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 Impressive as it may sound, a line-up of singers of such caliber in one single soundtrack is hard to be believed. Jatin-Lalit, Shamir Tandon and Tauseef Akhtar share the music directors’ credit. However, the soundtrack belongs to the talented Tauseef Akhtar, who has been in Bollywood for quite some years now. As an arranger and programmer, Tauseef Akhtar is also a singer who has rendered his own compositions such as ‘If You Wanna Love Me’ in Aisa Kyon Hota Hain with Cheryl Balwani. Together they formed Soul Fusion and ‘Humein Jeene Do – Let Us Live’ is one of their fabulous work, which was released for the Mumbai 7/11 victims. Son of Akhtar Azad, he worked as an assistant music director and programmer for Nadeem-Shravan and even featured in their projects as a singer in Tumse Achcha Kaun Hai and Yeh Dil.
The soundtrack opens with an explosively Shridharish song, backed by the extremely raunchy vocals of Suzanne D’Mello. Samandar is straightforward; it’s about the beach! Neeraj Shridhar transforms the rather easy-going track with his excellent vocals – a unique skill he possesses where he can instantly make a track click with the audience. The music has everything going for its favor with a blend of new-wave arrangements, jazz and rock influences and also some tropical inspirations in regards to the ‘beach’ factor. Suzanne D’Mello is crucial in the opening bars, creating the exact mood for the rest of the track and elevates the chartbusting material by delivering a short, crisp and sensual performance. Tauseef Akhtar impresses with the orchestration, relying on two simultaneous choruses and zingy sounds. Swata Mohanty is excellent in her rendition of Samandar V2, reminding listeners of Usha Uthup during the Bappi Lahari disco phenomenon. Surprisingly, her version is beyond expectations and turns out to be equally enjoyable as the first one. The remixed version; Samandar (Remix) is the probably the best out of the three versions. Much work has been put into this remix as there is considerable change. It’s good to hear two fresh interludes which fit perfectly in the song. The music is taken further by new sounds, pulsating beats, vocal effects and guitar bits. Neeraj Shridhar is energetic in his rendition and Suzanne D’Mello’s sexy vocals are put in the background to good use. Rocking! Tauseef Akhtar comes with another mass-appealing tune in Teetar bringing together two talented singers, Sukhwinder Singh and Vasundhara Das. Typical of Anand-Milind’s numbers such as ‘Tu Tu Tu Tara’ in Bol Radha Bol, the song follows the same path with the singing and arrangements. The lesser-heard Vasundhara Das should be more active on the playback singing front as she has more to offer. Sukhwinder Singh is in excellent form and showcases his trademark singing in the prelude. The music is a blend of beats and catchy sounds. Vocal trance makes a start with the Teetar (Remix) - which is a good effort from Tauseef Akhtar, who has added the necessary ingredients for this remix. Enjoy Sukhwinder Singh reciting ‘Teetar, Teetar’!
Separated duo, Jatin-Lalit, who conquered and then parted ways, return to the tested and nostalgic Ek Dil Ki which is a very 90’s number with Udit Narayan, Alka Yagnik and Shaan. The arrangements are reminiscent of their old songs, with the flute, piano and guitar as main instruments. Unfortunately, the well-composed song, which opens with the Jatin-Lalit's trademarked flute, sounds slow in pace. Plagued by repetition of Daler Mehndi opening style, murky sounds and disastrous beats, Shamir Tandon, whose ‘Lamha Lamha Zindagi Ko’ in Corporate with Asha Bhonsle and ‘Kitne Ajeeb Rishte Hain’ in Page 3 with Lata Mangeshkar hit the charts, surprisingly produces a terrible Tu Makke Di Roti. Asha Bhonsle should not venture into such insane numbers. There is no point talking about the awful remix. Deepak Shivdasani, a regular with the likes of Anand-Milind and Anu Malik in the past, should stick with only one composer the next time. One only wish that producers will recognize the work of Tauseef Akhtar and more of him can be heard in the future. His track ‘Samandar’ is revealing.
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The remaining tracks composed by Tauseef Akhtar are not of the same standards established and are mainly situational. In Namasteji, Kunal Ganjawala sings about ‘masti and sharab’ and gets boring after some time. The track has not much to offer in terms of music except for soda sounds, a flute interlude and a programmed background score. Sonu Nigam and Shailendra do not make a good mpression in Behna Ki Shaadi, a Punjabi shaadi number which offers the standard fare – the usual Punjabi chorus with the accompanying music. High on beats, Tauseef Akhtar should have composed a much better tune for Sonu Nigam, who is becoming so rare.