Music Review : Kal Kissne Dekha

Kal Kissne Dekha
Music Director - Sajid,Wajid

Singers - Sonu Nigam, Suzi Q, Shaan, Shreya Ghosal, Alisha Chinoy, Neeraj Shridhar, Wajid


Lyricist - Sameer


EXPECTATIONS
A launch pad is always looked at with keen interest. Especially so when the filmmaker here i.e. Vashu Bhagnani is someone who was once known as the 'Man with the Midas touch'. At the peak of his stint as a producer, he gave Bollywood a number of musical entertainers like Coolie No. 1, Hero No. 1, Bade Miyan Chote Miyan, Biwi No. 1, Mujhe Kuch Kehna Hai and Rehnaa Hai Terre Dil Mein. During his 15 years of filmmaking,

Vashu Bhagnani roped in different composers for most of his films so it doesn't come as a surprise to see the names of Sajid-Wajid on Kal Kissne Dekha cover. Now when he launches his son Jackky Bhagnani along with Vaishali Desai with this Vivek Sharma directed film, expectations of a good, young and energetic musical score are tremendous.

MUSIC
It's nostalgia time at the very beginning of the album as vintage Sajid-Wajid are heard in 'Aalam Guzarne Ko'. A kind of mushy romantic number which belongs to a style similar to that of songs in their non-film album Deewana [which featured Sonu Nigam], 'Aalam Guzarne Ko' is smooth flowing and extremely easy on ears. A winner track which goes easy on arrangements and focuses more on melody, lyrics and vocals, this one does turn out to be impressive for those who love their Bollywood music to be all mushy and romantic in a conventional sense.

Now this one could well have been picturised on Salman Khan. Not that 'Soniye Billori' (which also appears in a 'Club Mix' version) is any great shakes but it has a rather 'template' kind of music that Sajid-Wajid have composed for many a Salman Khan starrers. A fast moving dance number with a Punjabi touch to it and some lazy singing, 'Soniye Billori' is predictable with the 'antra' portions being a better hear than the opening lines.

Thankfully there is quick turnaround in the proceedings with 'Aasman Jhuk Gaya' where melody, love, mush and romance is back into the album. In a mould similar to that of 'Aalam Guzarne Ko' when it comes to slow paced melody, it's beauty lies in the fact that it has a grand appeal to it by means of arrangements while being set in the 70s style melody. A kind of romantic number which is just right for a quintessential launch number, this should be one of the first songs from the film that should be out on air.

From 70s, music moves to the world of 80s as 'Jashn Hai Josh Hai' reminds of the kind of music that could well have been composed for a Feroz Khan movie. The entire orchestra in a mould similar to that of music that was heard in the era gone by and even though the song may not travel the kind of distance to be remembered amongst the best of the best when 2009 closes, it's rhythm is catchy indeed to resonate in your ears long after you have heard it first.
If there is a number that would sit right at the top of the album, it has to be 'Tere Bina Lagta Nahin Jiya'. Even though the number does resemble Viju Shah's 'Mere Sanam Mujhko Teri Kasam' [Gupt] at places (in the 'mukhda'), it could well be a coincidence. Overall, 'Tere Bina' is a passionate song and comes with good energy in spite of its sad setting. The number is arranged well too hence boasting of a rich feel.

A 90 second track which is a prelude to a bigger song which is next to follow, 'Bin Tere Mar Javan Mein' has a semi-classical touch to it and reminds of a style that has been heard in films coming from the house of Subhash Ghai. A situational track, it has a core Indian feel to it and presents Vashali Desai in her classical dance avtar.

Finally arrives the much awaited title song 'Kal Kissne Dekha' which could well be the 'Sitaron Ki Mehfil' [Kaho Naa... Pyaar Hai] moment for Jackky Bhagnani if picturised and choreographed well. The song has everything from the right mix of melody-n-rhythm; high energy, elaborate arrangements, foot tapping appeal and a 'climax song' feel to it. And yes, one can't miss the trumpet that makes its presence felt throughout the song. It is similar to the style that has made Bachna Ae Haseeno a number popular through the decades.

An elaborate stage number where Jackky gets to demonstrate his dancing abilities, Kal Kissne Dekha (which appears again in an equally impressive 'Club Mix' version) is a song that should be unleashed as the film arrives within a week of it's release. A 100 second 'romantic version' (which takes an about turn from being a dance number) brings the album to a satisfying end.

LYRICS
Sameer is entrusted with the responsibility of writing lyrics for a film that marks the entry of a newcomer into the industry. He goes poetic with 'Aalam Guzarne Ko' and 'Aasman Jhuk Gaya' and does well in bringing to fore young love. However, in 'Soniye Billori', he rehashes his own work from the past and comes up with a song which is just a numerical addition to his wide repertoire of work.

He later arrives with 'Jashn Hai Josh Hai' but the fast paced rhythm of the number is so overpowering that at the end all that a listener remembers are the words 'Kal Kissne Dekha' which form major part of the song. Same holds good in case of the title song 'Kal Kissne Dekha' which arrives at the very end of the album. Yet again, it's the music which stays on with a listener than the lyrics. 'Tere Bina' is better written song which is about separation and the pain caused by it.

VOCALS
Sonu Nigam has two songs at the very beginning of the album and he shows once again why music lovers would want to hear more of him. He is in fantastic form with 'Aalam Guzarne Ko' hence proving that when in right mood, he is unstoppable. He is just passable though in 'Soniye Billori' where he just seems to be going through the motions. Perhaps the song's style required him to take a lazy approach but a more energetic approach could have worked better for the composition. Suzy Q is his partner in both the songs and though she is just a notch above being a backup vocalist in her English rendition, she does end up making her presence felt, especially in 'Soniye Billori'.
Shreya Ghoshal is showing it time and again why she is turning out to be such an indispensable artist in the industry. She is superb in 'Aasman Jhuk Gaya' and comes up with the best sung number in the album so far. Shaan is no lesser force either as along with Shreya; he comes up with a rendition that reminds a listener of the songs from the 70s.

While Shreya Ghoshal is quite neat in 'Bin Tere Mar Javan Mein' as well, it is Shaan who leads the show in the title song 'Kal Kissne Dekha'. For an all important number of the film which takes the narrative to its crescendo, Shaan comes across as all charged up and ensures that the sense of euphoria is retained till the very end. However, Shreya is heard very faintly only in the background.

Sajid-Wajid have to complimented for their choice of singers in Kal Kissne Dekha since they invariably bring in different singers to do the job as per a song's genre. For 'Jashn Hai Josh Hai', Alisha Chinoy is roped in to sing a major portion of the song with Neeraj Shridhar appearing a little later. Wajid himself appears on the scene for a short while and together the singers get the job done well.

Later, Wajid gives himself a bigger responsibility of going solo with 'Tere Bina' as well as the 'romantic version' of the title song 'Kal Kissne Dekha'. Coming up with a full throated rendition, Wajid sings in a style that has been made popular by quite a few Pakistani singers in the last couple of years and ensures that he has winner up his sleeves.

OVERALL
'Kal Kissne Dekha' is a good album with 'Soniye Billori' being the only track that stays on to be merely average with 'Jash Hai Josh Hai' being a little better. However, songs like 'Tere Bina Lagta Nahin Jiya', 'Aalam Guzrne Ko' and 'Aasman Jhuk Gaya' do manage to impress well with the title song 'Kal Kissne Dekha' bringing on a grand finale that is indeed going to rock the show.
Give Kal Kissne Dekha a hear if you are a follower of commercial Bollywood soundtrack.

OUR PICK(S)
'Kal Kissne Dekha', 'Tere Bina Lagta Nahin Jiya', 'Aalam Guzarne Ko', 'Aasman Jhuk Gaya'

Music Review : Sikandar

Sikandar

Music Director - Loy Mendonca,Ehsaan Noorani,Shankar Mahadevan,Justin,Sandesh Shandilya

Singers - Shankar Mahadevan, Anousha Mani, Mohit Chouhan, Mehrajuddin, Hrishikesh Kamerkar, Yash Narvekar, Shilpa Rao ...

Lyricist - Prasoon Joshi, Neelesh Misra, Kumaar

EXPECTATIONS
Frankly, one doesn't have many expectations from the music of Sikandar primarily due to the film's offbeat theme and a 'hatke' genre. Moreover, the film isn't one of those routine Bollywood flicks and brings to fore the life of a teenage boy who happens to stumble upon a pistol in the valley of Kashmir. With expectations of a soundtrack that will mainly be played in the film's background, one puts on Sikandar.
MUSIC
'Dhoop Ke Sikke' sets a sweet beginning to Sikandar as Shankar-Ehsaan-Loy come up with a tune which is quite easy on ears and makes for a relaxed hearing. One can instantly visualize the valley of Kashmir in the background as this soft rock number plays on. Bringing with a fresh appeal which makes Sikandar an outing which is positive, full of life and looks forward to better days ahead, 'Dhoop Ke Sikke' makes you look forward to the songs that follow.
It's a similar lyrical flow that one experiences in 'Gulon Mein' which is composed by Justin-Uday [who were last heard in Hijack]. This time around, the composer duo give an altogether different account of themselves as they move away from creating conventional Bollywood compositions and instead choose to create a song which brings with it a thematic approach. The song first comes in a slower 'serene version' and later an 'upbeat version'. Though one expected a 'remix' version here, thankfully that is not the case as the tune has been reworked a little with Sandesh Shandilya arriving on the scene.

It's a teenage voice for the song 'Arzoo', a traditional devotional track. A two minute track that would be appreciated by the followers of Muslim religion, it comes sans any musical instrument in the background and would most likely play during a situation in the film where prayers are being offered. On the similar lines is 'Allah Hoo' which has Justin-Uday coming up with a conventional tune that one has heard in number of tracks belonging to this genre before. However, to the credit of the composers, they keep the flow of the song steady and do not spoil the final results by playing unnecessary musical instruments in the background.

With a Kashmiri background to it, 'Manzaraat' is a bona fide item number that is completely off the mood and genre of the album that was set so far. With a 70s feel to it, this one is nothing better than being ordinary, due to which the listener's interest only keeps going down in this album. Finally comes 'Chaal Apni' which is meant to be a playful feel good number between the two teenagers. However, it turns out to be yet another ordinary song which doesn't quite make you go 'wow' even after a couple of hearing.

LYRICS
Prasoon Joshi shows once again that he could well be the Javed Akhtar of the 21st century if his poetry in 'Dhoop Ke Sikke' is any indication. He is one of the few lyricists today who bring a poetic narrative through their words and 'Dhoop Ke Sikke' further validates that. Later Neelesh Mishra too follows a similar poetic approach while writing 'Gulon Mein' which is a poignant but positive and hopeful tale of life coming back to normalcy. Kumaar's lyrics for 'Manzaraat' gets lost due to the tune being totally ordinary while 'Allah Hoo' is conventional. However, he unleashes the child in him while writing 'Chaal Apni'.

VOCALS
Anusha Mani, who has made an impression in both the songs that she has sung in the recent times - 'Dil Mein Jaagi' [Dev D] and 'Lazy Lamhe' [Thoda Pyaar Thoda Magic], makes it three in a row as she comes up with a very good rendition in 'Dhoop Ke Sikke' as well. Shankar Mahadevan as her singing partner only makes it a competitive platform for her to perform and she does doesn't disappoint at all.

Mohit Chauhan sings in a style that goes with his name and ensures that 'Gulon Mein' maintains a similar quality to it. However, KK sounds a lot different from his characteristic upbeat self even as he sings the 'upbeat version' (quite ironically) of 'Gulon Mein'. Mehrajuddin's voice is unconventional but goes with the mood which is required to be created for 'Arzoo'. Yash Narvekar and Hrishikesh Kamerkar are decent as they sing 'Allah Hoo' but the genre of the song restricts them from doing anything beyond that.

Shlipa Rao has been making a rapid progress in the Bollywood playback singing world but with 'Manzaraat', she proves that she too can make wrong choices. In the song 'Chaal Apni', Hrishikesh Kamerkar is average though Hamsika Iyer does sound pleasant.

OVERALL
In the end, Sikandar turns out to be an average album with 'Dhoop Ke Sikke' making the best impression with 'Gulon Mein' doing decent as well. Beyond that, the tracks are primarily situational with not much shelf life beyond the film's narrative.

Music Review : Aloo Chaat

Music Director - RDB,Xulfi,Vipin Mishra,Mehfuz Maruf

Singers - RDB, Nindy Kaur, Xulfi, Kailash Kher, Kunal Ganjawala

Lyricist - RDB, Xulfi, Vipin Mishra, Syed Gulrez

EXPECTATIONS
One expects a decent soundtrack from Aloo Chaat mainly because the film's title conveys an impression of a young-n-spicy love story that has ample scope for music. Moreover, director Robby Grewal had ensured that his last film MP3 - Mera Pehla Pehla Pyaar had some nice feel good music and hence one knows for sure that it won't be a step down with Aloo Chaat. Moreover, with youngsters like Aftab Shivdasani and Aamna Shariff being roped in for a film, there are expectations of a couple of hum able tunes at the least

MUSIC
Well, the music of Aloo Chaat isn't in true terms hum able (due to most of the numbers being either situational or dance numbers) but it does ensure that there is no single dull moment in it's entire play. Music is pretty much an ensemble effort here with as many as four composers coming together - RDB, Xulfi, Vipin Mishra and Mehfuz Mahruf. RDB makes the best use of the platform provided and comes up with a killer title track 'Aloo Chaat' which should have come on air much before. A chartbuster material which is just the right ammunition for the disc hopping crowds, 'Aloo Chaat' is high on rhythm and makes an instant impression.

RDB gives an altogether different account of itself with 'Boliyaan' which is basically an amalgamation of many a Punjabi 'boliyan'. Instantly identifiable if you have stayed even a year in the North of India, 'Boliyaan' makes for an entertaining piece of music which is straight out of a Yash Raj film. The arrangements and orchestra are just perfect as well since they are authentic sans any adulteration.

Xulfi (of 'Call - The Band' from Pakistan) comes up with a winner of a tune in the form of 'Dhadke Jiya'. A soft number that has melody at its core, 'Dhadke Jiya' is the one for a long walk with your loved one on a moonlit night. The arrangements are kept at the minimal too as the singer is allowed to do his job. Moreover, even when the song comes in the 'remix version', it doesn't go overboard and keeps the entertainment quotient intact.

Another version of the title song 'Aloo Chaat' is composed by Vipin Mishra. A situational background track that is bound to play a multiple number times in the narrative of the film, this one has a certain innocent appeal to it that would appeal to children. A fun track that almost moves like a nursery jingle (and later also appears in a 'remix version'), 'Aloo Chaat' should keep the proceedings perked up in the film.
'Life Is A Sizzling Aloo Chaat' is yet another version of the title track and enhances upon the overall effect created by the album so far. There is a certain 70s feel to the music of this fun track which reminds one of many a compositions like these that were composed by Lakshmikant-Pyaarelal in their heydays. One would look forward to the way this Mehfuz Mahruf composed number is presented on screen.

LYRICS
Though one may not give much attention to the lyrics of a number which is decidedly a promotional item number, it's not really the case for the opening number 'Aloo Chaat'. RDB do good justice to the lyrics here as they bring in the elements of relationships and luck in the number without going overboard. On the other hand, their lyrics in 'Boliyaan' are such that you are hooked on (due to sheer familiarity factor) once you have heard them once. In fact this single track is worth the price of a CD for those who are expecting a marriage celebration at home. One just has to play this song once and rest is left to the ladies in the house to get on to the dance floors.

Xulfi does well in his role as a lyricist for 'Dhadke Jiya' and comes up with the words that are different from the routine even as the songs belong to the romantic genre. A beautiful number that deserves to stay on with the audience even after the film is off the theaters.

Vipin Mishra also writes lyrics for another version of the title song 'Aloo Chaat' that comes with its own little dose of Punjabi lyrics. The song retains a fun element to it and though the lyrics here do not belong to the kind that would make you sing them alongside, they do have a deeper meaning to them when heard closely. On the other hand lyricist Syed Gulrez keeps it all simple for 'Life Is A Sizzling Aloo Chaat' as the protagonist talks about the love of his life and how he is looking forward to tying the knot.

VOCALS
While RDB is full on energy during the rendition of 'Aloo Chaat', it is the introduction of Nindy Kaur which takes the song to an all time high. Her unconventional voice belongs to the 'bhangra-pop' genre from the UK and in 'Aloo Chaat', she shines along with Smooth. However, there is a surprise in store as from the world of pop, she moves on to hardcore Punjabi rendition to 'Boliyaan' which appears in two parts, though with different tune and lyrics.

If Xulfi excels as a composer and lyricist for 'Dhadke Jiya', he doesn't allow the singer in him to be left behind. He keeps it all soft and romantic and delicate as he goes about rendering this song that keeps resonating in your ears long after it's over.

Kailash Kher demonstrates good energy during his rendition of 'Aloo Chaat' and the rustic appeal in his voice makes the number further lively. In fact once you hear the number a couple of times, he seems to be best suited for the job as well. Ditto for Kunal Ganjawala who brings in a boyish charm to the fun track 'Life Is A Sizzling Aloo Chaat'.

OVERALL
Aloo Chaat is a good album and succeeds in creating an overall fun mood, something which goes with the genre and treatment of the film as well. There is not a single dull moment in the soundtrack of Aloo Chaat and though there isn't any experimental music per se, it is good enough to ensure that proceedings only get lively once the numbers play in the narrative.

OUR PICK(S)
'Aloo Chaat' (RDB), 'Dhadke Jiya'

Music Review : Aa Dekhen Zara

Music Director - Gourov Dasgupta,Pritam Chakraborty

Singers - Neil Nitin Mukesh, Sunaina, Dibyendu Mukherji, Shweta Vijay, Sunidhi Chauhan, Shaan, Akruti Kakkar

Lyricist - Sheershak Anand, Irshad Kamil, Syed Gulrez, Prashant Pandey

EXPECTATIONS
There are good expectations from the music of Aa Dekhen Zara due to multiple reasons: a) Neil Nitin Mukesh's last thriller had boasted of an edgy music. Since ADZ is a thriller as well, one expects a repeat show here, b) Bipasha Basu's presence in the film promises at least a couple of catchy foot tapping dance numbers and c) Since Pritam and Gourav Dasgupta [of Dus Kahaniyaan fame] share credits for the film's soundtrack, it is bound to be a young contemporary outing.

MUSIC
Write your own music review of Aa Dekhen Zara Title song 'Aa Dekhen Zara', which has it's origin in Sanjay Dutt's Rocky and has been recreated for this film, is heard in two versions. While one of these is a dance version, another is a much slower lounger version. Both the versions are created by Gourav Dasgupta and while the former is a definitely catchy and makes you hit that dance floor again, it's the second version that catches your attention most. An innovative affair, it makes you sit up and take notice of the composition due to its soothing arrangements that give the title song a different dimension altogether. In fact Gaurav deserves a pat on his back for thinking out of the box and making 'Aa Dekhen Zara' an entirely new experience.

Pritam enters into the scene with 'Gazab' which has a Western pace with an Indian base to it. Made for the masses, especially the gentry, the song (which also appears in the Club Mix version) seems to be quite ordinary in it's first couple of hearings but slowly starts becoming a lot more interesting after you have played it on for some time. It isn't great music by any means but peppy enough to mandate a good choreography around it.

Other than the title song of Aa Dekhen Zara, the number which impresses most in the album is the romantic track 'Mohabbat Aap Se'. Composed by Pritam, the number has an Indi-pop touch to it but still doesn't loose out on it's capability to impress well in the film's narrative. Though one looks forward to see that how does the song fit in with Bipasha's image, as a stand alone audio, it is one of the better numbers heard this year.

Gourav Dasgupta returns to the scene with 'Power' and 'Rock The Party'. Talking of 'Power', it appears to be a background piece which would find place in the film's narrative at numerous junctures. This number which also appears in a 'Club Mix' version is fast paced with a punch to it, but still not deadly enough to remain with a listener after it is through. Purely situational.

Last to come is 'Rock The Party' which appears to be a club number. It boasts of good Western arrangements to kick start the song that instantly reminds one of songs belonging to the genre that has been made popular by 'It's The Time To Disco'. A decent track that could also double up as the title song due to the words 'Aa Dekhe Zara' that appear in it.

LYRICS
Sheershak Anand takes the credit for writing 'Aa Dekhe Zara' in its newer version. However, most of the song stays on to be in its original format. Irshad Kamil is at his romantic best though for 'Mohabbat Aapse' which certainly would have gone a greater distance had it been made for a bona fide romantic film. However, Irshad just lets himself loose with 'Gazab' where as a listener you would hardly be catching on to the lyrics.
Syed Gulrez and Prashant write 'Power' which talks about the power of money. There isn't much that one takes home from this number, either musically or lyrically. Same holds good for 'Rock The Party' which is written by Avishek, Ravi and Sheershak Anand.

VOCALS
Neil makes a decent debut while rendering the title number 'Aa Dekhen Zara'. He has his vocals in control and gives a good account of himself as a playback singer as well. However, the singer who impresses most in the album is Dibyendu Mukherjee who is quite good in the lounge version of the same song. One would want to hear a lot more of this singer who catches your attention with an altogether unique rendition of this number that has been played on for close to three decades now! Sunaina and Shweta Vijay are the co-singers with Neil and Dibyendu for the two versions respectively.

Dibyendu Mukherjee also sings 'Power' and though he gets into the rock mode here, one would still want to revisit his much softer rendition of 'Aa Dekhen Zara'.

While Sunidhi Chauhan takes the lead in 'Gazab', it is Shaan who keeps the proceedings livelier and more engaging. He seems to be having a lot of fun in singing this (obvious) item number, something which is a departure from his patented mushy romantic songs. However, Sunidhi dominates the scene in 'Rock The Party' where she also has Shweta Vijay for company.

Aakriti, who has always impressed in every number being assigned to her, is quite good once again with 'Mohabbat Aapse'. She delivers goods once again in a quintessential romantic number.

OVERALL
Aa Dekhen Zara ends up giving a listener what he/she expected in the first place. None of the songs in the album are a bad hear at all with a couple of them ('Aa Dekhen Zara' and 'Mohabbat Aap Se') turning out to be the pick of the lot. Moreover, if promoted aggressively, even 'Gazab' has good potential. A decent soundtrack.

OUR PICK(S)
'Aa Dekhen Zara' - lounge version, 'Mohabbat Aap Se', 'Aa Dekhen Zara' - dance version