Top 10 Songs - Page 2

Producer: Kumar Mangat and Sunil Lulla
Director: Rohit Shetty
Starring: Ajay Devgan, Arshad Warsi, Ayesha Takia, Irrfan Khan, Anjana Sukhani, Mukesh Tiwari
Music: Sandeep Chowta, Daler Mehndi, Raghav Sachar, Shibani Kashyap, Amar Mohile,Suroor
Lyrics: Farhad, Sajid, Kamran Bari, Daler Mehndi, Virag Mishra, Aditya Dhar
Singers: Daler Mehdi, Mahua Kamat, Suraj, Earl, Kamran Bari, Mohammed Ali, Sunidhi Chauhan, Shibani Kashyap, Joy, Clinton Cerejo
Audio On: Eros Music Number of Songs: 9
Album Released on: 27 December 2007

Reviewed by: Gianysh Toolsee


Daler Mehndi. Sandeep Chowta. Raghav Sachar. Shibani Kashyap. Suroor. Amar Mohile. Those names are enough to sell a soundtrack, so let's get into it straightaway! Daler Mehndi and Sunidhi Chauhan form an electrifying combo in 'Loot Liya' – which is basically a Daler Mehndi number and is quite situational. Sunidhi Chauhan, even in her few lines impresses in her rendition. The music is not as fast-paced as his earlier numbers and is quite plain in its orchestration. He plays with the words 'Loot' several times in the song – the usual style as they like it! Overall, it's a fun number with lots of dhol beats and 'Mehndi' music for fans! "Sunday" and "chill-out" rhyme so well when put together and same can be said about the track 'Missing Sunday'. Sandeep Chowta definitely knows what it feels to miss a Sunday and a laid-back approach is used for this relaxing and fully chill-out piece. It opens up with a weird musical piece. Bizarre. Moving at snail pace, the song maintains a low tempo till the end. Mahua Kamat does not exert much pressure on her vocals. Suraj – who sounds or tend to sound like Adnan Sami, goes the opposite way. Rap portions are cleverly assured by Earl. Chowta's influences of jazz music are present all over – including the guitar riffs. Farhad-Sajid does a fine job with the light words penned. A totally fresh track not to be missed!
Now this is not bizarre. The weird musical piece has been deleted in 'Missing Sunday (Remix)'. And what an amazing prelude has been included! The synchronization, orchestration and instrumentation of these few middle octave notes in the prelude are fabulously arranged and are used in the interludes further. Chowta has replaced the jazz effect with more hip-pop elements with strong hooks, innovative keyboard sounds and creative interludes. The mixing is pulsating with Earl adding more value to the newly inserted rap portions – which musically blend better with the new sound structure. An addictive Sami-Chowta remix! The man behind last year's popular soundtrack of 'Kabul Express'; Raghav Sachar composes the best track - 'Manzar'. The piece is in a league of its own and scores the highest marks in singing, electronic mastering and mixing and orchestral approach. The soft addictive tune he has composed takes both an ambient and rock dimension in the same time frame. Opening with a female chorus followed by some rap portions, the track waits no time to explode! The rock guitar sound strikes right through after and loads of zingy sounds just penetrate in, including hands clapping and whistling. Raghav Sachar makes a fantastic entry and there is a great deal of emphasis on the vocal trance. On top of that, the twist in the first part of the song – where he goes high pitch, is totally unexpected. Lyrics by Aditya Dhar are adequate. The use of the saxophone near the end of the piece, is an icing on the cake! The track calls out for a techno remix – which is surprisingly not included! A dark atmospheric feel prevails in Shibani Kashyap's 'Kashmakash' – especially in the first part of the piece, where the music slowly builds up and then explodes. The composition and rendition by Shibani Kashyap are quite surprisingly average. The number opens with a beautiful saxophone piece and then transcends into a more obscure and mysterious music. However, the repeated 'Kya Kashmakash Hai Yeh' totally dissolves the suspense feel firstly created at the start. The composer likes to venture and to explore such territory while with lyricist Virag Mishra – who enjoys writing new age thoughts, could have done better. All is not gone as it makes an excellent piece to remix as the other version does not need to include the suspense sequence.
And this is exactly what 'Kashmakash' (Remix) by DJ Suketu is all about! Increasing the tempo is the first right step towards making it a more enjoyable ambient track. Interestingly, the remixed version turns out to be much better than the original version, with Shibani Kashyap's sexy vocals on the top of a great electro beat. The message in 'Pyar To Hona Hi Hai' is beautiful and simple. This same love, dedication and passion are used for this composition. Pakistani band, 'Suroor' delivers an incredible freshness in their solo contribution. The striking aspect of the piece is that both Mohammed Ali and Kamran Bari (who also happens to be the lyricist) form a wonderful duo and are in sync with the rendition, complementing each other. The main singer's voice displays an astounding depth, with a clear voice quality. A plethora of instruments are used to support these voices. Bring on the solo violin, synthesizers and guitars, which are all played with vivid energy and talent. A strong moment of peace is felt in the first and only interlude. The 'band' sound is also omnipresent in the background with the bass, drums and strong percussions. 'Pyar To Hona Hi Hai' (Remix) has a trance feel to it with groovy beats. Vocal trance is getting very popular with the soundtrack and same is fully applied here. The remixing has been properly done as it still conserves the distinct tune and freshness of the original. The 'Sunday Theme' is very acoustic with a strong rock background, supported by beats at selected places. Clint Cerejo and Joy are efficient in their parts. Amar Mohile's composition is good in general and one hopes that the picturization does not spoil the work of everyone involved in this piece. Talents like Raghav Sachar and Sandeep Chowta have combined rich vocals with tweaked electronica, jazz and ambient vibes. Shibani Kashyap is sure to create more 'new age meets world music' with more punch including her ethereal electronic vibes and new wave synth-psychotics sounds, along with the talented Virag Mishra. Band Suroor has surprised all with its contribution, including the simple lyrics and enhancements to the instruments. Daler Mehndi's number contributes to the Indianess of the soundtrack, if looked in another angle. From an artistic point of view, even Mohile's orchestrated piece stands out.

Rohit Shetty (Zameen, Golmaal) should be satisfied with such a diverse soundtrack – as all the composers have given their best to each of the tracks and each of the individual tracks will get the attention they deserve. The music of 'Sunday' comes under the category of Hindi Pop and does not sound 'Bollywood' as there are no routine item numbers or love duets. The combined rhythms, electronics, strings, vocals, percussive loops, drum and bass work are sure to leave the melodies echoing in one's mind for long!

Producer: Bhushan Kumar/Red Chilies Entertainment Director: E. Niwas Starring: Amrita Rao,Anupam Kher,D. Santosh,Daya Shanker Pandey,Javed Shaikh,Lillete Dubey,Mithun Chakraborty,Mukesh Tiwari,Nikhil Dwivedi,Pawan Malhotra,Saurabh Shukla Music: Pritam Lyrics: Sameer Singers: Amit Kumar, K.K., Remo Fernandes,Shaan, Sunidhi Chauhan Audio On: T-Series Number of Songs: 8 Album Released on: December 2007

Reviewed by: Samir Dave

As I sat down to write this review, I saw a tall thin man in a top hat 'n' tails singing out loud, "My name is Anthony Gonsalves….mein duniya mein akela hoon….". An immediate burst of nostalgia floods my brain cells as I remember the classic movie, "Amar, Akbar, Anthony". Following that, I pull out the classic soundtrack for the classic movie (by music legends Laxmikant Pyrelal). Ahhh, the chills I get, as that tall thin man in the top hat walks off into the sunset. Strangely enough, the man has a frown on his face. I wonder why?

Producers Bhushan Kumar/Red Chilies Entertainment (Shah Rukh Khan) brings fans this nostalgic titled movie that hopes to launch a new superstar, Nikhil Dwivedi and transforms Amrita Arora from the innocent girl next door to the sexy not so innocent girl next door. Directed by E. Niwas ("Shool"), the movie promises to hold enough chills, thrills, and romance to win over the most jaded of Bollywood fans. With the talent involved in making this movie, one expects a blockbuster soundtrack. Unfortunately, the soundtrack can barely be considered mediocre at best. There's a track by Himesh, and then Pritam steps in ("Darling" dj vu). The lyrics are by Sameer and are standard at best. You won't find any complex romantic symbolism here. It's no wonder that the tall thin man in the top hat 'n' tails is frowning. Let's fire up that IPOD and listen to this underwhelming soundtrack. Track one, "Tum Mile", is the best track on the album. Surprise, surprise! It's composed by the once prolific now "vanished" great-capped one, Himesh Reshammiya. In an amazing feat of talent, he seems to be channeling Pritam! The song is seemingly composed in the typical Pritam style (soft melody, use of guitar, reliance on keyboards). The song starts out with the strumming of guitar, which then segues into some keyboard bass; followed by a standard techno drum machine beat. Pritam mainstay K.K. defects to the other side to sing the gentle vocals as only he can. The backbone of the song is its romantic melody that just grabs the listener. I give kudos to HR for using the often neglected and rarely heard harmonica to add to the romantic ambience of the track. Sunidhi Chauhan makes a brief appearance to sing a few lines, and what's interesting is that her voice is layered at times so that her own voice lends a choral affect to her main vocals. It's no wonder that this track is being used in the promos for the movie. HR scores with this one, and gives the listener some hope that the music for his upcoming films will bring the music director back to his romantic roots. This one is romantically rocking, so add this to your playlist right away! Whew, after listening to that first track, our hopes are raised that this is going to be a really good and memorable album; however, don't get your hopes too high, for they are about to come crashing down. Pritam takes over the music-directing baton with the second track, "Tere Bina". It starts out with some crazy keyboard effects that lead to a typical Middle Eastern techno backbeat. Sunidhi Chauhan sings in her aggressive toned avatar. Just to throw the mood completely off, Pritam throws in some canned keyboard trumpets to up the cheese factor. There's really nothing special about this track, as it seems to have been produced by the Pritam music factory. What the track is lacking is any kind of soul. Skip, skip, skip this one and keep it as far away from your playlist as possible. It's ok, you can take your hands off your ears now, as the previous track is over, and it's now time to move to track three, "Ya Baba". "Ya Baba"…is another Pritam track that starts out with some ghetto centric "get on the dance floor" vocals. It's Dhoom all over again! The track sounds like something that should have been on the Dhoom or Dhoom II or the eventual Dhoom III soundtrack. It's got the same melody, beats and rhythm. Even Shaan can't save this track with his few lines in the middle of the song. This is another song that seems like the Pritam music factory has produced it. Either the talented music director was not inspired at all, or he's saving his better tunes for a bigger banner. Don't add this one to your playlist, instead just pick any track from Dhoom or Dhoom II for the same effect. This one makes me want to shout, "REHASH"! Hmmm…here's an idea. Whenever inspiration is lacking, it's always cool to fall back on some pseudo Marathi-African musical combo. To add some "chutney" to the music, let's rope in Amit Kumar and have him add some GUSTO to the track. "Jaane Maula Jaane Khuda" is apparently trying to give some street cred to lead star Nikhil Dwivedi's Anthony character. It's listenable in that fun, music with no meaning kind of way. This track would have been perfectly at home in any movie from the eighties. It's not bad, it's just ok, but it's definitely better than the previous two tracks. Still, it's not rocking, it's not mind-blowing, and it's not worthy of your playlist. I don't know about you, but at this point, the soundtrack is leaving a bit of a bitter taste in my mouth. Perhaps track five; "Allah Beli" can save the day? Well, yes it does…. barely. It's a nice sweet little track that rocks it up a bit with the electric guitar, nice percussion and sarangi interludes. Pritam's favorite playback singer K.K. returns to provide the soft and emotional vocals. Nothing ground breaking, but it is a nice soft track to chill to. I'd have to say this track serves as a nice bookend to the first. It's romantically rocking and deserves to be added to your playlist. The soundtrack is rounded off with three remixes ("Jaane Maula Jaane Khuda" (which channels the spirit of Remo Fernandes), "Tum Mile" and "Ya Baba") For the most part it's the standard Euro dance set of remixes that really are nothing out of the ordinary. So where were we? Well, the album on the whole is quite disappointing. Himesh composes the one really good track, "Tum Mile". Pritam composes the one ok track, "Allah Beli". I have to say that HR stole the show with "Tum Mile" as none of Pritam's songs comes close to the likeability of that first song. The rest of the album in between is Pritam at his most uninspired. It doesn't help that the lyrics fail to add any emotional depth to the music. Add "Tum Mile" and "Allah Beli" to your playlist, and forget the rest. Here's a message to the producers/director of the film: In the future, please focus more on the music, especially if you are trying to launch a new star. This soundtrack is a very inauspicious sign for the movie itself.

Alas, the tall thin man in a top hat 'n' tails sadly walks off into the sunset still singing, "My name is Anthony Gonsalves….mein duniya main akela hoon."

Producer: Firoz A. Nadiadwala Director: Anees Bazmee Starring: Akshay Kumar, Paresh Rawal, Nana Patekar, Anil Kapoor, Katrina Kaif, Mallika Sherawat, Feroz Khan Music: Sajid Wajid, Anand Raj Anand, Himesh Reshammiya Lyrics: Shabbir Ahmed, Ibrahim Ashq, Sameer, Anand Raj Anand, Anjaan Sagari Singers: Shaan,Sowmya Raoh, Wajid, Shankar Mahadevan, Anand Raj Anand, Shreya Ghoshal, Shweta Pandit, Krishna, Akruti Kakkar, Himesh Reshammiya and Kalpana Audio On: Junglee Music Number of Songs: 6 Album Released on: 25 November 2007 Reviewed by: Gianysh Toolsee Reviewer's Rating: 6.0 / 10

Everyone was expecting the soundtrack of 'Welcome' to have some chartbusting scores – considering big names like Firoz Nadiadwala, Anees Bazmee and Akshay Kumar. Anees Bazmee (the writer-cum-director) has a few good soundtracks to his credit as a director. 'Hulchul' had a few catchy and friendly tunes by Anu Malik, 'Pyar To Hona Hi Tha' had a romantic sound by Jatin-Lalit and 'No Entry' by Anu Malik again had the 'masti' music which was much need for the screenplay. Anees Bazmi is continuously at par with the musical trends at the time the movie is launched but unfortunately, a lot of his movies are delayed for various reasons. Trust Firoz Nadiadwala for his lavish choreography and exotic sets! Nadiadwala is one of these producers with whom music directors want to associate with; in the sense that there is a full budget allocated for an extraordinary choreography and every portion of the song will be rightly shot to ensure full justice to the composed track. The soundtrack, released under Junglee Music (owned by the Times Group which is making its entry in the music arena of Bollywood movies as well as regional) has three composers namely Himesh Reshammiya (two songs), Anand Raj Anand (three songs) and Sajid-Wajid (one song). Surprisingly, there are no remixes! Anand Raj Anand steals the show in the soundtrack of 'Welcome'! 'Kiya Kiya' is a chartbuster material and has potential to grow bigger due to its right placement in the movie and the picturization on Akshay Kumar, Nana Patekar, Katrina Kaif and Mallika Sherawat. Loaded with 90's sounds and a rough voice, the track has a very captivating tune and is rigidly infectious. 'Oh Kiya Kiya Kiya' rendered by composer-singer Anand Raj Anand has the right amount of energy to entertain for five minutes. As the singer, his voice does suit the tempo of the track and he does full justice to the lyrics of Anjaan Sagari. Being a 100% masala movie, the music is equally masala in its texture. Loud background scores are heard with frequent twists in the instruments used. More time could have been given for a neater score, especially when Shweta Pandit is sharing the credits. She is mainly heard in the 'antaras' and sounds quite raunchy! 'Kiya Kiya' has done the trick for 'Welcome'!
Anand Raj Anand is back in business once again! 'Uncha Lamba' is one of the composer's forte: a nice blend of Punjabi music with light techno sounds. Accompanied by Kalpana, the track once again relies heavily on the 'Punjabi' voice of Anand Raj Anand – which has been purposely differentiated from 'Kiya Kiya'. Wait there is more! He has also penned the lyrics! Sample this: 'Main Avi Teri Ute Marda Ni'! There is one more: 'Hoga Tera Good Luck, Dil Mere Liye Rakh'! All these words are alright as they are part of a funky and easy-going number and also in a movie titled 'Welcome' and not 'Yatra'! Anand Raj Anand impresses with his singing in both the 'antaras' where he renders 'Jaane Jaana Karde Hum Pe, Apni Chaahat Ki Barsaatein' with passion in the first verse. On the orchestration side, there is a great influence from Pritam's music - who is hard to beat with such types of music, where English choruses and rap portions are included (Refer to 'Pyar Ke Side Effects' soundtrack's sound arrangements and mix). Still Anand Raj Anand has managed to beef up the track with trendy rap parts, zingy choruses and apt techno single notes. Mix all that with that Punjabi accent and the loud instruments - 'Uncha Lamba' will sail through easily. The number is also beautifully picturized on Akshay Kumar and Katrina Kaif.
Anand Raj Anand composes one more song in the soundtrack and this one is rendered by none other than Shankar Mahadevan! Anand Raj Anand accompanies Shreya Ghoshal in this fast-paced track titled 'Hoth Rasiley' which has a first-class picturization. Overall, it's a funky item number not to be taken too seriously and falls into the category of those songs which need to be enjoyed on screen mostly. The second interlude includes harmonium bits – which blend well with the mood and feel of the song. However, the minus point comes in the form of a loud background score. Shankar Mahadevan's voice easily overshadows that of Anand Raj Anand in this number and full credit goes to him for elevating the number with his splendid rendition. Shreya Ghoshal also deserves some applaud here as she suits the voice of Mallika Arora Khan very well. Ibrahim Ashq's lyrics are overall good. (Special mention to Ghoshal who has made a big shift from romantic songs to such high energy tracks in the recent past including 'Dil Liya Dil Liya' (Dhol) and 'Yeh Ishq Hai' (Jab We Met)) The original composer of the soundtrack – Himesh Reshammiya, arrives with his trademark sound in 'Kola Laka Vellari'. Sound arrangements are typically those of these 2006 popular numbers where he became immensely popular. The track fails to create the same desired impact and the singer also does not sound that interested in the rendition. Lyrics by Sameer are routine in nature. 'Kola Laka Vellari' would have been a hit if released earlier and is an average track by all standards. 'Insha Allah' are those trademark numbers of Nadiadwala which should be present in all his movies. Understandable. The number is a potpourri of some popular songs and is quite harsh to the ears in general. Himesh Reshammiya is heard in the background crooning 'Insha Allah' endlessly. Shaan, Akruti Kakkar and Krishna have not been given the right lines to sing and are lost amidst the quite poor orchestration and sound arrangements. A cacophony is created with all these instruments used. A complete no-no. However, the picturization saves the song on screen due to the funny performance of Anil Kapoor! Not to miss! Sajid-Wajid composes the title track of 'Welcome' and this could have been a theme rather than a short song. Shabbir Ahmed has the easiest job to write a few light lines while Shaan, Sowmya Raoh, Wajid provide the vocals. A funky number once again with a good orchestration by the music directors of 'Partner'. The 'antaras' which follow are quite funny and sometimes make no sense at all. Sowmya Raoh is efficient in her part while Shaan and Wajid seem lost in their singing. Clearly, the soundtrack of 'Welcome' should have been composed by only music director. Nevertheless, it is Anand Raj Anand's tracks which steal the spotlight! He has an ability to compose beautiful 'antaras' but should keep away from loud background scores. The soundtrack has variety although the sounds and singing are quite from the 90's. It will be most enjoyed if one has watched the movie though.

The soundtrack is also one of these rare ones where three popular music directors namely Himesh Reshammiya, Shankar Mahadevan and Anand Raj Anand who has turned singers (or vice versa for Mahadevan) share the same space and above all; they all have started in film music about the same time. Let's welcome this new change!

Producer: White Feather Films Director: Apoorva Lakhia, Hansal Mehta, Jasmeet Dhodi, Sanjay Gupta, Shyam Benegal, Mishra Starring: Aftab Shivdasani, Amrita Singh, Anita Hasnandani, Anupam Kher, Arbaaz Khan, Dia Mirza, Dino Morea, Jimmy Shergill, Mahesh Manjrekar, Mandira Bedi, Manoj Bajpai, Masumeh,Minissha Lamba, Nana Patekar, Naseerhudin Shah, Neha Dhupia, Neha Oberoi, Parmeet Sethi, Rohit Roy, Sanjay Dutt, Shabana Azmi, Sudhanshu Pande, Suniel Shetty, Tareena Patel Music: Gourov Dasgupta, Bappa Lahiri, Shafqat Ali Khan, Anand Raj Anand Lyrics: Virag Mishra, Panchhi Jalonvi, Ambar Hoshiyarpuri, Ibrahim Ashq Singers: Anand Raj Anand, Anchal, KK, Kshitij Tare, Mika, Shafqat Ali Khan, Shweta Vijay, Sudhanshu Pande, Sunidhi Chauhan Audio On: EROS Number of Songs: 10 Album Released on: October 2007

Reviewed by: Samir Dave

There's a famous saying that states, "There are eight million stories in the naked city, this has been one of them." With "Dus Kahaniyaan" it seems that we are getting ten stories for the price of one. Producer White Feather Films (Sanjay Gupta and Sanjay Dutt) are fresh off their super-hit film, "Shootout at Lokhandwala" which had a bit of a disappointing soundtrack. If it's one thing that the two Sanjays excel at, it is bringing the Bollywood audience something different than the standard filmi fare. This applies to the movies they have produced (which include "Kaante", "Musafir", "Zinda", and "Shootout at Lokhandwala"), as well as to the respective soundtracks for these films. Sanjay Gupta knows how to market contemporary/catchy soundtracks for the modern individual. This means lots of techno, club, Euro-dance, trance, tribal, and drums 'n' bass music for the fast songs (which usually feature skimpily clad girls), and pop sounding slow ballads (such as the brilliant "Yeh Meri Hai Kahani" by the talented Rock/Pop group Strings). Sanjay Gupta also knows how to package his cds (for those that still buy them), by providing multiple cds that feature club and lounge mixes, then adding the text, "India's first…or World's first" on the cover. He's done it again with the latest offering from White Feather Films, "Dus Kahaniyaan", which features three (yes, three) cds and the text, "World's first three cd soundtrack." The cd inlay features two page spreads with the titles and stars of each of the ten vignettes that make up this movie. It will be interesting to see, whether the movie ties these vignettes together somehow, or keeps them completely separate. Ten varied stories demand ten songs. Ten songs demand the talents of four music directors: Gourov Dasgupta (five tracks), Bappa Lahiri (one track as composer, two as producer), Shafqat Ali Khan (two tracks), and Anand Raj Anand (two tracks). Normally, I am never thrilled when multiple composers work on a single soundtrack, since each has a different style and that results in varying degrees of quality. So, let's see if this soundtrack is pure musical bliss, or just an overstuffed turkey. Disc 1 – Dus Kahaniyaan Lounge This lounge disc begins with the anthem like track, "Dus", which will get you off your lounge chairs and onto the dance floor! Composer Gourov Dasgupta and lyricist Virag Mishra rock the house with this fast paced track that quickly engraves itself into your mind. I dare anyone to stand still while listening to this song. Dasgupta has succeeded in a very difficult task, and that is to create a unifying song for all ten stories that stands on its own as the perfect bookend to the movie. KK and Anchal sing the song with mucho gusto! The infectious vocals and killer beat combine to create a song that will have you immediately hitting the repeat button. Musically, it's pure techno all the way, with a thumping electro bass line and driving percussion (pure Euro-Dance style). Add in some vocal choral effects and you'll be shouting loud and proud, "DUS"! The second track, "Jaaniye" is one that I am sure you have seen being played on all the music channels. You know the one that features the ladies working out in some rather…umm…sensual positions? Well, that on-screen sensuality would be nowhere without the proper composition to back it up. This one is another winner by Dasgupta (with lyricist Virag Mishra). Once again, like in the title track, we have a thumping electro bass line that forms the foundation for this composition. The keyboard trumpets, synth effects, and percussive beat provide the musical variety here. The music would be nowhere though without the right playback singer. Only one singer is able to convey the sensuous ferocity of this track. That songstress would be Sunidhi Chauhan (who's come a long way from her winning debut on "Little Wonders"). Playback singer Anchal ably supports Sunidhi, and I say supports because her voice lacks a bit of the power that Sunidhi has, so Ms. Chauhan tends to dominate this track. This one is another winner for this album, and a track that will make you stand up and shout, "DUS"! The third track, "Aaja Soniye" may arguably be one of my favorite slow ballads of 2007. Dasgupta proves his mettle here, by giving a number that is dripping with romance. You can't help but dream about the one you love while listening to this track. Lyricist Virag Mishra writes beautifully, and helps us forget that the words "Aaja Soniye" probably have the distinct disadvantage of being two of the most over used lyrics in Bollywood. A mystical synth beginning leads to a slow shuffle percussive beat (and a synth tabla interlude) with tantalizing bits of saxophone add to the romanticism of the song. Shweta Vijay provides some excellent husky vocals that shatter the stereotype that all female playback singers need to sound like they are sucking helium. Her vocals add an underlying level of desire to the track. Sudhanshu Pande (who also stars in the vignette "Matrimony") provides the male playback and is able to keep pace with Shweta Vijay in a loving vocal jugalbandi. Another repeat track for this soundtrack that will leave you whispering in a husky deep-throated voice, "DUS"! The fourth track on this so far excellent album is titled, " Nach Le Soniye" and features the return of Mika Singh. After "Ganpat" from "Shootout at Lokhandwala", we find Mika back to singing within his usual genre, Punjabi influenced techno. Dasgupta and lyricist Virag Mishra compose what may be on the surface standard Punjabi-techno-dhol dance fare, that we have seen/heard many times within the constraints of this genre of music. But, trust me. Give the song a chance and it will begin to grow on you. Mika's quivering nasal voice that threatens to go out of control at any moment is the strength of this song. I have a new term I'd like to apply here, and that is regarding the percussive rhythm that is used for this track. It's what I call Reggae-Dhol wherein you have the synth drum beats accentuated by Dhols in a Reggae pattern. The music director puts that technique to good use in this track. Once the track picks up, you'll be dancing on one leg till you keel over with a leg cramp, at which point you will shout, "balle balle DUS"! The fifth track on the album, "O Maahiya", unfortunately does not have the impact of the previous tracks, as it suffers from sounding too much like a "been there done that" song. Shweta Vijay who excelled in the third track "Aaja Soniye" has her voice distorted by what seems to be a vocoder and is relegated to simply singing the refrain over and over. KK's voice also has a tinge of vocoder distortion as he does his best with the song. The musical arrangement is basic techno 101 with a generic drum beat pattern that just continues to repeat. It's the last Dasgupta track on the album and I wish I could say he went out with a bigger bang. It's not a complete wash, but perhaps it will make you shout a guarded, "DUS"! The sixth track begins what I call, the Suficentric section of the album. This track and the two following are tracks to listen to while you walk by the turbulent waters during a particularly rough time in your life. This sixth track is composed by the son of Bappi Lahiri, Bappa Lahiri who proves to the listener that talent runs in the family. It's a beautiful song within the Sufi genre of music. The lyrics by Panchhi Jalonvi are straightforward and poignant. What stands out with this track is that it's not over produced. The music is kept sparse and the vocals by the excellent Kshitij Tare are given a chance to breath. The song scores on the strength of the vocals, the lack of synth use, and the expert use of traditional/modern instrumentation. In short, it's like a breath of fresh air, and will have much repeat value. Play this one loud, feel the melancholy and shout out in a defiant roar, "DUS"! The seventh track, "Vichodeya Ne" is composed and sung by the esteemed Shafqat Ali Khan. The beginning of the song features Khan's earthy vocals over the strumming of sitar. From there the sweet sounds of percussive fingers against a matki (clay pot) resonate for the listener. The lyrics by by Ambar Hoshiyarpuri are another strength of the track. It's important to note that Bappa Lahiri who scores another winner here and takes this soundtrack to a higher level has produced this track. Deft use of matki interwoven with a soft techno beat really makes this song the perfect to listen to during a melancholic deep thinking mood. Sing it out loud in Sufi style and shout, "DUS"! The eighth track continues this trek into Sufi territory, with more of a modern twist. This composition is very traditional in stanza and refrain. The song was produced by Bappa Lahiri, who has performed a hattrick with this track along with the two before it. The lyrics by Ambar Hoshiyarpuri add to the ambience of the track. Musically, we've got traditional vocals/lyrics layered over a more modern but toned down techno beat. Another winner! Shout it Sufi style, "DUS"! Dear reader it's time to leave the "Sufi Zone" and turn the lights back on. Put away those glasses of whiskey, and listen up. The album is now changing gears as the more than capable Anand Raj Anand takes over the composing baton. The ninth track titled, "Bin Tum" begins with a country like guitar twanging which reminds me of Rabbi's excellent "Kitni Der Tak" from the "Delhi Heights" soundtrack, but that's where the similarity ends. This track sounds like Jatin Lalit could have composed it for a movie starring Shah Rukh Khan. Trust me, that is a compliment. Anand Raj Anand has composed a very sweet sounding track (ably assisted by lyricist Panchhi Jalonvi) that is sung sensitively by KK. It's the type of track that is done in the traditional Bollywood style of yesteryear. Melody, a soft rhythm and a sweet keyboard hook all mix together to create a song that is timeless and addictive. You'll be hard pressed not to hit that repeat button. Sway back and forth and sing sweetly, "DUS"! The tenth and final track on disc 1 is titled, "Bhula Diya". Anand Raj Anand returns for his second track on this soundtrack. This time he not only composes, but also provides the vocals in that quivering emotional filled voice of his. Before we go on, check out his masterful song, "Dil Ne Diya Hai" from the soundtrack to "Masti". I'll be waiting right here, go on. Back? Good, now you know what ARA is capable of. So let's appreciate this new track from this very capable yet under rated composer. The lyrics by Ibrahim Ashq mesh well with the vocals, synth violins and a "snap-pop" percussive beat. Forget everything in love, but don't forget this magical track as you shout out one more time, "DUS"! On the surface, "Dus Kahaniyaan" has a lot going against it. Ten songs? Four music directors? Ten different themes? Yet, the soundtrack turns out to be a memorable one, as each song has its own charm and is able to stand on its own without the need for any visuals (too many songs fail to have any kind of resonance on their own). This is a highly recommended soundtrack that is full of energy and emotion. You want dance music? You want romantic ballads? Sufi-pop? Bollywood sweetness? Then check out "Dus Kahaniyaan" and enjoy! Still here? Most reviews would be done by now, but since this is the "World's First Three CD Soundtrack" (add echo effects here), I'll be focusing on the other two discs next. So, go to the bathroom, get something to drink or eat and get right back here. This is sort of like the interval for this review. Disc 2 – Dus Kahaniyaan Club Normally, I don't really focus on the unending barrage of remixes that are now a part of every Bollywood soundtrack, but in the case of this Sanjay Gupta production, I find myself having to make an exception. You see, instead of destroying the original tracks, the remixes on disc 2 of this collection actually improve upon the originals. This is something quite rare in this day and age of the quick mix remix. Six of the ten tracks from disc 1 are remixed, and I have to admit, they are quite good. The first track is a remix of, "Dus" by DJ Aqeel, who has managed to pump up the jam and pushed the song to another techno-maniacal level. Worth a listen…or two…or three…or four…. The second track is a remix of the very good, "Aaja Soniye". I'm always apprehensive about remixes of romantic ballads, as the DJ usually destroys the atmosphere by speeding the song up and adding loud 'n' fast break beats. I'm happy to say that the music director himself Gourav Dasgupta along with Roshan Balu have remixed this song to perfection. Beginning with the refrain, "Love is all around…can you feel it?" The music director has kept the remix subtle by simply adding a "snap" beat, techno violins, and synth sounds (still too much reliance on vocoder effects). The result is a remix that might not be better than the original, but instead is a good companion piece. Worth a listen, but honestly the original is way better. The third track is the remix of, "Nach Le Soniye" which starts out with an addictive techno pots and pan "clap" beat. Gourav Dasgupta and Roshan Balu return to take the remixing reigns. It's a bit funkier than the original and (surprise!) a bit slower. I give kudos to the music director for his willingness to not go the obvious fast bhangra route, but instead to try something different. The fourth remix is of, "O Maahiya" and this one is by Gourav Dasgupta and Roshan Balu again. It starts out with KK borrowing Pritam's "Whoah Whoah" lyrics with clapping in the background then progresses to a start 'n' stop beat. In this case, I wasn't too impressed with the original and think this remix is actually better. The fifth remix is of, "Jaaniye" and is by (you guessed it) Gourav Dasgupta and Roshan Balu. It's tailor made for some sexy grinding on the dance floor. I think that says it all, don't you? The sixth remix is of, "Bhula Diya" and Anand Raj Anand steps up to the DJ booth. It's remixing a song that to be honest, really doesn't need a remix. Still, here we have a remix that at least doesn't destroy the original. ARA has wisely decided to softly speed up the track, with percussion that isn't intrusive. Nice keyboard flourishes are added throughout the mix, that makes this very listenable. It's not the best remix of the bunch, but it's a nice way to finish disc 2. I don't know about you dear reader, but this review is beginning to resemble the standard never ending three hour Bollywood flick. Just when you think it's over, it's not. There's more drama around the corner as we move on to disc 3. Disc 3 – Dus Kahaniyaan Poems – by Gulzar (dedicated to his wife Anu) I think that it's understood that Gulzar is one of the greatest poets of this (or any) generation. This disc has the actors from the film reciting Gulzar's brilliant poetry against the backdrop of sensitive ambient new age music (composed by Bappa Lahiri). This is like the icing on the cake for this wonderful soundtrack and each actor uses his/her vocal dialogue delivery skills to full effect. Nana Patekar begins this disc by reciting the poetry for 'Tere Utaare Hue Din' (Gubbare), flowing into the gravelly unique voice of Naseerhuddin Shah reciting the poetry for "Der Aayad" (Rice Plate), flowing into Dia Mirza reciting the poetry for "Khudkushi" (High on the Highway), flowing into Manoj Bajpai excellently reciting the poetry for "Khaali Samandar" (Zahir), flowing into Sanjay Dutt reciting the poetry to great effect for "Chaal Chalo Tum" (Rise and Fall), flowing into Amrita Singh reciting the poetry for "Raat Tamir Karein" (Puranmashi), flowing into the excellent Anupam Kher reciting the poetry for "Bauchaar" (Lovedale), flowing into Sudhanshu Pande reciting the heartbreaking poetry for "Talaq" (Matrimony), flowing into the sultry Neha Dhupia reciting poetry for "Hatak" (Strangers in the Night), flowing into Manoj Bajpai (excellent again) reciting the poetry for "Mujhe Talaash Nahi" (Sex on the Beach), and that flows into the final track featuring Naseerhuddin Shah reciting the poetry for "Khuda" (Rise and Fall). What's important to note here is that Bappa Lahiri's ambient background music really adds to the atmosphere and weight of Gulzar's poetry as the actors are reciting it. Even if you are not into poetry recitals, this third disc is worth listening to.

Yes, dear reader, we have reached the end of this grand review. "Dus Kahaniyaan" is well worth spending your money on. It easily ranks as one of the top ten soundtracks this year, and the three discs offer an enchanting and invigorating listening experience. Sanjay Gupta has once again put together a memorable soundtrack that has unlimited replay value. Go ahead,and enjoy this soundtrack, and don't forget to shout loud 'n' proud, "DUS"!

Producer: Surendra Bhatia and Rajan Prakash Director: Chandrakant Singh Starring: Neha Dhupia, Rati Agnihotri, Anupam Kher, Rajpal Yadav, Aashish Chaudhary, Amrita Arora, Mona Thiba, Sanjay Mishra, Razzak Khan, Allan Kapoor, Zia Biswas, Riya Biswas Music: Siddhartth Suhas Lyrics: Kumaar Singers: Adnan Sami, Alisha Chinai, K.K, Khushboo Jain and Suraj Jagan Audio On: T-Series Number of Songs: 10 Album Released on: 07 November 2007

Reviewed by: Gianysh Toolsee

Big names in music direction are paving the way for a bunch of talented newcomers to expose their potential and to rock the globe with their new tunes. Duo Siddhartth Suhas have been attempting different genres of music since they have started (The Film, Jawani Diwani, Dil Dosti Etc) and 'Rama Rama Kya Hai Dramaaa' is one of their full-fledged scores where they have dared to have a go at a bit of everything.

For a start, there is not too much drama with the soundtrack: five songs and five remixes – which are diversely uncommon in mixing, singing and treatment. One of the surprises of this soundtrack is undoubtedly the tunes – which can easily become popular as they are very mass-oriented. Adnan Sami – this guy is in shape in all departments; the prolific singer is making big bounds in Bollywood and is indirectly filling a gap with either his versatile singing or the music he is currently composing - in addition to the recent albums T-Series just launched. There is a strong feel of the real Adnan Sami's voice in 'Yeh Faasle' – pure, uncut and delightful. Layered over a soft music - filled with stumbled acoustic guitar, rock guitar samples and a fusion of Indian flute music, 'Yeh Faasle' enters into one of best memorable easy-listening solos of Sami. The reprise of 'Yeh Faasle' is by Suraj Jaggan – who is a favorite of the duo and has also been heard in 'Dil Dosti Etc'. The latter's voice is very suitable for playback singing and comes as another pleasant second version of the melodious tune. His delivery on the high notes is satisfactory, especially in such a number where high pitch singing is prevalent. The rock background music is another highlight of the track – although at some places, the music might be louder than the voice.
Suraj Jaggan is the lead singer in 'Yeh Faasle (Remix)' – which has a futuristic touch in terms of remixing. Prelude by Sami further excites the listener before the electronic arrangements kick in in a big way. Transformation is evident from a soft melody to a more vigorous number. The pop-filled arrangements have been greatly mixed with the beats – which dangerously amplify the trance atmosphere. Similarly, the vocal effects of Jaggan have been made to intelligent use. The ultra-smooth mixing in the verses add more to the atmospheric stuff. Khushboo Jain impresses in the slick pop 'Laija Laija', which is basically a musically rhythmic number, supported by an efficient male chorus. Bonus point about the track is simply that it takes no time to grow on the listener and it has a high repeat value. Electronic arrangements are spot-on and the two interludes act as a flow to the song. Jain's voice matches exactly the pace of the tune and she has sung with heartiness in all parts of the song. The duo's flirtation with the pop form structure and rock guitar is a winning formula – as they are mastering the guitar music progressively. Synthesizers in the background complements the catchy verses and make it a very easy number to the ears. The remixed version is quite pale in comparison to the original and should have been better mastered in terms of mixing and added beats. K.K is at ease when a song like 'Dekha Tujhe Sau Martaba' is offered to him; everyone knows that the song will end up in the charts. Forget about the charts! The phenomenon of the electronic arrangements and quirky sounds continues with another rhythmically energetic number, carefully crafted for the talented singer. Despite being a conventional number by 2007 standards – as it is sequel to the numerous hits of K.K for this year under the T-Series label, the melodious aspect of the song has been neglected. No complaints whatsoever as the remixed version compensates it all.
Dance at its noisiest and most sophisticated would be best to describe the remixed version. The high beats kick in after the first few lines and they are loud! Electrifying to the core, the version uses the electronically filtered vocals of K.K to maximum use, while new grounds are set for a Bollywood remix. The progressive house-trance-techno sounds monopolizes the track and the extra voices (female) further categorize it into an invigorating remix. One of the lightest numbers in the soundtrack comes in the form of the Alisha Chinai's teasing 'Khwabon Se Nikal Ke'. High use of accordion is heard throughout in the background and the instrumentation is animated. A slow-moving and quite laid-back track, it contains some nice orchestral arrangements, not often heard in today's music. The tune is very reminiscent of old European (France and Italy) folk tunes. Alisha does what she has been doing mostly in the last decade for Anu Malik. The aptly titled 'Rama Rama Kya Hai Dramaaa' is the catchiest and silliest track of the whole soundtrack – in short a conversational Bollywood number. Adnan Sami, himself, qualifies it as non-sense in the song! The easy tune, which can instantly become popular, is rendered fluently by Sami. Talking about Micheal Jackson, Bill Clinton, George Bush and Britney Spears in one song is already an indication of the lightness of the number. Music is strictly situational as per the demands of the inane lyrics – which predominate all over. The remixed version is just okay and includes favorite Suraj Jaggan in some parts.

Duo Siddhartth Suhas is definitely on the right track and has more to offer in the future. The music takes its cues from the work of Anu Malik at some places but it is all okay as there is a gap to be filled. Highlights include the trend setting remixes and the fresh approach to present catchy tunes in a pop form with a range of voices. A good listen with loads of electronic dance music!