Planet Bollywood
Producer: Aditya Chopra
Director: Habib Faisal
Starring: Aditya Roy Kapur, Parineeti Chopra
Music: Sajid-Wajid
Lyrics: Kausar Munir
Singers: Javed Ali, Sunidhi Chauhan, Sonu Nigam, Shreya Ghoshal, Keerthi Sagathia, Shalmali Kholgade, Wajid, Shabab Sabri
Audio On: YRF Music    Number of Songs: 7
Album Released on: 17 July 2014
Reviewed by: Anish Mohanty  - Rating: 5.5 / 10
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After composing just a single song in Yash Raj Films' 'Ek Tha Tiger' at the lead actor Salman Khan's insistence, Sajid Wajid get to compose an entire album for YRF with the Habib Faisal directed 'Daawat-E-Ishq'. Sajid Wajid have always flourished and come up with some of their better scores when they have worked with filmmakers or banners who have a keen sense of music, case in point being their collaboration with Tips ('Kya Yehi Pyaar Hai' ), Milan Luthria ('Chori Chori'), Anil Sharma ('Veer') and Kunal Kohli ('Teri Meri Kahaani'). With them joining hands with Yash Raj Films for a full album, one is eager to find out as to how this collaboration turns out to be.

The title track “Daawat-E-Ishq” is essentially a qawwali sung by Javed Ali and Sunidhi Chauhan. The song boasts of rich orchestral arrangements as is the norm with most of Sajid Wajid songs. Apart from the Indian instruments, the song has electric guitar and drums thrown in to give it a contemporary feel. Giving ample support to this wonderfully composed number are beautiful lyrics written by Kausar Munir whose lineswhich may not be comprehensible to a regular listener e.g. “Dil Ne Dastarkhan Bichchhaya Daawat-E-Ishq Hai, Hai Qubool Toh Aaja Jaana Daawat-E-Ishq Hai”. Javed Ali who has sung multiple qawwali based songs, in the past, for A.R Rahman, Pritam and Jatin Lalit sings a Sajid Wajid composed qawwali for the first time. One wonders why it took the composers so long to get the talented singer on board since the duo has composed numerous qawwali based numbers in the past and the singer, too, has excelled in this genre with different composers. Sunidhi Chauhan, as always, is first rate and one wishes that she is heard more often in such songs which have a strong sense of Indian melody in them.

Up next is “Mannat” , a romantic number with strong influence of the 70s Hindi Film music. The major issue with the song is that it has a very 'heard it before' feel to it. It sounds like a medley of a couple of Laxmikannt Pyarelal numbers from the 70s. While the song is decent and engaging throughout its duration, there is no originality whatsoever in the composition. Kausar Munir writes some effective lyrics for the portion where Shreya Ghoshal comes in. For the rest of the part, her words are as mundane as Sajid Wajid's composition. What takes the song a few notches higher is the singing by Sonu Nigam and Shreya Ghoshal. Needless to say, they perform the song with effortless ease. The song, later, appears in a reprise version where Shreya Ghoshal gets to sing the mukhda along with Sonu Nigam.

Shreya Ghoshal teams up with Wajid for the third track of the album titled “Rangreli”. The song seems like an unused song from the Sajid Wajid's music bank from the 90s which they thought of using for the film. Nothing wrong with a song sounding a bit dated as long as it boasts of a good composition but in this case, the tune is absolutely forgettable. The song, which has a bhangra-meets-brass band feel to it, would probably be played in a wedding sequence in the film. Kausar Munir's lyrics are strictly functional. Coming to the vocals, while Wajid is at his usual boisterous self, Shreya does well.

The next song “Shayrana” takes a different route than the earlier songs as far as the orchestration is concerned. While the other songs were deeply rooted in Indian melody, this one is a little western in its approach. A couple of songs written by Kausar Munir in the past were heavily influenced by Gulzar's style of writing. Songs like 'Pareshaan' (Ishaqzaade), ‘Naina' (Gori Tere Pyaar Mein), ‘Jaane Bhi De’ (Ishkq In Paris), among others, are a testimony to this fact. In this song, too, one finds her treading a similar path. Sample these lines:

    “Jheeni Hai Bheeni Hai, Khushboo Teri Hai, Main Mehak Rahi Hoon

    Khatti Hai Meethi Hai, Boli Yeh Teri Hai, Main Chehak Rahi Hoon”

Despite being influenced from a legend like Gulzar Saheb, her lyrics often turn out to be ordinary, something which Gulzar Saheb would not approve of. The tune, composed by Sajid Wajid, sounds more like an ad film jingle. Shalmali Kholgade sings well, though her accent does not work well for the song.

“Jaadu Tone Waaliyan” is a qawwali with strong elements of rock music. Sajid Wajid, in the past, has excelled in this genre of music with songs like 'Ruthe Yaar Nu Mana Le' (Chori Chori), 'Yeh Jo Halki Halki Khumariyan' (Son Of Sardaar), Humse Pyaar Kar Le Tu (Teri Meri Kahaani). While this song is not half as impressive as the rest of the songs they have composed in this genre, thanks to the tune that sound over familiar, one can't deny the fact that the song has a very addictive quality to it. Kausar Munir, though, writes cringe inducing lyrics like:

    “Ghoonghte Ko Khol Ke, Darji Ko Chhod Ke

    Kudi Gate Langh Gayi Khoonte Ko Tod Ke

    Ho Takte Reh Gaye Dollon Waaleyan

    Mantron Waaliyan, Jaadu Tone Waaliyan

    Jantron Waaliyan, Jaadu Tone Waaliyan…”

‘Moochhon Waaliyan, Dollon Waaliyan’…like really? Shabab Sabri sings the song with aplomb. However, one could understand the plight of a seasoned Qawwal like him to be made to mouth such lines.

The album ends with “Daawat-E-Ishq (Instrumental)” , an instrumental piece of that lasts for 2 minutes 10 seconds as against the title track which stands at 5 minutes and 30 seconds. The track, apart from a couple of short dialogues by the lead actor Aditya Roy Kapur, plays the instrumental version of the mukhda of the title track. The orchestral arrangement is minimalistic and nicely done but it would have been better if the makers had placed a fully fledged instrumental version of the title track with as rich orchestral arrangements as the original.

Daawat-E-Ishq fails to meet the expectations that one would have from an album which brings together two leading music composers and the biggest film production house in the country. Barring the title track and probably to a certain extent 'Jaadu Tone Waaliyan' and 'Mannat', the album does not have a single track that leaves a mark.

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