It would be silly to look for some of Anu Maliik’s extraordinaire tunes in David Dhawan’s next, Chor Machaaye Shor. The album pairs Dhawan with Maliik again after a number of soundtracks including the recent Hum Kisise Kum Nahin. The lyrics stick with the purposeful feel of the film and throw in English lines and rather tapori-ish styled lines elsewhere, which again, isn’t a rarity for Dhawan’s comedy capers. But, interestingly, there are only six songs, something unusual for Dhawan’s films that always throw music where it is not needed. Compiling a fresh star cast of Bobby Deol, Shilpa Shetty, and more interestingly, Bipasha Basu who has technically faced no flops since the start of her Bollywood career, Dhawan hopes the music will bring in the audiences. And that is indeed possible as Maliik comes up with an above average effort sticking with similar sounds through out the soundtrack. Of course, it is a David Dhawan soundtrack thus all of this do not constitute anything close to great music but in terms of peppiness and chartbusters, Anu Maliik has composed the right stuff here.

The best tune of the soundtrack impedes the proceedings and indeed, it is a chartbuster. “Chhadh Gayi Chhadh Gayi”, penned by Tejpal Kaur, is an instant hit number. The song uses a variety of instruments to engage in a swift beat, which is at the very least likeable. While screechy at times, Anuradha Sriram sounds sensuous in her rendition alongside Sonu Nigam. The song seems like it is heading in the direction of “Rabba” from Ab Ke Baras but is very upbeat and different and shows a much livelier side of Maliik that we haven’t seen in a long while. The loud chorus also enhances the feet-tapping feel of it. The lyrics switch from normal to Punjabi, and the music switches from different to pretty much upbeat, but Maliik has ensured there is a lot of variety in the opener. The sole complaint, which unfortunately, arises later on, is the unaccredited voice of Karsan Sargathiya. No, the object is not that he has been unfairly left out of the credits; it is that he has been pointlessly included in the song. Hopefully, the reasons for his odd, loud contributions will be seen in the film, in the meantime one can safely hit repeat on this one.

Follows is at most a typical fare, which tries to be more. “Aankhein Hain Teri Badi” opens as if it will lend reminiscence to yore old love songs and continues to a semi-Punjabi styled number, which often switches gear from swift to romantic. Dimple Verma’s vocals are a refreshing change, but are far from attractive and sound in portions like Jaspinder Narula’s. The basic backdrop of the song is also too typical with the same dholak beat while the Punjabi lyrics, courtesy of Dev Kohli, are just regular as well.

“Tum Tata Ho Ya Birla”, is plain and simple different. The lyrics are laughable with lines like, “Tum Mamta Ho Ya Madonna”, and the usual, “English Rona… Ladki Hindustani, Taj Mahal, Eiffel Tower” references. But the tune opens up with a sort of train like tune and then follows into an excellent tabla tune! Pity however, the rest of the song contains a regular musical base with only certain points being different. The song, like a few to follow, also bears some resemblance to the tunes from Hum Kisise Kum Nahin. Anuradha Sriram is more regularly aptitude wise, not loud or screechy and Vinod Rathod is also just regular in his rendition. Not that the tune called for anything more.

The second side of the cassette starts off with the title track, “Chor Machaaye Shor”. The tune written by Farhad kind of reveals some about the story (a thief turned cop to get his loot), and is on the whole made for situational purposes. The backdrop is the same from “Munna Mobile”, and while still peppy certainly not one to listen to repeatedly. Farhad’s lyrics seem to be telling a story but weird lines like, “Lunch…India, par… dinner hai America”. Sonu Nigam is wasted.

“Kaan Ke Neeche Bajaa” is the second Anuradha Sriram (who sings three out of the six songs on the soundtrack)- Vinod Rathod duet. The typical dholak base again changes paces and compliments the song. The music seems like it trying to carry the long and story telling lyrics, again penned by Farhad, off. Thus, if the lyrics don’t get your attention chances are rare that the song well.

Finally, the last song may seem cheap and is indeed poorly filled with un-needed contributions from Karsan Sargathiya again, but the song is catchy. Sunidhi Chauhan’s voice has been drastically changed and synthesized to carry off the cabaret number off and it is interesting. One thinks Tejpal Kaur and Anu Maliik are trying to re-create “Meheboob Mere”, and while they don’t do that, the Punjabi number is a hit especially with Adnan Sami making his contribution to it. The “Deewanee deewanee” portions are also very catchy. The music is fast, different and unique, once again creating a mood for the film.

Some may think that it does not take effort to come up with such tunes to fit a film as perfect as most of Dhawan’s tunes do. And Anu Maliik has shown recently that effort is lacking in his regular romance films because of the lack of decent lyrics. Here, he has utilized more fun, meaningless, tapori lyrics and come up with a soundtrack, which seems perfect for the film. Most of the songs are made for frontbenchers, and those who like upbeat, semi-cabaret numbers that will get the feet tapping, and are aptly tuned to please those listeners. Chor Machaaye Shor is a ‘no harmer’. No harm in buying it, and no harm in not buying it.