Music review - Page 4

Shaadi Se Pehle is the rocking'est of all the albums reviewed. 😊
I have most of the albums...

Qwest ji.. these look like Rediff Reviews.. I'll provide alternate reviews from other sources for the same movies, so people can get different perspectives.

Yash Raj Film

s in the last few years has offered us pure class, whether it is Dhoom's foot tapping numbers or Shankar-Ehsaan-Loy's addictive Bunty aur Babli, the result has been the same: exceptional work bringing success. This time they have opted for Jatin-Lalit, who have been out of the news for quite some time now. The last time they were in the limelight was for another Yash Raj production, Hum Tum- an immediate success. Directed by Kunal Kohli, Fanaa boasts of a stellar cast with Aamir Khan and Kajol joining hands.

The last few months have been one of the most disappointing ones for me, as a supporter of classy music versus ordinary trash we hear every week. So let us see whether Fanaa can recreate Jatin-Lalit's old melody. What is important here is that Jatin-Lalit have left their place vacant for a long time now, and their return marks the end of their journey in Bollywood. The album begins with Chand Sifarish, currently being aired on every channel of every hour. Rendered by Shaan and Kailash Kher, it is clear that we are not in for the usual average music, whether it is Pyaare Mohan or Humko Deewana Kar Gaye. Jatin-Lalit have done wonders: the soundtrack is fresh, Shaan sounds as if he will run away with the best singer award, and Kailash sounds as good as he did in Kailasa (his debut album). Most of all however, the song is creative. The most important part here however, is the fact that the song leaves the boring contemporary style of today's musically deteriorating era and teams up with songs from the 1980's to leave a dramatic effect; leaving the listener stunned by the melody of the track.

Finally, the biggest plus factor is Prasoon Joshi's lyrics, which are absolute masterful: In my view, he has given Sameer or Nusrat Badr and perhaps even Gulzar or Javed Akhter, a run for their money. Prasoon are you listening?

The next song is Mere Haath Mein, where one will find a change of singers in the form of today's popular Sonu Nigam and the versatile Sunidhi Chauhan. The song has been in the news supposedly because Aamir and Kajol apparently lent their voice. However that is not true. They have merely been allotted a few lines to say. Mind you, Aamir does an excellent job. About the quality of the composition. Well, it is a romantic track and is full of immaculate poetry. The song is one that will get better with time, however it is no match for JL's Hum Tum title track. Although Sunidhi sounds wonderful, I personally would have opted for Shreya to step behind the mike this time. The song needs a soft delicate voice and although Sunidhi gives it her all, Shreya (keeping in mind her sweetly rendered Piyu Bole from Parineeta) would have faired better. .

The third song has Mahalaxmi Iyer singing Des Rangila, a patriotic song in full flow. As I have stressed before, Fanaa has aroused concern among the critics. This time however, I will let them rant on, as Des Rangila is simply Jatin Lalit's version of Veer-Zaara's 'Aisa Des Mera'. While the vande mataram chorus at the end tries to lift the song from Below Average to Average, it is definitely no match for the Veer-Zaara version. On the whole, this is a disappointing soundtrack especially from Yash Raj who have set high expectations. Mahalaxmi Iyer has done wonders recently with the teeny Chup Chup Ke in Bunty aur Bali to the romantic Tu Jahaan from Salaam Namaste, she is finally building a niche in Bollywood. However, her talent goes to waste in this "nothing" composition, and I wouldn't expect this to even reach the top 20. Prasoon Joshi now makes a hatrick- his lyrics have been exceptional so far and Des Rangila continues it.

Sonu Nigam and Sunidhi Chauhan team up again for Dekho Na and one hopes it will relieve us from the disappointing Des Rangila. Like Mere Haath Mein, the song is slow paced, requiring a soft rendition and both deliver brilliantly. The song takes time to join your lists of all time favorite romantic duets, however it takes some time to grows on you. Like the first two songs in the album, it sounds promising ,and Jatin-Lalit have offered yet another winning formula. Sonu and Sunidhi are at their usual best, with musical arrangements supreme and it will undoubtedly give Himesh Reshammiya (Bollywood's current newest sensation) a run for his money in 36 China Town.

The next song is probably the best out of the bunch and although it is a faster version of the opener Chand Sifarish, it offers solid entertainment. Fast paced, with words like Fanaa For You, the song is the highlight- with a sizzling dance-floor type rhythm coupled with soothing melody and an outstanding rendition, it offers a bonanza and Jatin-Lalit's composition will fare extremely well. A winner all the way, I would be surprised if it didn't stay in the top 10 for a long time. The second to last song is an instrumental piece titled Destroyed In Love. One would assume that it will be used as a background theme in the movie.

The last of the album is Chanda Chamke and although it is made with much more confusing and puzzling lyrics, it is merely a remake of the Yaara Yaara song in Hum Tum. Purely situational, the song is obviously meant for the younger children. Although this is a patience-testing composition, the lyrics like all other songs, deserves praise and appreciation.

Jatin-Lalit's last offering doesn't give us a Dilwale Dulania Le Jayenge or a K3G, but it is still a notch higher than some of the run-off-the-mill music we've been hearing as of late. Looking at that, Fanaa is different, with only one track standing out as disappointing. All others are Good with Chand Sifarish (despite criticism) being the highlight. Yash Raj have churned out, not a complete hit, but a semi-hit album in Fanaa. Perhaps Dhoom 2 will make up for this.

Originally posted by: Qwest

Aryan's music is very cool

Komal Mehta | March 29, 2006 14:48 IST

Aryan – The Unbreakable, starring Sohail Khan and Sneha Ullal, is a story about a professional boxer's life.

While critics are drawing parallels between the promos of the movie and the Oscar winning Million Dollar Baby; it is the music of Aryan that is slowly finding favour with the critics and the masses.

The album begins with Jaaneman by Shreya Ghoshal and Sonu Nigam. Undoubtedly the best song on the album, it is a sure winner. Vaguely reminiscent of Odh li chunariya from Pyar Kiya To Darna Kya, this song has a very beautiful melody that is enhanced by some real nice lyrics in Hindi and Punjabi. It is a Jaanam dekh lo type of track which is going to be played on radio and music channels for a long time, irrespective of the fate of the movie.

Ek Look is presented in three different versions -- normal, remix and the dhol mix. One of the first songs from the movie to be telecast, the song has a very catchy rhythm. Even before the controversy between Neha Bhasin and Anand Raj Anand broke out -- the former member of the band Viva sued Anand for not giving her proper credits for the song -- Ek look had started climbing the popularity charts. The bhangra flavoured the song will be popular as a dance number at discos and parties. On radio or television, it faces competition only from other songs on the same album.

Next up is It's beautiful day. Yes, that's the name of the song on the album sleeve, never mind grammar. It also made me cringe to listen to a song in English sung by a Bollywood playback singer with a forced accent (Remember Udit Narayan in Pretti 'Wooman'?). But, the track really surprised me. It's a breezy number -- and the line is actually 'It's a beautiful day' in the song -- with some real good singing by Hamza. His Hindi and English dictions are very good -- no fake accents. Sherya Ghoshal, needless to say, is great too.

Rab ne mere by Kunal Ganjawala and Shreya Ghoshal is again a sweet romantic number which has a very A R Rehman sound. The lyrics are nice and the music is soothing but it is indistinguishable from the various other love songs that come out every week.

Lamha lamha is a sad, brooding song with an obsessive tone to it. The song has shades of Dil de diya hai from Masti by the same music director. Sung by Anand Raaj Anand himself, it is a far superior singing attempt than the forays made by the likes of Himesh Reshmiya and Anu Malik.

Deviating from the romantic songs, Teri te main by Anand Raaj Anand and Pamela Jain truly delivers the punch of the movie. It's a very interesting song with elements of rock and jazz music. Anand shines with his voice, again. His style for this particular song is very different from the other vocals he has given; it reminded me of Rehman's vocals in Rang De Basanti.

Anything that has ace drummer Ranjit Barot in it is always interesting in some way. The Unbreakable theme by Bianca and Ranjit Barot is a very 'Hollywood-ish' musical theme that brings out the raw passion of the movie in those few moments. One can almost imagine montages of tough men battling it out in the boxing ring with the song playing in the background. It is a 'must check it out' piece.

The surprise element of this soundtrack is very high – Anand Raaj Anand has as yet not given a 'breakthrough' score (like Himesh Reshmiya with Tere Naam), the movie does not star a conventional 'big' star and it is projected as a film on 'boxing' and not a love story. There are no high expectations from it, and hence it is not difficult to be impressed by it. Anand has really outdone himself in terms of the music and lyrics of the movie. If the movie is even an average hit at the box office, it will launch Anand's career in a big way.

On the whole it is one of the better albums to come out this year.

By Joginder Tuteja, February 13, 2006 - 16:59 IST

After acting with Salman Khan in the overtly mushy 'Lucky – No Time For Love', Sneha Ullal pairs up with her first co-star's 'chota bhai' Sohail Khan for an emotional action drama cum love story, 'Aryan'. A movie about the life of a young man for whom two things hold most prominence in his life – his love (Sneha) and his passion (boxing), the movie has taken quite a while in the making but is now getting ready for release with a good promotion to boast of. With 'Aryan', popular telemarketing company 'Tele Brands' makes its foray into movie business with producer Poonam Khubani at the helm. The movie is written and produced by Abhishek Kapoor who had an unsuccessful acting career around a decade back [Uff Yeh Mohabbat] but now things seem promising with this upcoming entertainer. Anand Raaj Anand doubles up as a composer and lyricist and as per him this is one of the best ever scores by him. Let's check out the album to see if this is indeed the truth!

Beginning of the album is indeed quite smooth with a sweet-n-silent arrangement of music instruments marking a beginning to utterly romantic 'Janeman'. Shreya Ghoshal is the one who kick starts the proceedings with her sweet as honey rendition and as soon as Sonu Nigam takes over, it's the time for melody to flow. Lyrics are quite simple and likeable that makes this song a decent track to be heard. The best part about the composition is the smooth sailing feel to it that comes primarily due to judicious usage of instruments that never once sound disturbing at all due to a subdued feel. When ARA is the person behind a song then it is but obvious that there would be at least some dose of Punjabi feel to it and that's the case here in some of the intermittent lyrics too.

Next to come is 'Ek Look Ek Look' that is present in as many as three versions. Interestingly each of them is sung by producer Poonam Khubani who is given a good helping hand by ARA himself. First to come is the remix version that starts off in the same manner as most of the funky compositions by Pritam do. Remix by Praful Karlekar is done efficiently with today's trend of rap-n-reggae forming an integral part of the song. The composition overall is in the same style as ARA's score in ' Kaante' where he composed dance tracks with western arrangements while having an Indian feel to them. What amazes in the song is the rendition by Poonam Khubani who doesn't seem to be singing her first ever song. She has a very laidback and free-flow way of singing that gives a different feel to the song. The number has been shot well too and sounds quite alright while it is being played. Will it be a chartbuster? Maybe not, but then hear it on for some good time-pass. 'Dhol Mix' is the next one to follow and works better than the first version due to an authentic 'punjabi' touch given to it that makes it pretty foot tapping. Original version comes only in the end but after hearing the remix and the dhol version, this one pales a little in comparison.

ARA literally shouts 'Teri Te Me' on your face at the beginning of the song by the same title. A rock track (featuring twice in the album) with a forceful rendition by ARA, this one is a motivational song about achieving the impossible and doing whatever it takes to reach the top. A situational song that should come in the background when the lead protagonist is shown to be practicing and getting in shape for the big battle, it also has Pamela Jain coming towards the middle of the song. The tone of the song changes here as the lady love is shown to be missing her hubby and waiting for him to come back! Well, this song is only for the movie, though it should do well there in the narrative.

Ranjit Barot gets into the act to compose a track all by himself in the shape of 'Unbreakable Theme'. A Hollywoodish style composition that is written completely in English, it is certainly going to make one sit up and take notice due to a varied range of twists and turns that this track takes. It has everything from a 'Fast and A Furious' effect to a bit of 'Enigma' to a bit of soft-pop to heavy-metal. A good fusion number sung softly by Bianca and forcefully by Ranjit Barot alternatively, it is one of the best assemble numbers to have been churned out in Bollywood for quite some time. Hear it on – it is the best composition of the album so far and has an international look to it!

ARA gets behind the mike once again but this time goes sober for 'Lamha Lamha'. His style of rendition reminds one of ' Dil De Diya Hai' [Masti] and has a similar 'sad' feel to it. Lyrics are the mainstay of this number that is again a decent fusion with nice balance of Indian melody, lyrical feel and western arrangements (especially the background vocals). The number has the potential to grow, just like ' Dil De Diya Hai' if the movie has a long run since such situational songs do better after being 'seen' in the movie.

It's the turn of Shreya Ghoshal to get back in action with 'Rab Ne Mere', a romantic duet with Kunal Ganjawala, which doesn't really break any grounds but treads the path of traditional love songs. A little differentiating factor here is that ARA's style of melody is quite apparent in the tune as it has a subtle-n-soothing feel to it. Passable at the least!

As the saying goes, the best is left for the end, in the form of 'It's A Beautiful Day', a mushy number with an immense romantic appeal. An ideal gift for Valentines this season, it comes just at the right time with sentimental lyrics by Kumaar creating just the right feel. Shreya Ghoshal is excellent once again in this tale about two hearts just being happy in the company of each other while newcomer Hamza impresses quite a lot with his rendition. Overall a number that ends 'Aryan' on a very good note!

'Aryan' is not a bad hear at all, especially for the youngsters. And yes, Anand Raaj Anand is right when he says it is one of his best albums ever. It indeed is!

Originally posted by: Qwest

Reshammiya disappoints with PHP

Sukanya Verma | May 23, 2006 | 15:59 IST

Despite our love for it, Hera Pheri is not a movie recommended for its music.

Phir Hera Pheri maintains the tradition. The nutty trio of Akshay Kumar, Suniel Shetty and Paresh Rawal return in the sequel to the comic caper, sans director Priyadarshan and co-star Tabu. And so, Neeraj Vora, who wrote the previous one, steps behind the lens, and Bipasha Basu and Rimii?pitch in for glamour.

Now,?Hera Pheri gang goes pink

Anu Malik was at the helm of Hera Pheri. But for the follow-up, HimeshReshammiya(yawn) does the honours, with each track remixed by DJ Akbar Sami.

The album kickstarts on a typically Reshammiya note, with flashy use of shehnai, percussion and his own voice. Though in Mujhko Yaad Sataye Teri, he does this ridiculous mimicking voice. It's something Kishore Kumar could carry off easily but, in Reshammiya's case, it simply doesn't work. And it's not even a funny song. The tune was still somewhat decent had it been rendered conventionally. Remix: Stepped up rhythm aids to the foot-tapping element of the number.

If you ignore the repetition in his choice of tunes and instruments, you won't have a problem green-signalling Ai Meri Zohra Jabeen. Flamboyant and catchy, this one's a potential album showstopper. Remix: Not much different from the primary creation if you discount the pumped up drumbeats.

Dil Naiyyo Mane Re is best described as a screeching tussle between the nasal-toned Reshammiya and Tulsi Kumar. A crummy ditty to harp on the senses. Remix: Except for its accelerated pace and zingy background, this one's no better.

A rock 'n' roll rehash of Kem Che (Jis Desh Mein Ganga Rehta Hai), with hints of The Good, The Bad And The Ugly signature theme -- that's the title track for you. With its disjointed pattern and crazy ambience, Phir Hera Pheri doesn't have soundtrack appeal and is purely situational in nature. Remix: Mindless, uninspired and noisy!

Dil De Diya gets no points for originality. The fast-paced dance track takes unabashed inspiration from the crooner Ilo's club hit, Rapture. Remix: Loud and garish on the ears. An unimaginative reworking.

Pyar ki Chatni sounds like an Anand-Milind creation straight out of a 90s Govinda flick, thanks to its bawdy undertones and glittering arrangement. Remix: Tedious.

So, the film may be eagerly awaited, but Reshammiya's music will dampen the enthusiasm of fans.

By Joginder Tuteja, May 15, 2006 - 13:43 IST

Ramshastra, Kartoos, Hera Pheri, Awara Paagal Deewana, Aan - Men At Work and Deewane Huye Paagal - What's common between all these films? Producer Firoz Nadiadwala, who has always believed in giving his directors a larger than life canvas! What's the other common factor? Music director Anu Malik, who has more often than not given the kind of music that a Nadiadwala film warrants! But with 'Phir Hera Pheri', there is a slight shift in plan as composer Anu Malik is replaced by current numero-uno Himesh Reshammiya to come up with the film's music. No wonder, it doesn't come as a surprise to see as many as 3 tracks sung by Reshammiya himself as Akbar Sami churns out a remix for each of the 6 tracks in the film. Also, when there is Reshammiya, lyricist Sameer is bound to be the one doing all the writing and same happens in case of this 'Hera Pheri' sequel that stars the usual suspects Akshay Kumar, Suneil Shetty and Paresh Rawal along with Bipasha Basu and Rimmi Sen.

On you mark. Get. Set. And Go! Welcome Reshammiya who goes hip hop this time for 'Yaad Sataye Teri' and guess what, delivers in this genre as well! A smooth sailing number set at a decent pace, it gets your neck in motion as you hear a Reshammiya number for an umpteenth time in the course of your normal day. If you have loved Himesh compositions of last six months, you are certainly going to enjoy this one too. As expected, DJ Akbar Sami's added zing further spices up the song that moves at a much faster pace in its remix version and rocks the show in a big way. Not surprisingly, it turns out to be much more entertaining and makes this hip-hop number into a full fledged dance number. Enjoy!

Reshammiya singing 'Ae Meri Zohrajabeen'? Is that really possible? Well, don't rub your eyes in disbelief as that's what exactly happens when Sameer comes up with his own lines while keeping the opening words intact from the classic track in 'Waqt'. The song is rendered in a high pitch by Reshammiya as he composes this rhythmic dance track that has all it takes to be yet another hit for him. Musical arrangements are made of an excellent fusion of Western and Indian instruments that give an edge to this song that has potential to be popular. A spiced up number that makes you look forward to the high-on-energy remix by DJ Akbar Sami, one wonders why was this song not chosen over 'Mujhko Yaad Sataye Teri' for the kick start of the album's promotion?

Tulsi Kumar, who has already given a couple of hits with Reshammiya ['Mohabbat Ki' -Aksar, Title song - 'Humko Deewana Kar Gaye'] arrives with Reshammiya for the first duet of the album 'Dil Nayyiyo Maane Re'. Purists may have all the reasons to say that the song is in the same style as numerous other Reshammiya numbers but his fans certainly won't be complaining as he delivers exactly what he promises and what his fans expect! The song is in succession to the numerous love songs composed by him in 'Aashiq Banaya Aapne', 'Aksar' and 'Aap Ka Surroor' and 'Dil Nayyiyo Maane Re' continues to keep his flag high. Starting off with high pitch, for certain unexplained reasons, he suddenly knocks on the Bappi Lahiri territory at places, that makes you wonder if that was really required. Nevertheless, Tulsi Kumar, who gives good company to Reshammiya, can be rest assured that her work won't go unnoticed as the song is one of those kinds that should keep the music channels busy, both in the original and Sami's zingy remixed version!

Sonu Nigam, Shaan and Rakesh Upadhyay get together for the theme song 'Phir Hera Pheri' that it interspersed with the tinkling sound of coins. A fast paced fun song that is about the three prime protagonists in the film who lust after money and can do some 'hera pheri' again to get more of it, it is situational and should have some of its parts appearing as a part of film's background score or some critical junctures in the film. Also, expect a grand choreography for the song in true Nadiadwala style.

Anyone who follows English music would be able to relate to the beginning of 'Dil De Diya' where Sunidhi Chauhan's crooning is a clear lift from a popular western track. Kunal Ganjawala joins her in this love duet that has a melody of the mid/late 90s and in fact sounds more like a Anu Malik track than Himesh Reshammiya's. There is a bit of rap-n-reggae too [that is rather unnecessary] but overall the song still manages to pass muster. Both Kunal and Sunidhi sing in a high pitch here and it's their spirited rendering that helps the number go on smoothly, though there is nothing new in the song to talk home about. One factor that may not make the song noticeable if the choreography is done in a lavish and eye candy manner.

The title itself of Sunidhi Chauhan's 'Pyaar Ki Chatni' suggests to be made for the gallery as the opening shifts from a 'bhajan' setting to 'dhinchaak' beats a la the signature beats of Laxmikant Pyaarelal's '1 2 Ka 4' from 'Ram Lakhan'. A song that seems to be designed as a 'nautanki' number, it turns out to be exactly as one expected, i.e. aimed at a specific gentry. Watch out for the lyrical gems that go as:

"Dil Ke Pudine Ka Ras Tapka De, Thodi Si Chaahat Ki Mirchi Milade;
Madhoshiyon Ki Ilaychi Girake, Tu Narm Ungli Se Mujhko Chakhade'

A situational item song picturized on Dia Mirza, it can easily be given an easy skip and best forgotten once the album is over, be it in the original or the remixed version that has an overdose of the word 'chatni' interspersed throughout the song.

'Phir Hera Pheri' has 3 foot tapping numbers; all sung by Himesh Reshammiya ['Mujhko Yaad Sataye Teri', 'Ae Meri Zohrajabeen' and 'Dil Nayyiyo Maane Re'], a couple of average tracks ['Dil De Diya', title song] and an apology of a song 'Pyaar Ki Chatni'. If you have already become a Himesh Reshammiya worshipper by now, then the first three songs (along with their remixed versions by DJ Akbar Sami] should be good enough reasons for you to enjoy the album of 'Phir Hera Pheri' for a few weeks to come. But a super success like 'Aksar', 'Aap Ka Surroor', '36 China Town' or a 'Tom Dick and Harry' is ruled out.

You read it first on IndiaFM

Originally posted by: Qwest

Fanaa music: Disappointing

Sukanya Verma | April 19, 2006 | 13:58 IST

The thing about hype is, it only exceeds.

Take Fanaa for instance. It's got Aamir Khan. That is enough to get the audience interested.

Kajol is his leading lady. That it happens to be her comeback film post-Kabhi Khushi Kabhie Gham only adds fuel to the hype factor. There is no way this hype will stop from building if it happens to be a Yash Raj film directed by one of its protes, Kunal Kohli (Mujhse Dosti Karoge, Hum Tum).

Fanaa is right there in terms of all the promotional publicity surrounding it. But its soundtrack is a stinging disappointment. Jatin-Lalit's music hardly takes the uncharted route and is mostly pleasing. Here, in trying to do something different, J-L ends up dishing an uninspired score, which can be rated above average at best.

The album opens with Shaan and Kailash Kher's contrasting vocal presences in Chand sifarish. Well versed and rhythmic in melody, the vibrant number is an instant hit on the senses. Incidentally, the song features a whistle theme, which is the tune of the unused Yaara yaara from Hum Tum. Chand sifarish is featured once again in a zippy and rocking avatar as the club mix version, Fanaa for you by DJ Aqueel.

The first thing that strikes you about Mere haath mei is the arrangement by Salim-Sulaiman is clearly inspired by A R Rahman's style. Listen to it and you'll know what I mean. Be patient on this one, though. Rendered soulfully by Sonu Nigam and Sunidhi Chauhan, the romantic rhapsody takes its own sweet time to grow on the listener.?But the occasional voiceovers?by Fanaa's lead protagonists -- Aamir Khan and Kajol -- grate on your nerves.

It's time for filmi jingoism in the form of Des Rangila. Basically a functional composition it is never close to extraordinary. The vibrancy and richness of Prasoon Joshi's?pen particularly stand out. Even so the lacklustre Rangila relies on fancily uttered Vande Matarams, by the chorus, to force?a listener to pay attention.

Unhurried and mild in its tempo and mood, Dekho na's diluted mushiness fails to ignite sparks. The strains are too sombre and hence become too bland for their own good.

Hum Tum's idle track Yaara yaara gains more mileage here. It is transformed into a full-blown fresh act with a new name, Chanda chamke. Babul Supriyo and Mahalaxmi Iyer along with Khan, Kajol and Master Akshay Bhagwat enthusiastically perform this tongue twister of a melody. Though limited musically, Chanda is entertaining nevertheless.

The lounge mix, Destroyed in love is a scattered compilation of bits and pieces of Fanaa songs. It is neither unconventionally experimental nor conventionally tuneful.

The subject of Fanaa is not fluffy. It's the love story between a terrorist and a blind woman after all. J-L's soundtrack fails to have intense character or lend passionate nuances to this complicated romance.

By Joginder Tuteja, April 12, 2006 - 16:45 IST

Extraordinary? Well, if there was any other way that was more apt for terming the expectations from this Yash Raj Films' next, then it may as well have been placed here. And why not? After all 'Fanaa' is the biggest film coming from YRF since 'Veer-Zaara'! Though there were 'Bunty Aur Babli', 'Salaam Namaste' and 'Neal N Nikki' in between [with popular music as well], none can really match the scale of the kind of expectations one has from 'Fanaa', both from the music and the movie. Starring Aamir Khan and Kajol in lead along with Tabu, Rishi Kapoor, Shiney Ahuja and Kiron Kher, 'Fanaa' is the third directorial outing for Kunal Kohli [incidentally each being with YRF] after 'Mujhse Dosti Karoge' and 'Hum Tum'. Jatin Lalit, who have composed for the last biggie before their split, team up with Prasoon Joshi who has done some tremendous work recently in films like 'Rang De Basanti', 'Hum Tum', 'Rok So To Rok Lo' and 'Phir Milenge', to name a few. Since 'Fanaa' means completely destroyed, it leads to an eventual curiosity about the film's plot.

"Tere Dil Mein Meri Sanson Ko Panaah Mil Jaaye...Tere Ishq Mein Meri Jaan Fanaa Ho Jaaye"

This very line that makes an appearance in every promotional medium for 'Fanaa' sets the mood for the album and the film to follow. The first track 'Chand Sifarish' is the one which is known more as 'Subhan Allah' due to these two words been heard in the promos. Shaan's humming that opens up the number, very well establishes the song to be truly belonging to a Yash Chopra film. Melodious to the core, it is followed by Kailash Kher's crooning of 'Subhan Allah' and extremely catchy beats that arouses good hopes from the rest of the song. Poetic to the core, this well written number is also accompanied by the sound of a whistle and turns out to be a good fusion of Arabic and Indian melody. The real surprise comes mid-way through the number where the sound of santoor (one of the favorite music instruments in Yash Chopra films) is heard. A lyrical beauty with the term 'Fanaa' making an appearance at number of places, it has a good melodious appeal and is undoubtedly a popular number to have arrived this season.

'Mere Hath Mein' is the second number in succession with the term 'Fanaa' woven in the song. A song about a couple who are truly in love and just need each other's company, it too is based on sheer poetry and comes quite close to Javed Akhtar saab's style. Both Sonu Nigam and Sunidhi Chauhan sing the number in a low pitch and one can expect a scenic beauty forming the song's background. A slow moving number with a touch of Kashmiri style of music to it, it is the first track where Kajol and Aamir Khan lend their vocals. But no, they don't sing the song. Instead they narrate a line or two that fits in well with the mood of the song. While Kajol says the line 'Tere Dil Mein..." that is the highlight of the film's promotion, Aamir Khan says:

"Rone De Aaj Humko Tu Aankhen Sujane De, Bahon Mein Le Le Aur Khud Ko Bheeg Jaane De
Hai Jo Seene Mein Qaid Dariya Wo Chooth Jaayega, Hai Itna Dard Ke Tera Daaman Bheeg Jaayega"

He further aptly wraps up the song with "Adhoori Saans Thi, Dhadkan Adhoori Thi, Adhoore Hum, Magar Ab Chaand Poora Hai Falak Pe, Aur Ab Poore Hain Hum", hence conveying the sense of being highly satisfied and completeness in love. It may not be the easiest number to sing aloud due to its poetic feel but it still makes a great impression while being heard. This is proved to be true when an instrumental 'Lounge Mix' of the same arrives in the form of 'Destroyed in Love'. Dhrubajyoti Phukan programs the number and does a good job in coming up with a true lounge version. With a haunting appeal to boast, it should be an easy pick for the lovers of lounge music

Sound of whistle is heard again at the very beginning of 'Chanda Chamke'. A children's number which is the first ever in the album to be reminding of Jatin Lalit's vintage style, it redefines the tongue twisting 'Chandu Ke Chacha Ne Chandu Ki Chachi Ko' by coming up with a new tongue twister. Mahalaxmi Iyer and Babul Supriyo pair up for this 'feel-good' number while Kajol and Aamir Khan too join in for two more tongue twisters! A difficult number sung with ease by everyone along with child artist Master Akshay Bhagwat, it is going to be a sure shot popular number, at least with the kids. And yes, unlike the previous two songs, it is of the kind that will be sung along by many due to a sheer challenge of getting it's words and tune right!

Poetry and melody make a lethal combination once again for 'Dekho Na', yet another melodious duet by Sonu Nigam and Sunidhi Chauhan. At this point of time, one realizes that Udit Narayan, who has been a regular with YRF, is missing from the entire album! But you don't mind that as Sonu Nigam and everyone else has done a great job so far to create a mesmerizing impact. 'Dekho Na' has an old world charm to it with the music belonging to the 50-60s variety and reminding of the numerous such romantic songs to have been featured on the likes of Dev Anand and others. One of the best songs to have arrived in the album, it has an innocent feel to it due to an overall beautiful treatment. While Sonu Nigam is wonderful as always [especially in numbers like this], special mention for Sunidhi Chauhan as from hereon she should be taken seriously by the composers who have otherwise utilized her potential mainly for item songs or fast paced high-on-beats numbers!

It's time for Mahalaxmi Iyer to arrive with the first (and the only solo) number of the album. 'Des Rangila' is a peppy 'I Love My Nation' number that has a strong North Indian flavor to it and guarantees a colorful picturization. The song mentions everything from Indian tradition, culture to festivals and comes quite close to 'Aisa Desh Hai Mera' [Veer-Zaara]. Ending with the sound of 'Jaya Hey' from 'Jana Gana Mana', expect an eye candy outing when the song arrives on screen.

The first ever track with a strong western influence, the Club Mix of 'Chand Sifarish' comes as 'Fanaa for You' that completely changes the mood and style of the song. DJ Aqeel does a tremendous job to make it fit for the yuppy crowds as he jazzes up the song completely by also incorporating the words 'Fanaa For You' intermittently in the number. A rocking end to the album, it is just hard to believe that how one single number could be treated in two completely opposite ways while keeping the melody and basic context intact?!

It is indeed a pity that this could well be the last album composed by Jatin Lalit because the fact is that while doing so, they have come up with one of their purest musical score ever. A guaranteed musical success for YRF, it completely justifies the hype surrounding it for all these months since the time the film has been in the making. A winner, 'Fanaa' should rise to the top of the charts in just a few days time and help the movie's promotion further.

You read it first on IndiaFM

Originally posted by: Qwest

Banaras: a daft disappointment

Raja Sen | April 07, 2006 | 17:42 IST

Ashmit Patel has a problem. It's not that he can't act. Director Pankuj Parashar has taken care of that issue admirably, skirting his skills and asking him to smile vacantly at everyone. This is what Bollywood, bred on a diet of melodramatic histrionics, calls 'subtle.'

No, his problem is peculiar. A shy, silent orphan named Soham, he's a bit overwhelmed by the unashamedly frank proposal come his way from the overenthused Shwetambari (Urmila). The randy little rich girl is thrilled about Soham's music classes, and singing is clearly not foremost in her thoughts. But, Soham asks himself, is this right?

He needs higher counseling,?so he sits by a picturesque white beach, closes his eyes and meditates. Sure enough, God gallops to the rescue. Naseeruddin Shah, ubiquitously called 'Babaji', rides forth on a white horse and dispenses vague advice with a grin. His conflicting emotions placated, Ashmit and Urmila merrily embark on an inter-caste relationship that bothers some Banaras folk.

Daft? Yes, extremely, which is why the couple also justifiably irks the audience, who couldn't care less about caste. The film opens with a wealthy Banaras household, with Raj Babbar on his deathbed and Dimple Kapadia despairingly looking on. The man asks for a message to be sent to his daughter, whom he hasn't seen for 16 years. We cut briskly to the daughter, who has become an ambiguous god-woman in Mauritius, dispensing relatively obvious advice with a sage-like expression. And then follows the inevitable flashback.

The question is, what do you expect from Banaras? A love story? Check. Nice backdrops of an undeniably breathtaking city? Of course. Parent-daughter melodrama? Yup. A well-shot Holi song? All right, there you go. But if you went, like me, misled by the promos and conversations, expecting metaphysical excursions into philosophy and something deeper than average, well, you really might be?hoping for?too much.

First things first, the movie begins on an extremely cardboard note. The characters seem too basic, and the almost universally wooden acting doesn't enliven them much. It all begins ponderously, and while there is an obvious attempt to lend the production an air of theatricality, extremely clunkish dialogue bogs it down further. The pace drags wearily on, and much of the film seems shockingly, disappointingly amateurish, from the acting to sudden jumps in editing and framing.

The cast, while impressive on paper, isn't given a lively enough script to really inhabit, which is why most of them seem to walk through their performances. Ashmit Patel, for all our badmouthing of the youngest actor in this production, has stayed relatively free of blemishes, performing his insubstantial part adequately. Raj Babbar, surprisingly, delivers perhaps the best role in the house, nicely playing the proud, arrogant patriarch devoted to his daughter. Akash Khurana, a fine actor, does well as the doctor, but is handicapped by inadvertently funny dialogues.

Naseer is convincing (but entirely unsurprising) as the wise Godman, but then he could have played the part in his sleep. The pivotal characters are mother and daughter, and this is where things have gone crucially wrong. Dimple has been trying to mount a comeback for a while now, but this (like Pyaar Mein Twist or Being Cyrus) is not the film to give her that breakthrough. The actress manages a couple of scenes admirably, but flounders completely as the film stretches on, robbing the final scenes of all credibility.

And then there's Urmila. Let's start with the good. She looks great, refreshingly beautiful and striking. That's about it. This is an actress who has worked hard to earn respectability, but this role, like the film itself, suffers from inconsistency. She goes from giggling college-girl to platform-heel wearing 'Maa' with a suddenly scary (she can't lay off the spooky feel, alas) seemingly drunk?chick in between. Her character shifts from smitten to scornful, hysterical to omniscient, with blink-of-an-eye rapidity, and none of the transitions are convincing. Also, she shouldn't speak English, as is evidenced by a variety of bewildering accents and constantly stumbling over saying 'theoretical' thrice in the same sentence.

The first half of Banaras is really predictable,?with every couple of scenes punctuated by a forgettable Himesh Reshammiya track. Even if any of the songs might have sounded okay, they end up plastered too close together to register. And there really is no elucidation shed onto Banaras ? we are told of places where the Buddha prayed, and where Tulsidas wrote the Ramayana ? but the philosophy Babaji spouts seems blindingly entry-level, basic stuff.

The second half admittedly sets us up for a surprise or two, but things get increasingly preposterous. Urmila goes insane, the parents worry, a doctor with a face mask is brought in to help things along. But this, we're told, is Banaras, the land of miracles and mysticism, and its citizens evidently don't need pinches of salt to swallow massive, faith-shaking facts. We, on the other hand, do, and resultantly sit through the plodding production trying to read between lines that aren't there.

Banaras may well be the centre of our spiritual universe, but this film does not explore it enough.

Banaras does impress visually though, using a softer tone to tell its story instead of the shadowy slickness we are so used to. The colours are realistic, not vivid, and the almost orange-tinted screen mesmerises us as we constantly look through the characters to the fascinating backdrop of the holy city. This is truly a very pretty film, a fact that pushes it into two-star territory.

Perhaps there is a deeper layer to Banaras. Perhaps there's more to the metaphysical discussion than the 15 seconds devoted to the mad physics professor. Perhaps the obvious mysticism is just sheen, and there's a lot to decipher and grapple with beneath the surface. Perhaps it does hold, as the posters proclaim, a truth that will change our lives.

Perhaps. But I didn't get it.

By Joginder Tuteja, March 20, 2006 - 15:37 IST

Now this is one musical score that we definitely want to check out this season. After all the composer at the helm is Himesh Reshammiya who created music for 'Banaras – A Mystic Love Story' way before he was known as Himesh Reshammiya - THE SINGER/COMPOSER. Also, the theme of the movie is completely different from the masala/romantic flicks for which he has successfully composed in the recent past. With a mystic/spiritual context of 'Banaras - A Mystic Love Story', it should be a real testing ground for Reshammiya to prove his prowess when it comes to core Indian music. With lyrics by Sameer, this LC Singh movie is directed by Pankaj Parashar who himself changes lanes to direct a film that promises to bridge the gap between art and commerce. Starring Urmila Matondkar, Ashmit Patel, Dimple Kapadia, Raj Babbar and Naseeruddin Shah in principal roles, 'Banaras – A Mystic Love Story' releases this April.

As expected, it's Reshammiya-the singer, who opens the album with 'Kitna Pyar Kartein Hain'. Sound of piano that comes in the very beginning reminds of the signature background piece from 'Dil Hai Ki Maanta Nahin' and makes for a good start. A surprise is in store as you will hear a completely different Reshammiya in this love song with a good classical base. He sings the number in a low pitch, which is in complete contrast to what we have been used to hearing of him. A slow moving number, it also turns out to be quite similar to Adnan Sami's 'Tera Chehra' at number of places. Nevertheless, in totality 'Kitna Pyaar Kartein Hai' is easy on ears and makes for a decent hearing. After Reshammiya, its Alka Yagnik's turn to come behind the mike for her own version and as expected does quite well.

Next to come is a soothing love song 'Ishq Mein Dilko', which is in the same mould as Himesh Reshammiya songs from around a couple of years back. If you feel that it has been an overdose of the likes of 'Aashiq Banaya Aapne', 'Aksar' and 'Aap Ka Surroor' from the composer-singer then its time to hit nostalgia with 'Ishq Mein Dilko' that brings to you the Reshammiya of the past. The soft number is repeated twice in the vocals of Sonu Nigam and Sunidhi Chauhan and you don't really mind it due to its melodious feel. Nothing overtly exceptional so far but good old Bollywood mush and romance!

There haven't been many Holi numbers in the past with just a handful actually turning out to be popular. Though the film 'Banaras – A Mystic Love Story' is releasing a few weeks after Holi has gone by, one checks on 'Rang Dalo' to check how far can it go? The song does have an old world feel to it and does make you tap your feet at places, but that's about it. The song has a folksy flavor to it and you actually get to hear the folk version too after a gap. While the earlier version had Sonu Nigam and Shreya Ghoshal teaming up, the folk version brings together Sonu along with female singer Sailesh. An okay number, its presence should be restricted to the theatres where it is screened but won't go the distance to register itself in the list of all time popular songs.

A song that appears to be the introduction song of Urmila, 'Purab Se' is a song about sunrise and the prayers that go along with it. Shreya Ghoshal sings this song with a classical base, while Sameer's lyrics bring the feel of this devotional song fine too but its audiences would be restricted to those who truly appreciate and understand the nuances of such songs. From appreciating sunrise to singing praises about the city 'Banaras' comes a song in quick succession 'Yeh Hai Shaan Banaras Ki'. From 'Om Namaha Shivay' as a part of 'Purab Se' to cheers of 'Har Har Mahadev' in 'Yeh Hai Shaam Banaras Ki', it is a second situational theme number in a row, with singer 'Sanjeev Abhyankar' crooning the track this time around. There is a fusion element to the track too but overall the effect is just about fine rather than being exceptional.

Towards the end comes a 'shuddh' classical number 'Bajooband Khul Khul Jaye', which appears to be a 'mujra' being played somewhere in the lanes of 'Banaras'. Sung by Pranab Kumar who definitely seems to be proficient in classical singing, 'Bajooband' is an extremely short track that may do well on screen for the situation but isn't something that would really catch fancy of a music lover who may have picked up 'Banaras – A Mystic Love Story' with different expectations altogether.

As mentioned earlier, if you look forward to hearing some compositions by Reshammiya that are in complete contrast to what you have been hearing of him for around an year now, then 'Banaras – A Mystic Love Story' may just be the right pick. For an average listener, there are a couple of songs [Kitna Pyar Kartein Hain, Ishq Mein Dilko] in the beginning but rest of the tracks are mainly situational or of the type that would be appreciated mainly by students and followers of Indian classical music.

Originally posted by: Qwest

Music review: Pyare Mohan is dull

Sukanya Verma | April 04, 2006 | 13:19 IST

Love conquers all handicaps. Or so insists Inder Kumar's latest comedy, Pyare Mohan.

Post Masti, the filmmaker continues to concentrate on the audience's funny bone. In Pyare Mohan, he has Fardeen Khan playing a blind man and Viveik Oberoi go deaf as they comically struggle to woo Esha Deol and Amrita Rao respectively.

Anu Malik helms the soundtrack with considerable aid from arranger Ranjit Barot and lyricist Sameer. Previously when Malik and Barot got together in Aks and Asoka, the end result was entrancing.

But the soundtrack of Pyare Mohan never ever grabs the listener.

Here's what it does offer:

A little bit of qawwali. A little bit of rap. A little bit of pop. Fusion is the name of the game in Har Mohan ki koi Radha. Okay, so it's not another Kajrare (Bunty Aur Babli) or even Tumse milke from Main Hoon Na.?Try playing it in a loop for a while to get foot-tapping results. Though mostly a visual number, it features a whole line-up of playback singers ranging from Udit Narayan, Shaan, and Krishna to Earl Edgar D, Anu Malik and Ranjit Barot.

Sopping with saccharine sweetness and mushy floss, Tu jahan bhi jayegi is stuff Valentine's Day is made of. That doesn't stop the track from featuring extensively in the album. Tu jahan bhi jayegi is laden with 'I love you my angel' galore and Kunal Ganjawala sounding love-struck. The guy has sung enough courtship anthems to not sleepwalk through this one. The other versions are clearly emotional and slow-paced. The remix, however, is adequately spruced up with zingy velocity and swanky percussion.

Sunidhi Chauhan and Nikita Nigam pay a song and dance tribute to youth in Rabba de de jawaani. The sirens fight for sound space in this irritatingly wannabe ditty.

Abstract. Incoherent. Interesting. Trickbaby is back at what it does best: making oddball music. The band that featured prominently on the album credits of Bluffmaster?churns out the hip and rhythmic title track here as guest composer.

From peppy and frivolous, the mood of the album shifts to no nonsense and dry in Ek rub sach hai. Richa Sharma's gruffness and Krishna's high pitched shrieking fail to impress in this drab melody.

Street-side beats dominate the playful ditty Day by day mera pyaar, which unpretentiously caters to the masses. If the mischief in his voice is any indication, the singer appears to have had a swell time performing this track.

The bottomline: The soundtrack of Pyare Mohan has a couple of decent melodies. But, on the whole, it is not entertaining enough to hold the listener by the collar, oops, ear.

By Joginder Tuteja, March 28, 2006 - 13:44 IST

Pyare and Mohan are coming to the town soon. And they promise to bring much more 'masti' and 'dhamaal' than Inder Kumar's last flick 'Masti'. Starring Fardeen Khan and Vivek Oberoi in the title roles, 'Pyaare Mohan' is an Inder Kumar-Ashok Thakeria production that has constantly been in news since it began shooting and reached the peak of publicity with the infamous Esha Deol-Amrita Rao incident. With the movie's release round the corner, the focus of promotion shifts towards music by Anu Malik, who recently gave some decent ear friendly tunes for 'Humko Deewana Kar Gaye' before Himesh Reshammiya hit a sixer with his version of the title song. Sameer who is the usual lyricist of 7 out of 10 major flicks, is the lyricist for 'Pyare Mohan' too!

"We will rock you, oops, shock you" - this is how Anu Malik chooses to mark the beginning of the title song of 'Pyaare Mohan' - 'Har Mohan Ki Koyi Radha'! A fusion track that captures the essence of 'qawalli' with western style and Indian melody, 'Har Mohan' takes some time to be absorbed but ends up growing on you after hearing it at least 4-5 times. A fun club number by Udit Narayan and Shaan with support from Krishna, Earl and Anu Malik, it's beats and rhythm start reminding of 'Mere Mehboob Mere Sanam' from Anu's own 'Duplicate'. All in all, an above average track at the very beginning of the album when one expected a much better rocking number by Anu Malik.

The main song of the album, 'Tu Jahan Bhi Jaayegi – I Love You My Angel' comes next that dominates the album from start to finish as it makes as many as five appearances. Well, the song is worthy of such repeat versions as the sheer melody makes it an extremely pleasant outing. Sameer's lyrics are as simple and innocent as they can get and make the track a beautiful romantic number that creates a space for itself in the current musical scene. And yes, the germ of the song lies in the lesser heard (though well composed) 'Tera Husn' from 'Bachke Rehna Re Baba' [again by Anu Malik] that came and went unnoticed last year. While Kunal Ganjawala (who also sung 'Tera Husn') sings the prime original and the groovy remix version of the track, it is the turn of Udit Narayan to croon much shorter and slow moving Part I and II of the song with Alka Yagnik making an appearance for Part III where the heroine finally admits her love for her lover!

It's the turn of girl power to strike with 'Rabba De Di Deewani', a high on beats rhythmic number by Sunidhi Chauhan and Nikita Nigam. Desires of both the females? "I wanna live forever ever; I want to die never never". In nutshell, the two girls want to enjoy life as they pray to God to let the "youth" be with them. A fast paced number that promises good picturization, great outdoor locales and some eye candy cinematography, 'Rabba' is a hit song in the making and inarguably a song that carries most potential to be popular as compared to the songs preceding it.

Things take a complete twist from here as Krishna and Richa Sharma get together for a fusion-spiritual track 'Ek Rub Sach Hai'. A song with a distinct 'sufi' element to it while being presented in a western avtar, it sticks to being situational and that's about it.

Though coming a little belated, the song that is going to create a sure shot stir with its promotional video is 'Pyaare Mohan' by UK based band Trickbaby that had indeed done a 'trick' in 'Bluffmaster'. A hip hop number, it is a song with a consistent rhythm and some distinct vocals and imaginative musical arrangements that make it a winner. In the end, it's time to enter David Dhawan territory with 'Day By Day Mera Pyar'. A time pass fast paced masala track that belongs to the genre that Anu Malik has perfected since his 'Judwaa' and 'Haseena Maan Jaayegi' days. Sonu Nigam is the perfect choice for a song like this and he is completely at ease while simultaneously enjoying this fun track.

'Pyaare Mohan' may not be the definition of great music when it comes to purists but it has a potential to keep its target audience happy. The music entertains and makes good setting for some fine choreography and picturization that should keep both the listener and the viewer happy. Hear it and feel free to put the album aside after a couple of months or so!

Originally posted by: Qwest

Music review: Gangster is groovy

Sukanya Verma | March 27, 2006 | 17:54 IST

Gangster - A Love Story has quite a few things about it that make you go 'hmmm.'

For starters, the story is said to draw inspiration from the real life romance between underworld don Abu Salem and Bollywood starlet Monica Bedi. That probably explains the film's rather awkward title.

It is the first Indian film to be extensively shot in the picturesque locales of Seoul, South Korea.

It introduces a silver screen debutante, Kangna Ranaut. Directed by Anurag Basu, this Mahesh Bhatt presentation co-stars her opposite Emraan Hashmi and Shiny Ahuja.

And in the soundtrack album, music director Pritam churns out some neat tunes.

The opening track Tu hi mera shab hai strikes a chord with its effervescence. Bolstered by an infectious rhythm and K K's spirited rendition, this song sure has the makings of a chartbuster.

There is nothing too flashy about Bunty Rajput and Jatin Sharma's respective remixed versions of the same. Both the electronically reworked versions go easy on the beats even as the tempo accelerates.?

Bangladeshi singer James makes an impressive debut with Bheegi bheegi. This one's not a Pritam creation but based on on a song called Prithibi by the late Gautam Chatterjee (a cult Bengali rock songwriter who?was the leader?of a band called Mohiner Ghoraguli). An interesting arrangement that alternates between minimalist and soft rock, powerful lyrics (by Mayur) and James' inspired performance ensure Bheegi bheegi is another winner.

Abhijeet coos the lyrics in the next track, Lamha lamha. Although it starts off nicely, the excessive saccharine in its tune proves to be its undoing. The romantic irritant features a second time as a duet with Sunidhi Chauhan. Nothing is?changed. The overbearing nature of the track still persists.

But those woes are soon forgotten with the dynamic entry of Ya Ali. This superb, high-voltage dance track introduces another new voice, Zubeen, to the playback scene. His pulsating verve jives in tandem with the high energy levels of this instantly likeable ditty.

Mujhe mat roko is a combination of Kavita Seth's husky tones and Pritam's stark melody. Slow and brimming with agony, Mujhe mat successfully conveys distress.
?
Bottomline: By and large, the soundtrack for Gangster-A Love Story is groovy, and is bound to find its place in the charts effortlessly.

By Joginder Tuteja, March 20, 2006 - 15:07 IST

There are certain albums that come with a guaranteed success tag, at least on the face value. 'Gangster - A Love Story' is one of them! After all why not when you have three important factors that make the music of 'Gangster' HOT -

a) Emraan Hashmi, who has an enviable success rate of near 100% when it comes to music of his films

b) Mukesh Bhatt, whose films have always boasted of popular melodious music for more than a decade now

c) Pritam, whose compositions have more often than not hit a chord with the youth since the time he started composing

With factors like this, there are immense expectations from 'Gangster' that also stars last year's hottest male discovery Shiney Ahuja in the title role along with newcomer Kangna Ranaut who is touted to be the next Madhuri Dixit in the making by none other than Mukesh Bhatt himself. Directed by Anurag Basu who returns after 'Murder' and a prolonged life-threatening illness, 'Gangster' has lyrics by Sayeed Quadri, Mayur and Neelesh Misra.

K.K., who has been silently getting the best of the songs to sing these days without too much of hype and hoopla surrounding his work comes behind the mike for 'Tu Hi Meri Shab Hai', a beautifully written number by Sayeed Quadri. A love song in appreciation of one's lady love, it's the rhythm in the signature interlude that makes the number instantly catchy. A good romantic song that is picturized on Emraan as he plays the song with a guitar in his hand with a night club setting, it is a song worthy of a repeat hearing and that's exactly the reason why it appears in two more remix versions.

First to come is 'Euro Mix' that becomes much more techno in the way it begins and brings to fore the true blue club feel. Bunty Rajput is the man behind this remix and makes 'Tu Hi Meri Shab' much more hip-n-happening. Expect it to be played in the hottest clubs and the pubs soon! Jatin Shama comes up with his own remix version and does a good job to ensure that the song is heard till the very end of the album.

Bhatts have introduced many Pakistani singers to Bollywood but this time around it's the turn of a Bangladeshi singer to make a mark. James, an extremely popular singer in Bangladesh, makes his Bollywood debut with 'Bheegi Bheegi', a song written by Mayur, which is based on Gautam Chatterjee's 'Prithvi'. This is the same number that has the lyrics 'Na Jaane Koyi' that have been beamed in the theatrical promos so far. An excellently well written, composed and sung song that is bound to make you longing for more, 'Bheegi Bheegi' has a lethal combination of rhythm and melody that makes it a highly exciting piece of music. Expect the number to be a hot favorite in the campus and bonfire parties as it is certainly going to climb to the top bracket.

Neelesh Misra written 'Lamha Lamha' is yet another example of a beautifully composed song that has a poetic feel to it. Abhijeet is marvelous in this soft melodious track that has been given a sweet feel by Pritam with effective usage of light musical arrangements. An easy on ears number that has been composed in true Bhatt tradition, 'Lamha Lamha' is yet another good song in succession that also appears in a duet version with Sunidhi Chauhan giving company to Abhijeet.

After an import from Bangladesh, it's the turn of yet another new voice Zubeen, this time from Assam, to make his Bollywood debut. And no, it's not a sufi track as one may expect from lyrics like 'Ya Ali'! In fact it is a love song for a man who is passionately in love with his beloved and is willing to give away everything for the sake of his love. A techno fusion number written by Sayeed Quadri and set in contemporary style, it should manage to go an extra distance if picturized on Emraan Hashmi as it fits on well with his on-screen image. Still when compared to the songs prior to it, it is just a step or two behind due to its situational feel.

Last song in the album is 'Mujhe Mat Roko', a semi classical track by Kavita Seth, who excels in this extremely slow moving yet touching and meaningful number. The first of its kinds ever that has been composed by Pritam, it makes a remarkable shift from the peppy tunes that the composer has been known for. The song belongs to the same genre as the tracks from 'Hazaaron Khwahishen Aisi' that establishes its classical base. A good situational number about a woman longing to be with her lover, it should create a haunting feel to the narrative. Expect 'Mujhe Mat Roko' to force you to be glued to your seats.

Don't expect an 'Aashiq Banaya Aapne' [Aashiq Banaya Aapne] or a 'Jhalak' [Aksar] from this Emraan Hashmi movie as 'Gangster' has an altogether different theme and mood. Instead watch out for some good variety in this score by Pritam that has at least two chartbusters 'Bheegi Bheegi' and 'Tu Hi Meri Shab Hai' in the offering. 'Lamha Lamha' too is another good reason to go for the album while the remaining two situational numbers ['Ya Ali', 'Mujhe Mat Roko'] should look good on screen. Overall, a good album for your collection!

Originally posted by: Qwest

Shaadi Se Pehle: Catchy music

Sukanya Verma | March 01, 2006 | 14:33 IST

He loves her. He loves her not.

Akshaye Khanna oscillates between Ayesha Takia and Mallika Sherawat in the romantic comedy of errors, Shaadi Se Pehle. Directed by Satish Kaushik, under Subhash Ghai's banner Mukta Arts Entertainment, the fun flick also features Aftab Shivdasani and Suniel Shetty.

Himesh Reshammiya is in charge of the music. Interestingly, the composer-singer, who recently won a Filmfare award for Best Male Playback singer (Aashiq Banaya Aapne), doesn't sing a single line in Shaadi Se Pehle. His absence from the crooning department doesn't hamper his compositions though.

Mundiye bears a fleeting resemblance to Just Love Me of No Entry. But that's not the problem. Perhaps a little more spice and energy from Sunidhi Chauhan would have made the ditty peppier on the ears. Even its technically dabbled remix by DJ Suketu doesn't quite impress.

You may find traces of Mujhse Shaadi Karoge's Tu Aaja Soniye and Sukhbir's Gal Ban Gayee in Ankhiyon Se Gal Kar Gayi. Barring those unwanted reminders of blasts from the past, this Punjabi pop song is sufficiently rocking. The second version also gets it right.

High on the spectacular success of Rang De Basanti's winner title track, the zesty voice of Daler Mehendi oozes heart-rending passion in Tutitya Ve. It's the Daler touch that makes all the difference to this otherwise average melody. More power to him! Suketu's remix, however, messes with the emotional quotient, with faltering results.

Sukhwinder Singh and Alka Yagnik flirtatiously ponder the thundering and lightening after effects of love in Bijuriya. Reshammiya's colourful, rustic arrangement -- despite the presence of Hinglish lyrics like 'I think of you all the time Banwariya' -- makes for a fetching, foot-tapping score. Ditto for DJ Akbar Sami's bubbly mix. ?

Fickle in its rhythm, uninspiring in tune and humdrum in its lyrics, Tere Liye doesn't live up to the vivacious mood of the soundtrack. The remix springs an incredible surprise though. Sami's magic wand turns the song from hopelessly dreary to pleasantly breezy. In Sache Aashiq,

Sukhwinder Singh's trademark verve is for all to hear as he bounces infectiously in Yagnik's equally charming company over the upbeat bhangra number. With so much spirit in its element, it is no surprise that Reshammiya ignores the need to include a remix.

As is the case with most of Reshammiya's popular music, the soundtrack of Shaadi Se Pehle too is lively and catchy.

By Joginder Tuteja, February 28, 2006 - 16:28 IST

As soon as you lift the music album of 'Shaadi Se Pehle', you don't look forward to checking the cute pose of Ayesha Takia, the sexy figure of Mallika Sherawat or the funny picture of Akshaye Khanna. You want to check if composer Himesh Reshammiya has sung any song for this album too as this has fast become a trend with number of his albums post the success of 'Aashiq Banaya Aapne'. Sadly, that's not the case for this Satish Kaushik directed comedy coming from the house of Subhash Ghai's Mukta Films. Nevertheless one plays on the album that promises to be all fun and frolic with a remix version accompanying almost all the tracks in 'Shaadi Se Pehle'. Sameer writes the lyrics.

'Masti' and 'dhamaal' begin David Dhawan 'ishtyle' as Sunidhi Chauhan modulates her voice considerably to come up with a foot-tapping 'Mundeya'. The song is not a classic by any means when it comes to lyrical value, and this partially seductive partially naughty number falls under a guaranteed time-pass category. A regular girl-trying-to-invite-boy number, it should make for a good eye pleasing viewing as it has all it takes to excite the hoi-polloi. Things take a pacy turn for better with Akbar Sami coming up with his trademark DJ mix. No doubt it turns out to be much more catchy and exciting!

When seductive sighs of 'Oh baby, come closer now' mark a beginning to a song, you get an impression that 'Ankhiyon Se Gal Kar Gayi' is a whole hearted seductive number. This turns out to be a misconception when Sukhwinder Singh appears on the scene as he and Himesh Reshammiya turn it into a regular Punjabi dance number. The song is noticeable only for its heavy duty high bass but that's about. Overall an average track with Sonu Nigam and Sunidhi Chauhan as co-singers that may gain some popularity only if picturised well since musically it is ordinary. Just like 'Mundeya', 'Ankhiyon Se Gal Kar Gayi' too sounds much better in its remix version by Akbar Sami that comes with 'dhol' beats to make it an authentic Punjabi track.

Daler Mehendi and Himesh Reshammiya coming together – now that's quite a handful. 'Tuteya Ve' makes it possible for the music lovers as Daler goes on to sing a love song in his own inimitable manner. Don't expect a dance number from Daler this time around as the song moves at a moderate pace with some excellent music arrangements. As soon as you are halfway through the song, you wonder if a lounge version would have further enhanced its appeal. Now call it sheer coincidence as this is what happens when DJ Suketu version of the same song comes after a gap. Undoubtedly 'Tuteya Ve' is the best song of the enterprise so far.

A song for the interiors, 'Bijuriya' is a qawalli number with lyrics like 'Gire Mujhpe Teri Ishq Ki Bijuriya' with an extra stress on 'Ishq'. Alka Yagnik is seemingly enjoying herself while coming up with an all-out effort while for a change someone of the caliber of Sukhwinder Singh takes a back seat. Though the beginning of the track is in a typical Himesh Reshammiya mode, it's the portions thereafter that have a certain Subhash Ghai touch to them. Akbar Sami's remix version adds in some extra beats to the proceedings but one would still prefer to go with the original.

A conventional love song that makes for a good 'naach-gaana' around the trees, 'Tere Liye' is one of your routine romantic tracks by Udit Narayan and Alka Yagnik. Not bad but nothing that makes you go over the song again and again. Average! Remix version by Akbar Sami isn't anything exciting either and the song can be forgotten soon after.

Album ends with a song with 'Sache Aashiq', a song with ample dose of 'shaava shaava', 'nachle', 'jind meriye' and the stuff alike. Now that should be good enough to give a fair idea about what the song is all about as it falls under a typical Bollywood 'bhangra' dance number. Yet another okay track that doesn't really make you jump with joy.

If you are looking for some trademark Himesh Reshammiya touch that he has perfected during last few months then you may not have too many reasons to cheer about as the songs belong to the pre-Aashiq Banaya Aapne era. 'Shaadi Se Pehle' has some average to above average to good songs with 'Tuteya Ve' being the pick of the lot followed by 'Mundaya' and 'Bijuriya'.