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 Lost in his own world and trying to find an explanation to why she left him are put into words by Irshad Kamil in Jaane Kyun Tanha Ho Gaye. Blessed with a deep melody, which provides ample opportunities to express the profoundest feelings from the heart, Sonu Nigam is simply astonishing in his performance. Each of his breath resonates into a thought – a thought about his beloved, where he tries to convey the inexplicable matters of the heart.
Inspired by Late Gautam Chatterjee's song 'Ghare Pheraar Gaan', Pritam shows shades of accuracy, brilliance and craftsmanship in rehashing the tune and polishing the product to the best of his arranging abilities. The CD sleeve mentions about its original source. Even though he shares the soundtrack with the hard working duo Siddharth-Suhas, his contribution in this particular number deserves the applause. Pritam’s remixing and rehashing skills are above what is required in Bollywood. He is too talented to rearrange a stolen tune or in this case, a credited number. If other plagiarizers have failed in an attempt to recreate a hit track, Pritam wins the race from the first note. The approach he uses is from the West – a warm romantic background filled with a light chorus all marinated with soft-rock arrangements. The soulful vocals of the lead singer take precedence over the sounds. The slow-paced number carries a loneliness atmosphere with Sonu Nigam pouring moments of sorrow and sadness at places. The music does not deviate from the mood, remaining at par with the depressing feelings of the protagonist in the situation. Sonu Nigam masters the melancholic piece with grandeur and puts his own touch with the high-pitched renditions, which musically rhythms with the rock influence. Pritam’s next track Jaane Kaisa Hai Tu - which ‘maybe’ be an original number (highly improbable until it is discovered) is much below the standards of the opening song. Light and enjoyable to some extent, Shaan sails through effortlessly in this slightly rock arranged piece which depends enormously on the chorus to move forward. The music is repetitive, as only the first two lines form part of the main tune while the verses do not seem to fit well with the overall structure. Shaan rendered a similar type of number titled ‘Nazron Ka Yaarana’ in Rok Sako To Rok Lo.
A golden chance is missed in converting Meri Ankhiyaan into a touching song, although Richa Sharma provides the best vocals. If Jaspinder Narula’s ‘Sabki Baaratein Aayeen’ in Jaanam Samjha Karo was excellent due to the blend of the musical arrangements and the captivating voice, the duo fails to capitalize on the voice of Richa Sharma and neglects the arrangements big time. Wonderfully opening with the traditional folk music, the track begins in the right direction, with the singer exposing her finest vocal chords. It’s further enhanced by the vocal effects applied, which still sound alright in the recording before the first interlude is placed. Sadly, Richa Sharma even though tries hard to keep the pace alive after each interlude, is hindered by the rigidly structured stale verses, which do not allow her to display the emotional range of her voice. Maintaining good sounds till the end, the track still has a certain value but is rather a half-baked mix of semi-classical pieces and light music. K.K does not disappoint in Lagdaa Naa Lagdaa which starts off with a progressive and catchy tune, all set to rock. The fun does last till the end as the song is rather short and has been mixed well with fast beats and an engaging background score. The duo puts double efforts in the arrangements with an upbeat solo violin work in the second interlude. After a stunning ‘Dekha Tujhe Sau Martaba’ in Rama Rama Kya Hai Dramaaa, it is the second number where both Siddharth-Suhas and K.K deliver their best. In this era of fast-paced music with groovy beats, K.K’s voice is very apt and highly in demand as his vocal capabilities is diverse. Pritam extracted the best vocals from K.K in ‘Sajda’ in Bhool Bhulaiyaa and now Siddharth-Suhas repeats its enhanced second version with the same electronic ingredients. Composing patterns are moving towards such tunes – which both sound fantastic in the original and the remixed version. It is also a real get-away from the dated 90’s groovy tunes, which did not really make an impact, even though well remixed.
The duo goes behind the mike in Teri Aankhon Ki Narmi which is a very energetic number with great verses. The number scores due to the rock background used and the rock guitar which strikes at the right places. On the singing level, the vocals suit the rock dimension designed. This number can be easily turned into an electrifying remix. The soundtrack of Bhram offers variety. Pritam’s arranged ‘Jaane Kyun Tanha Ho Gaye’ is the best of the lot while Siddharth-Suhas’s ‘Teri Aankhon Ki Narmi’ is promising. The duo maintains consistency in their work but is restricted with the situations of the small-budget movies they are doing. Furthermore, using vocals like Richa Sharma could have been better exploited if ‘Meri Ankhiyaan’ was better composed. The semi-classical piece, though not groundbreaking, shows the potential in Siddharth-Suhas.
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Pritam surprisingly disappoints in his second contribution and signs off, paving the way for Siddharth-Suhas (The Film, Dil Dosti Etc, Rama Rama Kya Hai Dramaaa) to offer some more meaty original tunes, with lyrics by regular Kumaar.
Versatility is the forte of Siddharth-Suhas in I Am A Bad Boy as there is a wide use of genres, including hip-pop. Khushboo Jain impresses yet again in her rendition (Aaja Naachle) and sounds raunchy. Suraj Jaggan, Earl and Sunaina join the bandwagon for the additional vocals in this mishmash number which uses plenty of Arabic overtones. The number tries to be trendy in various ways and is strictly situational.