Given the track record of the Bhatt’s alone, the music for Footpath should have turned out a melodious gem. This year alone, the Bhatt banner has given us two wonders in terms of soundtracks, Jism and Saaya, the best of the year indeed. Then, when one takes into consideration the Bhatt’s work with Nadeem-Shravan in musical gems Kasoor, Raaz, Sadak, etc., Footpath should be nothing less than a melodious to say the least. The least, unfortunately, doesn’t even amount to much. Nadeem-Shravan have never been original, but perhaps, that’s what their thousand fans like about them. This time, their inability to create causes them to re-create their songs with different singers in case and try their best to do just one thing different in the other. The outcome is quite frankly boring.
The prime case in point is “Chain Aapko Mila”. For all of us who got excited to see Asha Bhosle re-unite with S.P. Bhalasubranium and with Nadeem-Shravan after so long, rest assured, this is a prime indicator why no such reunion should have occurred. But the irony of deceit lies in the fact that not only is the tune the exact same thing, especially saxophone interludes closing the song, but the title of the song is the same as well. “Chain Aapko Mila” from Footpath is the same as “Chain… (The solo aspect of the credited title) Aapko Mila” (sung by Sadhna Sargam and Shaan in Nadeem-Shravan’s [last release] Hungama). Asha and S.P. can’t do much to salvage the poor track nor do they help take away the twin sister song from our memories. It makes us wonder whether there is supposed to be some relation to the boring songs, if not, then Nadeem-Shravan are doing us, their fans, a great disservice by creating such identical idiocracies being passed off as songs.
“Saari Raat”, the opening track of the soundtrack, is just as familiar on the ears. The typical Udit Narayan opening line leads to the typical beat, as heard in “Aapke Pyar Mein”, “Tum Agar” from Raaz, is just laced over different lyrics. While the song fails to please immensely, had their been other songs like this on the soundtrack, its viability would have been increased.
The dholak in “Kitna Pyaara Pyaara Hai Sama” is intriguing until the insipid beat kicks in. But, overall the song does hold its own with Abhijeet and Alka Yagnik. Abhijeet does his common “laley, laley” and Alka does her usual “aah…”. Normal Nadeem-Shravan music is prevalent through out and the song is tolerably listenable.
“Zara Dekh Mera Deewanapan” is another romantic number sung better by Udit Narayan than Alka. His voice stands out more. On that note, the song is once again a repetition of the avatars of “Tum Agar Samne”. Nadeem-Shravan don’t seem to know how to compose with any other beat! Nevertheless, for those of us who like to hear that same beat again and again, the song is pleasurably a decent listen and more than likely the most pleasing in the entire soundtrack.
Henceforth there is nothing worth mentioning on the soundtrack. Kumar Sanu has had a few very nice songs in recent times but he is often prone to these long solos, which are long, boring high strung and wordy. “Jab Tumhe Aashiqi” (Ajnabee), “Masoom Chehra” (Talaash) are two cases in point, and “Dost Milte Hain” joins the list. Kumar Sanu is nice to listen to but the song is so long, high-strung, slow and boring that at times you can’t stand but not listen to him. The song, as usual for a Nadeem-Shravan is repeated in its female form courtesy Alka Yagnik (titled “Dil Milte Hain”), with equally as negative things to say about it.
“Soorat Pe Tere Pyar Aave” is the mandatory Punjabi number, which is done by guest composer Himesh Reshammiya. Indeed, that is a surprise as Nadeem-Shravan have always advocated on not having "guest composers" and for the most part have been successful in not having them. Whether or not music companies are actually realizing the need for them is another thing, but the Punjabi flavored number is catchy. Upbeat and clearly of different style than anything Nadeem-Shravan have composed. Kind of influenced with a qawaali interlace, the song is passable. Singers Hema Sardesai, K.K and Jayesh Gandhi are nice to listen to.
Vikram Bhatt has always done well in choosing the right music for his films; it is usually a good way to ensure they are a success. Furthermore, the repertoire he and the rest of the Bhatt’s share with Nadeem-Shravan have always been positive. But unlike the usual, where “experimenting” is missing in a Nadeem-Shravan soundtrack, there is much more missing here with Footpath. Forget originality, judging with Footpath, these melody kings quite frankly need taste.