The saxophone opens up the first version of the title track, titled, Hum Yaar Hain Tumhare. This, similar to the opener for Kitni Beechain from Kasoor, but unique in its own way, is a playful way of attracting listeners, which means, instrumentalism works here. The dholak base isn’t unique, however, as the well written poetry by Sameer continues to flow softly and smoothly off the lips of the popular and equally talented Alka Yagnik and Udit Narayan you can see how much the musical base compliments the poetry and singing. Portions of the track also have a little bit of variety, specifically the interludes that bring back the saxophone and a splashing wave styled backdrop. This is the perfect start and an equitant to the soundtrack openers for Raja Hindustani and Dhadkan. The counterpart to the first title track, creatively titled Hum Pyaar Hain Tumhare drops the saxophone for the use of the piano and a slightly dramatic backdrop. Once again the vocalists, Alka Yagnik and Kumar Sanu do an excellent job in their sincere singing of Sameer’s good lyrics. There is a slight stray from the tune in the first version, which works again. Nadeem-Shravan have kept their promise of using more than a normal range of instruments here. There is a touch of Saajan in both of the versions of Zindagi Ko Bina Pyaar. The rip off of some of the most famous ghazals is forgivable with a slightly different background of drums, and several other distinguishable instruments. The use of the saxophone is at its best here. Sarika Kapoor shows a lot of promise in her soft youthful voice and Sanu excels once again. This is a must listen to for those that love semi-slow love songs that depict a certain amount of feeling. Again, the music, singing, and lyrics all compliment each other. Alka Yagnik couldn’t be left behind as she sings the second rendition of Zindagi Ko Bina Pyaar. With “Mera Dil Bhi Kitna Pagal Hai” she had proven that she could sing these unique ghazal styled songs as well as Anuradha Paudwal can. Once again, Nadeem-Shravan have focused more on the piano with a decent amount of effectiveness here. Many would probably love this one for her ending off with another tune of Haan Maine Bhi Pyaar Kiya. Teri Aankhon Ka Andaz Hain and Har Kisike Dil Mein are somewhat rehashes of “Na Na Karte Pyar” from Dhadkan, but thankfully there is a lot of more spice in the songs that certainly stray them from the previous tune. There is a saxophone for each interval and a catchy guitar to support it and much more variety that distinguishes each. These songs are reminiscent of the duo’s hits from earlier on in their career. The singers sing with lots of energy as if they are the protagonists having the times of their lives. The ending off with the shehnaii in Teri Ankhon also establishes itself amongst the swift beats. Har Kisike seems like it was aimed for the NRI audience (who completely engulfed themselves in Raja Hindustani and Dhadkan). Again, there is a musical variation that is noticeable with the different instruments especially Nadeem-Shravan’s USP, the saxophone. The two songs seem like blood brothers and are enjoyable for those that favor swift numbers that seemingly only Nadeem-Shravan could dish out. Lyrically both songs are enjoyable. The shehnai backdrop in the wedding song, Mubarak Mubarak, excellently blends with Nadeem-Shravan’s music. This one alone is a must listen to for those that love shaadi numbers. It gives you a unique feel to it, not completely authentic, but loveable nonetheless. Udit Narayan sings with all his heart and compliments the backdrop of the song. Sameer has done an apt job describing the bride’s beauty and anticipation. One could really look forward to the visualization of this song as it has a dramatic title-track-interlude ending it off. The soundtrack ends off with an instrumental version of Teri Aankhon Ka Andaz Hain. The tune has been cut short for reason unknown to us. Now if we can have a drum roll please as it is time to announce the winners (thankfully there are some). The third place award goes to Dharmesh Darshan for not accepting a half baked effort on the part of our musical composers. Instead of worrying about quantity (both in terms of songs and singers, of which there are a total of 4 in this soundtrack), he has worried about quality. Surely, the repetition of songs may seem like shortchanging us, but it allows us to accentuate the beauty that lies in each version of the other track. He’s done it with the previous hit soundtracks and successfully continues his trend here. With Raja Hindustani and Dhadkan his ability to distinguish a hit soundtrack was clearly evident, and he had to prove it after the disappointment in every sense- Mela. The second place prize goes to each of the vocalists who equally compliment each other’s strong vocals, which includes the small contribution by Sarika Kapoor. Udit Narayan and Kumar Sanu have sung with great feeling, which makes us realize their talent. The first prize and final award goes clearly to the lyricist - Sameer. After his first two collaborations with this musical duo and director together, it is clear that they manage to bring out different lyrics that stand out and are easily his best after periods of lackluster poetry. Honorable mentions? Yes, the music composers. Haan Maine Bhi Pyaar Kiya could certainly disqualify itself as Nadeem-Shravan’s best work, but it isn’t half as bad, especially at a time with familiar music ruling the roast (even for these two composers themselves). Unfortunately the other contenders at this ceremony have beaten them at this match. Thanks for your participation, and while we wait for Valentines Day for the film to release we can be thankful for some more romantically melodious hit songs to appreciate during the wait. |
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Welcome to the nail biting, heart wrenching judgment day for some of Bollywood’s most promising talents. The winner will receive a thousand fold projects and acclaim, but probably no awards. (That my friends, is the reality of Bollywood). The loser will receive a thousand fold projects and definitely no awards. The history behind our awards ceremony are two excellent soundtracks, both of award caliber, one that won the award and the other that got nominated. We ask for silence, as we get ready to set our ears on what has been promised as a melodious score that would match up with
Nadeem-Shravan and Dharmesh Darshan’s own
Raja Hindustani and Dhadkan. Ready, set and play.