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

Music Review : 42 Kms

Music Director - Parik,Tubby
Singers - Mahalakshmi Iyer, Roop Kumar Rathod, Shreya Ghosal, Udit Narayan, Gayatri Ganjawala, Sonu Nigam, Clinton Cerejo ...
Lyricist - Shahab Allahbadi

This is one album that one picks up with absolutely zero expectations. A project that has been in making for long (it was earlier titled 'Marathon'), 42 Kms is releasing at a time when the word 'marathon' is becoming more and more identifiable, at least in the metros. Still, a film that is aimed for a niche audience with music by relative newcomers (Tubby & Parik) and lyrics by Shahab Allahabadi, 42 Kms doesn't really make you overtly excited about what's in store in its music.

Opening track 'Chand Zameen Pe' takes its inputs from 'Kya Mujhe Pyaar Hai' [Gangster] and 'Aksar' [Hijack]. Add to it the voice of KK and you know that the inspiration here isn't coincidental. Featuring Rags & Clinton, 'Chand Zameen Pe' is an inspirational track about the protagonist's belief in conquering the world with sheer hard work and determination. A number with a Western setting to it, 'Chand Zameen Pe' may have ordinary lyrics but is perked up to an extent due to contemporary arrangements and some good singing.

Set in hip-hop genre, 'Zara' sees Sonu Nigam getting all husky in his rendition. Even though the beats here are catchy with backup vocals by Storm adding on to the hip-hop appeal, there is something still missing in the number that could create a good overall impact. 'Zara', which also appears in a forgettable 'remix version' sees Gayatri Ganjawala entering the scene 100 seconds into the song. In fact her presence still manages to perk up the proceedings a little and though there is no chance for this ordinary track to travel much distance, it may not be a bad watch on screen if aided by some seductive moves!

A number with a predictable base to it, 'Ai Meri Zindagi' is a conventional track about living life and being positive about the day to follow. A kind of number that has been heard a zillion times before, it may well have been somehow exciting if only the music and the singing were energetic. However, the composer duo follows a conventional route while Roopkumar Rathod and Mahalakshmi Iyer merely go through the motions only to make 'Ai Meri Zindagi' an overall forgettable outing.

Shaan seems to be the only person on the scene who thought that by being ever-so-youthful and excited, he could make things happen for 'Marathon'. He succeeds to an extent as well and even though the tune here is nothing new or extraordinary, it at least is peppy in sound due to a decently paced rhythm. Sunidhi Chauhan's entry on the scene is good as well though the 'antara' portion is in complete contrast to the vibrant 'mukhda'. An ordinary number but still better than the rest.

However, the worst is reserved for the end and what's even more pitiful is the fact that it has Udit Narayan and Shreya Ghoshal at the helm. A number straight out of 'Aayi Milan Ki Bela' and 'Nadia Ke Paar' days, 'Aate Jaate' is so boring and pedestrian that it starts making the rest of the album good. A love song set in a village, 'Aate Jaate' justifies its title and is best forgotten just 'aate jaate'!

42 Kms is a below average album that doesn't stand a chance. Except for 'Chand Zameen Pe' and to some extent 'Tumse Milke Hua', there isn't much that leaves any impression whatsoever.

Music Review : Gulaal

Gulaal

Music Director - Piyush Mishra

Singers - Rekha Bharadwaj, Rahul Ram, Aushim, Piyush Mishra, Shilpa Rao, Swanand Kirkire

Lyricist - Piyush Mishra

EXPECTATIONS

Films made by Anurag Kashyap have more often than not boasted of a defining soundtrack. We saw it recently in Dev D and a couple of years back in Black Friday. Even the music of Paanch was ahead of it's time and if re-released today could do wonders with rock genre finally finding acceptance in Bollywood flicks. No wonder, when Anurag goes rustic with Gulaal, one looks forward to what new he has in store this time around. Agreed that except for Dev D, music of his other films haven't been able to penetrate the mass market but still, one has to give it to the filmmaker for at least trying to be genuinely different.

MUSIC

And different he is for sure as the music of Gulaal kick-starts with 'Ranaji'. Composed and written by Piyush Mishra (who is in fact the composer and lyricist for the entire album), the number is a modern day mujra which is as whacky as it gets. After 'Emosanal Atyachaar', this is yet another quirky number making an appearance in an Anurag Kashyap film. There are references to quite a few real life issues in the song (all in light humor though) and one just hopes that there are no controversies around it in days to come and it is accepted with as much interest and enthusiasm as 'Emosanal Atyachaar'.

The mood changes immediately with the arrival of 'Yaara Maula' which is a haunting soft rock piece that is dark & disturbing and comes with a thump. 'Yaara Maula' does turn a little theatrical, especially towards the end, but that doesn't take away from the impact it manages to create. Same is the case with 'Sheher' that has a revolutionary mood to it. The longest track in the album (lasting seven and a half minutes), while the theatrical mood remains intact for it, one looks forward to see how it is presented on the big screen.

An even better number comes in the form of 'Aisi Sazaa' which is yet another haunting and dark number about loneliness. One thing common to this song too is its disturbing nature (as is the case with the entire album) and in this context, Piyush Mishra and Anurag Kashyap get it right once again.

'Duniya' takes one back into the 50s and is a number based on Guru Dutt's 'Yeh Duniya Agar Mil Bhi Jaye To' [Pyaasa]. A sad number which is quite heavy in nature and reaches it's crescendo with the arrival of key words 'Yeh Duniya Agar Mil Bhi Jaye To' [which are presented verbatim in the song], it brings back the genre of music that has been long forgotten.

LYRICS

Sample the lyrics of 'Ranaji' that go as: 'Rana Ji Mhare Gusse Mein Aaye, Aiso Bal Khaye, Agiya Barsae, Ghabrae Mharo Chain; Jaise Door Desh Ke Tower Mein Ghus Jaaye Aeroplane'. Though it's this reference which kick-starts the soundtrack of Gulaal, there are quite a few other digs on topics such as Uncle Sam, Afghanistan, mineral water, democracy etc. that bring in a socio-economic humor to the proceedings.

What follows next is a motivational number 'Yaara Maula' which revolves around creation of an army for the purpose of liberation and independence. Hard hitting and just right for the situation, it is followed by 'Sheher' a little later in the album. Ditto is the case with 'Aisi Sazaa' which has some poetic lyrics by Piyush Mishra that have to be heard at least 3-4 times to be comprehended in entirety. However, 'Beedo' has a fun mood to it and doesn't turn out to be a typical mujra that we have been exposed to for years.

'Raat Ke Musafir' is yet another situational track about warning the protagonist for the steps that he is taking in a new journey of his. One hearing of the lyrics and you are sure that its dark feel won't make you sing along the number on a bonfire party even after being a couple of drinks down. 'Aarambh' though is a positive track and is bound to keep the audience hooked on to the screen due to its acidic lyrics.

VOCALS

Rekha Bhardwaj certainly seems to be thoroughly enjoying the proceedings in the mujra 'Ranaji' and one can be rest assured that there would be whistles and catcalls in the auditorium when the song plays on screen. She later returns with 'Beedo', another mujra in the album, and lends authenticity to it. Later Rahul Ram and Aushim come up with 'Yaara Maula' and the way they begin the song, it reminds one of 'Chorh Aaye Hum Wo Galiyaan' [Maachis]. They do the job right in creating a dark and haunting mood which goes well with the theme of the film.

One has to give it to Shilpa Rao for being ever-so-consistent with each outing of hers. 'Aisi Sazaa' is an extremely difficult song to sing due to near to nil music instruments in the background (that could help camouflage a blemish or two). Still, she demonstrates once again that why she is a voice waiting to be explored further with her talent ranging from a number like 'Khuda Jaane' [Bachna Ae Haseeno] to 'Aisi Sazaa'.

Piyush Mishra does a triple take with 'Duniya' as he not just composes and writes but also sings 'Duniya'. He does rather well as a singer here and it appears that the man is trained in classical music (or at least has been practicing it for years now). He brings with him just the sound that one associates with the semi-classical music and rendition from the 50s. He later goes solo again with 'Sheher' and then also pairs up with Swanand Kirkire for 'Raat Ke Musafir', a number where they hold all ends to make it THE most haunting number in the album.

OVERALL

Gulaal is an experimental soundtrack for a Bollywood film and Piyush Mishra and Anurag Kashyap deserve appreciation for thinking out of the box and creating a sound that is different from the routine. There are some albums where one doesn't have to think commerce and instead stay true to the genre, subject and the treatment. Gulaal is one such album. Hear it on to experience something new.

Music Review : Aloo Chaat

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.

Music Review : Aa Dekhen Zara

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

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. LYRICSSheershak 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. OVERALLAa 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

Music Review : 13B

EXPECTATIONS
There aren't any expectations whatsoever from the music of a film that belongs to the horror genre and has a title which goes as 13 B. From the prospective of background score, there still could be something worthwhile to look forward to in it but again, that makes more sense from the narrative standpoint rather than hearing it over an audio. However, on seeing the names of Shankar, Ehsaan and Loy on the credits, one still wants to give the album a fair hearing. Also, since most of the album actually comprises of songs (barring a theme track), one does get a little hopeful about something interesting to be played audio-wise as well.MUSICThere are at least a couple of songs dedicated on 'Hey, look at us, we are a happy family living a happy life'! These are 'Sab Khairiyat Hai' and 'Bade Se Shehar Mein'. Seemingly a background piece that would be centered on showing the happy days of the lead couple of the film, Madhavan and Neetu Chandra, 'Sab Khairiyat Hai' first appears in a short two minutes version followed by a remix track that lasts for four minutes. An okay track which belongs to the kind that Shankar-Ehsaan-Loy could have made in their sleep.

Comparitively, 'Bade Se Shehar Mein' is more entertaining and while there is a South feel to the proceedings (also reminding of the kind of compositions that MM Kreem is known for making), overall the song does makes for a decent hear. While the start of the song is fine, it is the melody around the lines 'Bade Se Shehar Mein' which lingers on. Also appearing in a 'remix version' (which thankfully stays on to be subtle), this one is a feel good song which isn't quintessential Bollywood in feel but should act as good filler in the background.

The same South flavor is evidenced in 'Aasma Odh Ka' as well which begins in a manner similar to that of 'Chup Chup Ke' [Bunty Aur Babli]. A love song which could be yet another tune from the stock of Shankar-Ehsaan-Loy, 'Aasma Odh Kar' isn't a bad hear at all. It's just that after a point in time, it doesn't quite engage.

With slight classical undertones to it, it makes one feel if the narrative of 13 B, which belongs to the horror-thriller genre, would get hampered if this 4 minutes song plays in entirety! A 'remix version' also follows with a slight Middle East touch given to it. However, that's not good enough to make you acknowledge 13 B as your album of the season. A bona fide item number 'Oh Sexy Mama' comes next and is the first (and the only) track to catch your attention. Boasting of an underground feel to it, 'Oh Sexy Mama' doesn't go overboard in arrangements but maintains a dark and edgy touch which makes it stand out from the rest of the album. Though yet again, this number isn't the kind that would become THE song for the dance floors, it at least manages to give 13B something to look forward to from commercial standpoint. This is one number where the 'remix version' is pretty much welcome as well. Last to come is '13 B Theme' which is a background piece sans any vocals and is composed and produced by Tubby and Parik. Set in a Western mode, it lasts for close to 5 minutes and goes perfectly well with the horror-thriller mood of the film. There is a chorus that sings in the background and hence adds to the haunting mood of the proceedings. Hearing this track, one can be rest assured that 13 B would be an engaging watch on the big screen. LYRICSNeelesh Mishra writes the lyrics of 13 B and conveys the feeling of an all around well being in 'Sab Khairiyat Hai' and 'Bade Se Shehar Mein'. There is a distinct Javed Akhtar hangover in these songs though it could also be attributed to the Shankar-Ehsaan-Loy factor since the trio has worked in a major way with the veteran lyricist.

He gets poetic for 'Aasma Odh Kar' but there isn't much that remains with the listener once the song is through. Call it the tune which doesn't excite a listener much due to which the song doesn't register and hence the lyrical effect too gets diminished! There was a time around a decade and a half back when the word 'sexy' had to be replaced by the word 'baby' in 'Sexy Sexy Sexy Mujhe Log Bole' [Khuddar]. Today, with movies like Dev D redefining the rules and regulations of the way Censor board operates, a song with a title like 'Oh Sexy Mama' is proudly flaunted on the album cover. Nothing wrong with that though because it only opens up avenues for something far spicier and interesting to come in months to come. VOCALSShankar Mahadevan comes behind the mike for 'Sab Khairiyat Hai' as well as 'Aasma Odh Kar'. For the former he seems to be standing up on the stage for a live concert and though he is decent in his rendition, he can't get above an ordinary tune. Chitra joins Shankar for 'Aasma Odh Kar' but is in her trademark self that doesn't make a listener jump with joy. Kartik sings 'Bade Se Shehar Mein' and though his voice comes quite close to that of Shankar Mahadevan himself, there is a distinct clarity in his vocals that makes one expect him to sing a lot more in weeks to come.

Baba Sehgal and Anushka Manchanda come together for 'Oh Sexy Mama' (with Loy chipping in as well) and while Anushka Manchanda is very good once again in yet another item number of hers, one wonders if Shankar-Ehsaan-Loy even considered getting some other singer on board for the male portion. Not that Baba Sehgal isn't good; in fact he does bring in a definite attitude to the song but imagine someone like Neeraj Sridhar at the helm of singing and the number would have caught a different dimension altogether! OVERALL13B is a barely okay album, something which also goes as per the expectations that one had from it to begin with. Except for 'Oh Sexy Mama' that may provoke some interest in the movie from visibility factor, none of the rest is expected to help people get into the theaters. The music isn't bad; it's just not engaging enough to make you look forward to them being played in the film.

Music Review : Jai Veeru

EXPECTATIONS

In their own little way, Bajaj brothers (Shyam and Narendra) have more often than not ensured that music of their films does make an impact amongst the audience. In recent times, music of The Train and Aksar has worked while earlier on films like Kahin Pyaar Na Ho Jaaye and Bandhan too boasted of good and popular music. Now year and a half after the release of their last film Aggar, the makers return with Jai Veeru that sees Bappa Lahiri making his debut as the solo composer for a film with Sameer as the lyricist. With expectations of a just-about-decent score, one, checks out the album which eventually does manage to bring to fore at least a couple of number that leave an impression.

MUSIC
If it wasn't for the name Bappa Lahiri on the credits, one would have imagined the opening number 'Sufi' to have been composed by Mithoon or a musician from Pakistan. The number sees an eclectic mix of Oriental and Sufi flavor, something that hasn't been explored much. With a touch of rock thrown in, 'Sufi' turns out to be a fusion number that deserves to become popular in days to come. No wonder there is a full on 'rock version' as well.

Fun doesn't end here as 'Tennu Le' brings with an altogether different flavor to it. A hip-hop track, it has a true blue club track that makes one start looking at Jai Veeru in different light altogether. Though one wasn't too sure about the prospects of the album while laying hands on it, first 'Sufi' and then 'Tennu Le' (which further appears in an even better and riotous 'remix version') manage to make one curious about what next would follow. 'Dhun Lagi' is meant to be a full-on 'dhamaal' entertaining track but only turns out to be a 'heard-before' number eventually. Till about a couple of years back, such a number may have made a better impact (perhaps with an Emraan Hashmi in fray) but today, it is relegated to being ordinary in spite of a 'remix version' and an 'Electro Mix version' being added to the album. Jai Veeru comes back on track with 'Aisa Lashkara' that is foot tapping from the word GO! It is the orchestra and the music arrangements along with the naughty beats that ensure that 'Aisa Lashkara' looks good on screen if choreographed well. A night club number that gives a DJ all the choices in the world to play around, 'Aisa Lashkara' may not really be a number to hum around due to it's club-centric rhythm; however it ensures that Jai Veeru keeps it's head high. However, the finale is not the kind that one would have been longing for. 'Agre Ka Ghagra' follows the 'Kajrare' mode and the 'antara' portion is totally composed in a manner similar to that of Shankar-Ehsaan-Loy. Still, the end result is hardly worthy enough to be talked home about since 'Agre Ka Ghagra' seems to be a number entirely centered on the gentry with not much in it that could impress on audio.

LYRICS'

Sufi Tere Pyaar Mein Ban Hi Gaya' - Now these are some truly original words written by Sameer. Though the remainder of the number belongs to the routine Ishq Vish Pyaar Vyaar mode, it's these punch words that do register an impact. 'Dhun Lagi' is ordinary though and one is tempted to remember 'Laagi Laagi Laagi Prem Dhun Laagi' [Aksar] that has made a much bigger impact a few years ago. Sameer is fun though in 'Aisa Lashkara' and delivers something that goes with the mood of today's music. However, 'Agre Ka Ghagra' has a raunchy feel to it and except for filling in as an item number; it doesn't give listener much to hum around.

VOCALS

Saim makes an impression in his very first outing 'Sufi' which could well be one of the best romantic number that Fardeen Khan and Dia Mirza have been a part of. His voice has a touch of Adnan Sami to it and along with Tulsi Kumar, he ensures that the duet makes a mark in the very first listening. Later, he also gets a solo all for himself and does entertain second time round as well. Omer Inayat is the guest lyricist and singer for 'Tennu Le' which turns out to be quite entertaining in its own way. He sings the track in a manner similar to that of Taz's 'Thoda Daaru Vich Pyaar' [Tum Bin] and brings on a contemporary urban feel to it.

Mika Singh and Raja Hasan come together for 'Dhun Lagi' which perhaps could be 'boys have all the fun' kinda number! Both the singers seem to be going through the motions in spite of a racy outing offering them ample scope to leave a better impression. Hard Kaur and Reema Lahiri form a much better pairing though for 'Aisa Lashkara' which this time turns out to be 'girls having all the fun' number. Mouli Dave, Javed Ali and Raja Hasan come together for 'Agre Ka Ghagra' and though they try to recreate the 'Kajrare' magic, the end result isn't quite achieved.

OVERALL

There wasn't much that one was looking from the music of Jai Veeru with a relatively new composer at the helm. However, it turns out to be a much more than just a decent album with at least two numbers - 'Sufi' and 'Tennu Le' - that can go all the distance. Other than these two numbers, 'Aisa Lashkara' too should go down well with the disc and pub crowd. Play these songs on while having a party at home.