Kumar Sanu sounding like his typical self opens up with “Jalwa” which infuses way too much into one song. We can’t figure if we want to enjoy the tabla, the chorus or the several other tunes in the background. Reshammiya uses the instrument aptly but the placement is off. In his defense, the tabla and flute do entertain. However, there is a lacking consensus between Sanu and the tunes at points, which leaves the song in the just okay category. Alka Yagnik sings well enough and in reality the chorus of “Yeh Hai Jalwa” is probably the catchiest thing about the tune. There is a second rendition of the tune, which is nothing different. “Dhire Dhire” starts of much like Kehnaa Hai (Mann), in fact the chorus is sort of a derivation of the same tune, and what results is a copy of “Aankhiyan Milaon” and “Kitna Mushkil Hai” (Agnisakshi). A little techno experimentation here and there provide for some variation. Alka Yagnik and Udit Narayan do some justice to the peppy song, which without the familiarity stands a chance at topping the charts. That entire aside, the song seems made for a David Dhawan soundtrack. “Aankhen Pyaar Hain” is another romantic duet with a lot of instrumentation, a catchy guitar base but a typical output. Sudhakar Sharma has thus far been dishing out typical, quite typical, lyrics. Kumar and Alka once again sound like their usual self. The interesting thing about the tune is that one can become oddly reminiscent of Viju Shah and his style of composing. What’s good is that he doesn’t sound like he’s trying to replicate Shah completely (even if he may be). The song has potential in portions but that’s about it! One wonders why most, if not all, Salman Khan soundtracks have tunes, which adore a woman’s bracelets, earrings, or jewelry in totality. It’s almost as if we worry if it’s not there. So, next is “Chudi Khankaye Re”, an upbeat tune, which is reminiscent of many, a tune, more obviously, “Chammiya” (Dulhan Hum Le Jayenge, interestingly, composed by the same composer). Pointless lyrics these are and the tune, which even tries to borrow from many other eighties, tunes (like “arre arre” from R.D. Burman’s Teesri Manzil) ends up trying to be too peppy, if at all possible. Such little value because of so many inspirations. The situational stuff come in the form of “Carbon Copy” versions 1, 2 and 3. Reshammiya is at high points with upbeat and swift beats, which make this one tolerable! Funny how the stupidest of songs are listenable. Shaan and Sanu sing well and provide the tune with situational viewing. Judging from the theme of the film, a son looking for his father, the song and its lyrics should serve its purpose well. Anand Raj Anand and Dev Kohli contribute another thematic tune, “London Mein India” which has ghazal master Pankaj Udhas crooning with Sukhwinder Singh. The swift, qawaali, techno styled tune is well composed on Anand’s part but in reality serves for situational entertainment. Since the film is about Salman searching for his real father, Rishi Kapoor, in London, Dev Kohli’s lyrics are simple and logical. The tune, while reminiscent of Anand’s contribution in Jodi No.1 is a fairly listenable song. Interestingly enough Alka Yagnik is the only female singer on the soundtrack. Those as swift and situational like this usually don’t have that attribution. Yeh Hai Jalwa has peppy tunes that are more like the flavor of the month, or period between soundtrack and film release. Upbeat, and well composed, were it not for the familiarity in many of the songs the soundtrack would have been much more. But, it is a David Dhawan film and those certainly don’t always constitute quality. Yeh Hai Jalwa is a typical fare for Dhawan and a typical fare for music listeners as well. |
|||||
What’s this? Another David Dhawan
soundtrack in one week? Kind of reminds you of the old days, doesn’t it? So does the
music. Himesh Reshammiya has been seen
subsequently less since he was flooded with project two years ago, the indication, good
output? All bets are off when it’s a David Dhawan soundtrack but the music is just
too familiar in parts and in others, typical David Dhawan style. There is nothing to tap
your feet at repeatedly and nothing to remember in the future. The tunes are peppy,
distinctive in parts and reach a point where they get experimental, but in the end they
don’t leave an impression on the listener. Surely this is one David Dhawan soundtrack
that will be forgotten after the film has released, which is sort of disappointing for the
fact that both Salman Khan and Amisha Patel don’t need to start off with a
mediocre soundtrack in Yeh Hai Jalwa.