Sanjeev Darshan seemed to have taken some ‘melody’ training from Nadeem-Shravan without copying them exactly (that is, exactly!). However, it is quite obvious that directors have no confidence in themselves anymore; many of their recent soundtracks have been shared with other music directors. None of them have been minimally tolerable, this one is. In addition Faiz Anwaar has really became hot property with the success of Tum Bin, combined with Praveen Bhardwaj, who started off with Mahesh Manjrekar, we are given a romantic written soundtrack in all its elements. There are no non-romantic tunes here, no sad numbers and on the same note, nothing extremely meaningful either. "Soni Roop Di" is a Punjabi song in all its elements. There is absolutely nothing not Punjabi about the song sung by Punjabi singer Sardool Sikandar and written by Dev Kohli. For Punjabi lovers and pop lovers this song has chartbuster written all over it. Anand Raj Anand was roped in to compose this heavy-duty number that would appeal to listeners of this style of music. “Na Jaane Mera Kya Hoga” has all it takes-- to entertain the frontbenchers. It sounds too much like a left over from a Chi Chi film. Apt singing by Sonu Nigam a swift beat with your typical “I’m amazed” lyrics. The base for this composition is run of the mill, but everything else has a little of this and a little of that. My guess is this is Sayed Zulfiīs song since Udit has been pretty much reserved for Aftaab either way Sanjeev Darshan have managed to include a lot of variety in the song making it minimally tolerable yet extremely forgettable. So it’s not all perfect as the situational number “Usko Pata Hai” sung and written by Narinder Bedi and Sudesh Bhonsle is your typical on screen time-pass tune. Hopefully it will be humorous on screen or else it’s worth nothing. This one is definite for the fast forward button. After Hum Dil De Chuke Sanam and Fiza the voice of Karsan Sargithya was rarely heard (if at all?!) He opens up this highly entertaining ‘dandia’ celebration tune featured on all of the promos. Listen to this enjoyable tune and you can easily remember why Sanjeev Darshan became popular so fast. Kavita Subramanium sings at an accurate aptitude and Udit sounding as pleasant as ever add some life into what promises to be a visual treat. The only drawback is the chorus repeating, “let’s play dandia” (sigh), makes you want to ask Faiz Anwar, “Yaar, Kya Hoga!” (Listen to the song, you’ll laugh then). “Iss Mohabbat Ka Siva” is another romantic song that bares an eighties tune, quite obviously. I hesitantly say you’ll enjoy the number nonetheless. Sonu Nigam and Alka add their pozazz and feel to this romantic number. The backdrop is the familiar part but has been put to use efficiently nonetheless. Undoubtedly the most run of the mill average Sanjeev Darshan song. “Tandav” is quite in an interesting instrumental. It tries to mix jazz and pop with religious music as implemented with the shanq and tabla. The outcome is quite effective and is certainly an accomplishment for this duo, but it just makes you wonder, where their talent lies (did they burn out trying to compose the instrumental and forget about all the other songs?) Since the film is supposed to be a romance turn thriller it would probably be interesting to see the use of this one on screen. “Tere Pyar Ka Chaiya Nasha” in two versions by Sunidhi and Adnan vs. Sunidhi and Abhijeet is too familiar to make a lasting impact. Not only are the lyrics predictable (when you first listen to it you get the feeling of an “I Love You” coming up), but also the predictability is heightened with the familiar eighties music. Obviously everyone’s been talking about Adnan Sami but unless he distinguishes his voice the guy is going to become too popular too fast that he is going to become too familiar to the ears. Sure he sings a heck of a tune but we can only hope he doesn’t get overworked and redundant in the vocals department. Abhijeet will have to work with meaningful composers before he can give us another Roshni Se and sadly Sanjeev-Darshan don’t fit that bill. Sunidhi Chauhan is at her all time ‘Mariah Carey Imitation’ best here, no explanations needed. S-D shows heavy influence (aside from the 80’s tune) from Nadeem Shravan again with the musical intervals. The song is listen able but a little too familiar for myself. Nikhil-Vinay (also hot stuff since Tum Bin) compose “Milte Milte Sanam” a song that enhances Udit Narayan’s vocal ability and popularity. This guy has managed to do a good job with every song he sings as long as there is effort involved in the musical composition section, and that is evitable here. Minimal effort, the song starts off showing lots of potential with an extremely catchy effect of a variety of instruments but its base is the typical use of the dholak that many composers have beaten up over and over again (even them themselves). Yet I’d give this one a thumbs up, Udit does a good job and there is a feel good feel about it. Thought I would save the best for last. Daboo Malik who made a rhythmic debut with Yeh Zindagi Ka Safar is back and if he can keep this up is going places, and fast. T-Series (or whom ever controls the arrangements of songs on a soundtrack) have intelligently placed this song first to attract the audiences (as well as on the trailers) and reel them into purchasing the soundtrack, and in all seriousness, it is worth it for the tune. Pravin Bhardwaj who penned fresh romantic tunes for Tera Mera Saath Rahen has done a well enough job here again. It’s quite weird to hear Malik compose such a swift romantically engaging tune when all I have been listening to is his soft slow tunes for YZKS, goes to show that the guy has a lot of potential. “Milti Hai Jhukti Hai” is not deprived of the eighties hangover though! Udit Narayan and Alka sing sweet enough, but they’ve done it many times before and you can’t forget it when listening to this song. The dholak base isn’t at all groundbreaking but done in a rather efficient manner causing one to reach for that repeat button. In addition there is also a sense of feet tapping that one gets midway with the only distinguishing use of the dholak. This tune has been featured on all three of the singers (weird since Udit is the only male voice and it could have been heightened with Sanu’s vocals) and is without a doubt the only praiseworthy song on the soundtrack, disappointingly though; it ends faster than most of the previous songs on the soundtrack. Upon first listening, this soundtrack comes across as really enjoyable, and in reality, that’s all it takes sometimes for a film to draw in the audiences. It has work many a times before and each of the actors, Aftab Shivdasaani, Yukta Mukhi and Sayed Zulfi, whom all depict extreme confidence judging from the promos, should benefit from this. |
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The Models are taking over! Or at least they are trying to, and with a soundtrack like
this, Yukhta Mukhi has a good start.
Unfortunately for us some of the songs bare a familiar eighties stamp on them. A. Muthu seems to know what the fans want in terms
of music (movies may be another story), his last soundtrack Tera
Jadoo Chal Gaya excelled and this one too is bound to be a crowd pleaser (if
you’re checking the rating and getting ready to blast me for my contradictiveness,
hold on). The fact remains however, that not all crowd pleasers are musically sound.
Chances are they won’t be the best music compositions and they won’t strike a
chord with the critics, after all, the crowds have not taken a fancy to