Woodstock Villa   Producer: White Feather Films Director: Hansal Mehta Starring: Sikander Kher, Neha Oberoi, Arbaaz Khan, Shakti Kapoor, Sachin Khedekar, Boman Irani, Anupama Varma Music: Anu Malik, Shibani Kashyap, Bappa Lahiri Lyrics: Virag Mishra, The Aryans, Manoj Muntashir Singers: Anchal Datta Bhatia, Mika Singh, The Aryans, Shaan, Rahat Fateh Ali Khan, Shibani Kashyap Audio On: T-Series    Number of Songs: 9 Album Released on: 25 April 2008 Reviewed by: Aakash Gandhi  - Rating: 7.5 / 10 More Reviews and Analysis by PB Critics:     • Feature Review by Gianysh Toolsee - Rating: 7.5 / 10   Let us know what you think about this review

So we hold our breaths (not really) - as for the umpteenth time, Anu Malik, along with lyricist Virag Mishra, embarks on a musical cruise that, with history as my guide, could perhaps reach the heights of stardom or quite possibly the depths of tragedy.

Any chance of a decent comeback by Malik is short-lived with the bland arrival of yet another track titled Dhoka. The arrangements provide no room for creative intervention, as we have the same steady 8-beat rhythm relentlessly pervading the entire track. The random horns are completely alien to the rest of the composition, while the arbitrary changes in instruments serve no purpose. Seems like Malik has put a lot of weight on the rudimentary rhythm and boring synths rather than a quality melody, which is forgettable as soon as the 3:54 is up. Anchal Dutta Bhatia's unsettling rendition is disturbing (probably done on purpose), but the results are excruciatingly dull. Mishra's lyrics are sub-par, and at times nonsensical. Verdict: This song is a total train wreck. Stay away!

Next up we have the re-creation of one of Mika Singh's most popular tracks in Saawan Mein Lag Gayi Aag. This is a perfect example in which melody rules all. Basically, if you are able to come up with any kind of a steady beat, the song will sound great thanks to Mika's invincible melody. Malik's re-creation is half-decent, but still pales in comparison to the original track. Nevertheless, thanks to Mika's trademark vocals and the already-popular composition, Malik's work was already done for him. Verdict: Just another version of the wicked track to move your groove thayng to.

I know it's only been a couple of songs, but I'm ready for a break from Anu Malik. So in comes Kyun - from the popular rock n' roll boys of The Aryans. Perhaps it was all the hype of this being the best track of the soundtrack and playing a crucial role in the film's screenplay, or maybe just the fact that the Aryans are back after a hiatus - but I had a healthy level of expectation from Kyun - As fate may have it, I'm terribly let down. Malik and the group barely scratch the surface of the genre that is Rock and put forth an unconvincing melody with powerless renditions and clichéd lyrics. Not to mention, the "oooo" refrains are enough to put a dent in your nerves! The additional throw-in of synthesized sounds only deteriorate the authenticity of the genre further. Verdict: An extremely poor attempt for a revived group that had a golden opportunity to give their careers a new lease.

Like a breath of fresh air, Malik brings us a whimsical little love song in the form of Yeh Pyaar Hai. Malik shows glimmers of life with a light-hearted composition full of textures, sounds, and aural flavors. The soul of the song is its beautiful melody, played out wonderfully well by Shaan and Anchal Dutta Bhatia, who does a complete U-turn from her outing in the premier track, Dhoka. Although I would still have preferred a Shreya Ghoshal or Mahalaxmi Iyer, there is enough chemistry between the two to take this song to great heights. Arrangements are another tremendous plus point. The sudden thrust of rhythm as the song commences has a musically revitalizing effect - you know the song will soon transform into something wonderful - and it does. Unlike in the previous track, synthesized sounds bring an much appreciated nuance to the arrangements, as the creativity in their textures add to the blossoming feel of the song as a whole. This has to go down as one of the better romantic songs of 2008, and surely makes its debut onto my weekly playlist. Verdict: A perfect glance at a pretty little song with a touch of old-school melody from the house of Anu Malik.

Koi Chala Jaa Raha Hai continues along the lines of Omkara's Naina, thanks in part to the earthy feel and Rahat Fateh Ali Khan's hard-core sufiyana rendition. Not meant to be Malik's usual sing-song type of composition, Koi Chala Jaa Raha Hai showcases Malik's hidden versatility, something we rarely get a chance to experience. I personally love the acoustic touches and table breaks lining the steady drumming. Although there isn't much variation in the backgrounds, Malik provides for more than enough inventiveness in the rustic melody, while RFAK further reinvents the melody with his signature rendition. Joining in on the personal revelations, Sameer too shows shimmers of lyrical ingenuity, as he writes on pain, desolation, and separation in an entirely new light. Verdict: I'm still shell-shocked by the realization that Malik's abilities as a composer are clearly much broader than I was previously led to believe. This is a blinding bright spot in Malik's career that should be appreciated by the lovers of this genre of music.

You never quite know what you're going to get from a Shibani Kahyap. This time she returns to the scene with another lounge track in the form of Raakh Ho Ja Tu. Typical of most Kashyap compositions, this one has a chilled out environment to it with very simple arrangements, infiltrated by electric guitar. Kashyap is in fine form while she renders her melodic riffs in full-on style. Manoj 'Muntashir''s lyrics are quite progressive, as are all of Kashyap's songs. Verdict: A great lounge piece to lean back to.

At face value, you'd think that Dhoka Dega was some kind of a repeat attempt to rectify the God-awful composition that started the soundtrack (and it may still be), but in no manner are the two tracks even the slightest bit similar. The very talented Shibani Kashyap returns to sing and compose another lounge number. The piece opens with a gorgeous New Age feel, paving the way for Kashyap's sharp vocals to croon another unconventional melody. What invigoration! The fantastic number is brought to life with an influx of some high-octane instruments like the trendy play of the Slap bass, the high-flying trills of piano, the short-lived sways of woodwinds like the soprano sax, and the jazzy electric piano interludes - all coming together to ornament a musical stage on which Kashyap rocks the house! Verdict: Sing it - feel it - love it!

What a stunning turn of events. After Malik's very slow start with Dhoka and Kyun - He and Shibani Kashyap bust out with four high-quality compositions that are not only extremely entertaining and enjoyable, but also touch a wide array of styles and forms, including Romantic, Rustic/Earthy/Sufiyana, and Lounge. There is no doubt that Woodstock Villa's soundtrack far out-lives Anamika's soundtrack (Malik's earlier venture), but what remains to be seen is if Malik can continue this great momentum from Yeh Pyaar Hai and Koi Chala Jaa Raha Hai. It could very well decide the man's fate.

Aakash Gandhi is Managing Editor and Senior Writer for Planetbollywood.com. He also freelances for the Asian Variety Show at avstv.com.