Nikhil-Vinay’s composition, “Chhoti Chhoti Raatein”, is tenderly fashioned from familiar notes, cleverly interwoven, until what emerges is a gossamer tune resting delicately on a heavy bass rhythm. The combination is simply delicious! Sonu Nigam allows his elixir-like voice to drench every note and Anuradha Paudwal sounds better than she has done in a long time. Trust me folks, you’re going to want to hear this song more than once. Fortunately, there is a second version of the song later on the album. Proving that the first song was no ‘flash-in-the-pan’, Nikhil-Vinay’s second composition for the album, “Tumhare Siva”, is also a gem. Udit Narayan casts his magical spell over this sad ditty, along with Anuradha Paudwal. The composers’ trick of combining a soft, sweet melody with heavy Indian percussion is not new, but rarely has it been used to such good effect. “Koi Fariyaad” will probably only appeal to die-hard fans of Jagjit Singh. The song displays Faaiz Anwar’s talent for writing a poignant ghazal admirably, but at almost nine minutes long, I doubt whether anyone, other than a die-hard fan, will hear it through. What’s interesting about this song is Nikhil-Vinay’s use of mainly western instruments, not typically used in ghazals. The arrangements for “Meri Duniya Mein” are superb. Unfortunately, the semi-classical tune and the melancholic mood of the song make Sonu Nigam sound like he’s whining in pain! The female version is no better, sung by S.Shailaja who sounds suspiciously like Anuradha Paudwal. Nikhil-Vinay revert to more conventional music for the next two numbers. The title track, “Tum Bin”, has music reminiscent of R.D.Burman’s “Kuch Na Kaho” from 1942 A LOVE STORY. Chitra sings well and makes the song listenable, but it doesn’t have repeat value. The musical arrangements of “Dekhte Hi Dekhte” seem to have been directly lifted from Jatin-Lalit’s MOHABBATEIN. The song is pleasant but is nothing fantastic. Abhijeet and Anuradha Paudwal sing well but sound a little self conscious about singing this “Humko Humise Churalo” rehash. The Abhijeet-Chitra duet, “Pyar Hamko Hone Laga”, is too boring to even remember once it’s over. At barely three minutes long, it’s a wonder why it was even included on the album. Thank heavens for composer Ravi Pawar, who injects much-needed life back into the soundtrack with his two compositions sung brilliantly by Sonu Nigam. The first of these is “Zoom Boombura”. Don’t be put off by the title – the song has amazingly innovative arrangements and an instantly catchy tune. The second song, “Suru Ru”, is also misleading by its ridiculous title, but its Arabic style fused with dance music is a real treat. Encore! Finally, there’s a Punjabi number, “Daaroo Vich Pyar”, written, composed and sung by T.S.Jarnail, otherwise known as Taz from Stereo Nation. The song has Taz’s typical pop style and is infused with some Latin American sounds (they crop up everywhere these days). This song lacks its own identity, as it is almost indistinguishable from previous Stereo Nation numbers. Overall, this album is definitely worth listening to, with songs ranging from brilliant to the mundane. This is the kind of soundtrack that reminds you what the “skip” function on your CD player was made for. |
|||||
Back in the early nineties T-Series films boasted amazing
music scores. However, this trend was fairly short-lived, leading to many T-Series albums
flopping miserably. This album is a return to form of sorts for the company, introducing
new talent in the form of actors, singers and composers, alongside established artistes.