They say third times a charm but evidently the future endeavors may seem bleak! Ismail Darbar in his fourth outing is nothing short of achieving a goner with the unique Shakti-The Power. Amongst the complaints, they begin with the short release period for the oddly mediocre tunes. After a clear listen of the audio one thinks Tips were quite aware that the tunes were not going to do much to acquire crowds for this Karisma-Nana-Shah Rukh endeavor. And when Anu Maliik, no offense intended, composes with the reputed Ismail Darbar, one would have no reason not to expect Darbar’s tunes to put Maliik’s melody to shame. Why then is a spicy, mass appealing, dance number composed by Anu Maliik one of the, if not the only, highlights of the album! This too even Tips knows, as they are promoting the soundtrack with Anu Maliik’s hit number (featuring the hit number “Ishq Kaminaa” plastered on the cover).

Fairly speaking, Darbar’s tunes are of quality. However, most of the songs take non-regular to extremes and are bound to please few people. Combined with the main complaint that where the tunes are not familiar from Darbar’s bank and other of his tunes, they are highly reminiscent of tunes from times passed. Unfortunately not passed so long for some of us to forget.

Remaining tunes test our patience far beyond from what we can say are good slow songs (As he has such acquired with “Bairi Piya”, “Hamesha Tumko Chaha”, “Ankhon Ki Gustakhiyan”). These songs are well composed for background music, nothing meant for regular listening and nothing truly meant for a film’s soundtrack. At the very least, Mehboob has penned a few great lyrics, and others too quite situational. Shakti is evidently a soundtrack of lyrics. The songs seem strictly intended to enhance the situation in a detailed and slow mannerism, which do not cater to the regular or irregular listener’s pleasure.

I must admit, I myself was surprised when I heard that Anu Maliik was roped in for Aishwarya Rai’s dance number. I was even more awed when I heard a clip of it, which was truly no great shakes. But as a whole and in comparison, the tune simply stands out amongst the rest. The music for Ishq Kaminaa keeps the listener attentive, alive, upbeat and it is no question as to why the song is currently a rage. Sonu Nigam and Alka Yagnik are quite vigorous in their renditions and their efforts to make the song upbeat stand out. Both add sensuous tones at the right places. Whatever the reasons may be, the song contains catchy lyrics by Sameer (of course), and with its catchy title is one of the main reasons Shakti’s soundtrack may sell well within the two weeks ahead for the film’s release. And well, there is Aishwarya Rai.

“Hum Tum Miley” is repeated on the soundtrack. Adnan Sami is a continuously growing singer in Bollywood but it is safe to say that Kavita Krishnamurthy, expectedly, is the winner in her rendition. Even still, the portions of “shanana” and Adnan’s rendition is quite reminiscent of Hum Bewafa Hargiz Na The from the film Shalimar. Kavita manages to make the song more listenable with her beautiful voice again and all said and done, the song, especially her version, is familiar to the ear barring the chorus.

Festive fisherman tunes with religious connotations come and go in soundtracks today. For whatever reason, there is one here in the form of “Dhumro Baaje”. But most of the time they are rarely tuned for a listener’s ear and not much different can be said here. Mixing “Nimbooda” with a bit of “Dola Re” and more predominantly “Chalak Chalak”. The beats are mostly the same; lyrics with “thirak thirak thil” are all evident of this. The opening of the song however is quite different (and at all costs weird) but it ends up very unfriendly to the ear. So much so that it seems not even the masses will go for this one. Sukhwinder is not in his “Chaiya Chaiya” form here and Mahalaxmi is inaudible. Truly, no one has managed to compose a song of this nature (where the protagonist was found dancing in front of a temple) since Rajesh Roshan did with “Sanson Ki Mala” from Koyla.

The lullaby meant for Karisma and her son, “Mere Munna Raja” is a mixture between yesteryears “Eek Chak Dana” and 1947 Earth’s “Banno Rani”. Wherever Darbar’s inspiration may come from the tunes would have been much more entertaining if the music wasn’t so familiar. Anuradha is her usual self, sounds her usual self and doesn’t do much to bring the song to life. Funny, even the children’s laughs sound synthesized and fake. And while it is listenable, and more listenable than your average day child tune, the tune that opens it is reminiscent for the opening for “Silsila Ye Chahat Ka” from Devdas.

While “E-Chand” is one of the album’s gems the music is almost non-existent leaving most of the work to Kavita Krishnamurthy. Thankfully, the excellent singer can take songs to greater heights, but “E-Chand” is more of a story teller rather than a song mainly because the effort is at most missing to make the music blend mellifluously and completely with Krishnamurthy’s beautiful voice. The portion that stands out is the tabla interval, which complimented with the orchestration expresses a depressing mood.

“Jhoomti Ghata Mein” is another song of poetry more than music. The song tells a story much more than provides us with tunes of typical music and beats. Mohammad Salamat, Darbar’s protégé fails to distinguish his voice from the likes of Kay Kay and Kamal Khan. Lyrically the tune is memorable but the familiarity is also quite audible. Interestingly enough, the flute theme for Jhoomti Ghata Mein, which concludes the soundtrack, is much better a listen. Here we hear the true melody brought to life by Naveen who has composed it.

Remember how oddly Karisma looked break dancing to “Aankh Milaoongi” in Fiza? Well “Dil Ne Pukaara” should help you. The song tries to mix traditional music with a modern drumbeat and is unable to keep up with it. Alka sounds terribly average and the tune itself is not entertaining. The song opens up with a shlok sung by Ravindra Sathe and Prakash, which totally throws a listener off from what is to follow. Adnan Sami’s contribution is un-noticeable. Clinton, Kunnal, Domnic and Vivian have done the harmonies for this track but the consensus is missing.

It would be cruel to say the music for Shakti is truly bad. But, at times it seems that the music itself is missing. In essential portions our attention is lost unless the specific style of music is our cup of tea which is truly not a safe assumption or risk to take on. In correlation with Mehboob’s lyrics, Shakti’s songs seem like they will prove the most entertaining in the film itself. We can at least hope so as Mr. Darbar’s fourth outing is not the ear candy we’ve been treated with his trilogy- Hum Dil De Chuke Sanam, Tera Jaado Chal Gaya and Devdas, before.