Originality is usually lacking in Bhatt films but most of the time their music makes up for it. That is a department they rarely miss with and as of late they’ve had Anu Malik composing a few memorable tunes for them. The very low budget Murder also has Malik composing and while, like most Bhatt films, the film has been the talk of many due to its very high sexual overtone, its overly flamboyant actress Mallika Sherawat (Khwahish), Anu’s new vocalist and a few refreshing tune give this one a thumbs up.
The romantic hit of the song is newcomer Amir Jamal’s “Kaho Na Kaho”. Anu has complimented the song with an innovative tune, which suits Amir’s voice well. Though the slight Punjab accent on his voice is evident leading to a possible typecast to the songs he may be able to sing, this one is perfect for him and suits for a good introduction to Bollywood listeners. The lyrics are a far cry from anything redundant we’ve heard from lyricists and actually carry a style that is very pleasing to hear. However it is the orchestration that stands out. One thing to note, Malik has been working with many different lyricists lately and the outcome couldn’t be more pleasing as indicated in this opener. Here, Sayeed Quadri is simply exquisite as he has been previously. The song is definitely one of the best of the year so far.
It looks like Kunal Ganjawala is moving towards mainstream singing and more solo tunes verses his usual background singing. After Bardaasht, Murder sees him following up a great tune with a pretty decent other in “Bheegey Hont”. The song has a more R&B feel to it and Kunal is able to do ample job with it. His vocal jobs at the interludes of the song add to that. Point of note is not only the lyrics but also a light musical composition, which does well to keep the listener in tune with the song.
Changing the slow male oriented theme of the song is Alisha Chinoy’s sensual seductive (as if any other terms fit her better), “Dil Ko Hazar Bar”, the song is sexy, but that comes to no surprise considering the theme of the film. What’s more is it’s not tacky and quite addictive. Malik’s composition is excellent, even if it reminds us of some of those Helen numbers from the yesteryears. Anu has outdone himself and hearing Alisha giving the song her every is even better. Her singing in the song is worth hitting the repeat button over and over again. Rahat Indori’s contribution to the album is as good as Sayeed’s. I’m sure if this film does become successful it would be everyone rushing to see Mallika gyrate to this tune.
The album does a complete change (I would go as far
as to say unwelcome) with “Zindagi Is Tarah”. Anuradha
Paudwal’s rendition is ok, as is Sonu Nigam’s depressing one
which appears later in the album. The song is sad, written that way and
presented typically that way. While there are a few things that stand out about
it, the song fails to hold the listener’s attention. Perhaps Shreya Ghoshal,
who is sorely missed on this album, would have done a better job.
“Jaana” is your typical pop club number. Sung by Amir Jamal again the song doesn’t suite him as much as the opening number. The song actually sounds a tad bit more than a song for a musical album not a film soundtrack.
The soundtrack closes with instrumental versions of “Bheegy Hont” and “Kaho Na Kaho”. A little more than your typical instrumentals they are worth the listen.
Whether it is the Bhatt’s or director Anurag Basu, someone has placed an emphasis on composing a sound score with Murder. The Bhatt’s have found a working formula with Anu Malik in creating good music and the soundtrack for Murder is another working factor in that equation.