forward to what the film has to offer because it sounds far more promising.

OUR PICK(S)

Maula

Knock Out Music Review

EXPECTATIONS

Music in an urban action film guarantees one thing - it would be fast paced and edgy. Even though Knock Out has an unusual cast of Sanjay Dutt, Irrfan Khan and Kangna with not much scope of music due to its plot based setting, one looks forward to what composer Gourov Dg [Gourov Dasgupta] has to offer. Panchhi Jalonvi is the prime lyricist with Vishal Dadlani and Shellee also contributing with a song apiece.

MUSIC

Sanjay Dutt and Kangna turn rock stars for the title song 'Knock Out' that is obviously made for end credits title roll sequence. A high energy track with Vishal Dadlani playing the role of a singer as well as lyricist, 'Knock Out' has Ashe contributing with the English rap. 'Knock Out' may not be the next chartbuster in the offing here since it has more of a concert appeal than being the kind which one associates with a film, it is a still a decent start nevertheless.

The album takes a completely different route with Rahat Fateh Ali Khan coming up with a soft number 'Khushnuma Sa Ye Roshan Ho'. A Panchhi Jalonvi written track which carries a theme of world being a better place to live, 'Khushnuma' moves at a slow pace and even though the beginning is okay, the later portions just turn out to be average. In fact one gets a jingle feel and despite the presence of Rahat Fateh Ali Khan, the results aren't optimal here. Though the song is about hope, there is a sad feel to it which only makes one look forward to what next is in the offing. Another version of the same song appears as 'Khushnuma Sa Woh Mausam' (with Shellee as the lyricist) and this time around the singer at the helm of affairs is Krishna. The overall mood still stays on to be sombre though.

Fun returns to the scene with Sunidhi Chauhan bringing on the exuberance with 'Jab Jab Dil Mile'. Okay, so the fact is that the song reminds one of many a Pritam song from the past but still it is good enough to lend a foot tapping appeal to the album. Though not extraordinary and a chartbuster that would live on for a year to come, it still is energetic enough to ensure some good visuals complimenting the fast paced mood of the film. Panchhi Jalonvi's lyrics aren't anything great to write home about but then if at all there is some scope for the album to find inroads amongst the audience; 'Jab Jab Dil Mile' is the one that should be played on most. No wonder, there is a 'remix version' included as well.

Then arrives 'Tuhi Mere Hum Navaa' which is a KK solo. A predictable track that enters into the Shankar-Ehsaan-Loy zone and musically reminds one of their compositions like 'Mitwa' [Kabhi Alvida Naa Kehna] and 'Sajda' [My Name Is Khan], 'Tuhi Mera...' by Panchhi Jalonvi makes for a comfortable hearing. In fact at places where a line leads to a pause, one is also reminded of Pritam's 'Teri Ore' [Singh Is Kinng]. Due to its heard before feel, 'Tuhi Mera..' doesn't carry a promise to make any inroads into the charts.

Last song to come is 'Gangubai Pe Aai Jawani', which is seemingly an afterthought, considering the 'Munni Badnaam' wave and also some reasonable attention that 'Issak Se Meetha' [Aakrosh] is enjoying. Belonging to the same genre as the aforementioned tracks, this Sunidhi Chauhan number carries an altogether different mood when compared to the rest of the album. A standard item song with an earthy feel to it, it follows a template approach and turns out to be an ordinary affair.

OVERALL

Knock Out is a passable score though one would have expected better results. Even after one is through hearing the album a few times, there isn't much recall value that makes one look forward to hearing it all over again. Barely okay.

OUR PICK(S)

Jab Jab Dil Mile, Knock Out

Aakrosh Music Review

EXPECTATIONS

When an album has the name Pritam attached to it, there is always a guarantee that results would be good, especially when the film comprises of reputed names. Though the composer is not always in form, especially when it comes to smaller films, there is always a chartbuster or two that one can expect from him when he associates himself with a biggie. However, for a film like Aakrosh one does play the album with balanced expectations. Reason being that it is not a conventional commercial flick with much scope for 'pyaar mohabbat' affair, something that often gives the composer good enough room to play in. With Irshad Kamil in tow, Pritam comes up with five songs for Aakrosh.

MUSIC

Since its very onset, the promotion of Aakrosh has been centred on 'Isak Se Meetha', an item song picturised on Sameera Reddy. On the same lines as 'Beedi Jalaile Le' [Omkara] and 'Munni Badnaam' [Dabangg], 'Isak Se Meetha ' too has a rural/small town setting to it. This time around the singer is Kalpana Patowary who gets company from Ajay Jhingran behind the mike. However, the song doesn't quite carry the kind of zing that would have made it rule at the top of the charts since its arrival on the stands. It is good but not outstanding enough to join the best of the best when it comes to rustic item songs. However, the makers are understandably gung-ho about the only true blue commercial track in the album and hence have placed it a couple of times more as a 'remix' and a 'dhol mix' version.

Next to come is 'Saude Bazi' and it is good to see Pritam getting into a different zone with simplicity written all over the song. In fact the song is way too simple that makes one listen to it at least 3-4 times before forming a firm opinion. However, as the song settles down, it turns out to be a fairly enjoyable which does ensure that if picturised well it would definitely lead to some smiles for sure. The arrangements are totally Indian while new entrant on the block, Anupam Amod, gets a good opportunity to find a solo love song to his credit. Later in the album one also hears Javed Ali going solo for the same song. Surprisingly, he sounds very different from his earlier attempts and this is the reason why if one had to pick one of the two versions of 'Saude Baazi', it would be the one by Anupam.

Rahat Fateh Ali Khan is an absolute must in every big film these days and Aakrosh is no exception. He gets on to his name in the form of 'Man Ki Mat' which has the kind of lyrics by Irshad Kamil that require some closer hearing. No wonder, this song (which sounds more like a devotional than a romantic track) takes some time to settle down. Also, it is the kind of song which mainly works as a part of the film's background rather than being sung around. It is nice but not the kind that gives an impression of a chartbuster in the making.

There is some excitement back in store with Shreya Ghoshal coming up with 'Sasural Munia'. A celebration track about a group of friends having fun with the bride-to-be and preparing her for what lies ahead in life, this Shreya Ghoshal number is picturised on Urvashi Sharma and reminds one of Priyadarshan's own 'Dhol Bajne Laga' [Virasat]. Last to come is Sukhwinder Singh's rendered 'Ramkatha' which is centred on that episode in Ramayana where Ram defeated Raavan and saved Sita. Narrated as a tale, one waits to see how this song fits into the film's narrative.

OVERALL

Aakrosh is an average score that doesn't quite carry the kind of exuberance that one expects from Pritam film after film. While the album has tried to balance it all with a couple of item songs (Isak Se Meetha, Sasural Munia), a love song (Saude Baazi), a situational (Man Ki Mat) and a devotional track (Ramkatha), it turns out to be just about decent. Also, since the album has hit the stands just a fortnight before the film releases in theatres, there is only a limited window for the soundtrack to make its presence felt.

OUR PICK(S)

Isak, Sauda

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