The last time I penned a music review with Himesh Reshammiya as the music director was for ’Aitraaz’ last year. Many were asking me how can you recommend such music? Much work went into composing better tunes since that movie. Not only he has been taken good care of his melody but the consistency was pretty acceptable. The main reason why he is a front line composer today is because of the Indian melody and Indian instruments present in his music. I have always supported music directors who never forget the treasures of Indian music. However, this doesn’t mean that I am appreciating Himesh’s music. Unprecedented music albums from his studio are spoiling everything. In Bollywood, producers rush to the most popular music directors. Delivering is more important than quality for them.
With Salman Khan and Kareena Kapoor as the stars, expect Himesh to come up with original stock tunes for Salman as the latter gave him his first break in ‘Pyar Kiya To Darna Kya’. Shreya Ghosal is taking a big leap in playback singing and Alka Yagnik’s voice is becoming so rare these days except for Himesh’s music. Amazingly, these days, it’s him and only Nadeem-Shravan who are moulding Alka’s voice in the most mature way. Of course, Udit Narayan will have to lend his voice for such a project. This is how the album starts with ‘Kyon Ki Itna Pyar Tumko’. Starting on the same notes like in ‘Kaun Hain Woh’ from ‘Hogi Pyaar Ki Jeet’ (Anand-Milind), it continues on a soft harmonica note accompanied by the piano in a slow version. It depicts a deja-vu start. The voice of Udit Narayan takes over and monopolises the whole song. The music arrangements are so rhythmic and somehow along the routine stuff surfaces back like an old black smelly shoe floating in a nice blue lagoon. I will be praising this song only for the melody but the freshness is not well packaged. Definitely, this one will help to keep the melody kicking because it comes in four versions!
Already expecting the same routine masala, I lent my ears to the next track ‘Dil Keh Raha Hain’. Is the harmonica trendy in this album? Flying high these days, Kunal Ganjawala does his usual style in this sensual track. Sticking my ears closely to the sound system, I am realizing that the magic of Kunal is not present in this song. Or maybe the magician or the musician; meaning Himesh, didn’t make a proper music use of this talent’s voice. Of course, he is doing his best at singing but the tune is defective. Compare with similar singing like in ‘Pehle Se’ in ‘Fareb’. I am surprised to find that the remix version is much better than this one. The technical side focused more on the techno beats and this will work. Not all songs of Kunal will be super-hits anyway?
Sameer comes again and dumps all this ‘dil’ and ‘sanam’ words in ‘Dil Ke Badle Sanam’. What a title? ‘Dil’ and ‘sanam’ in the title! Very creative! I am impressed! The start is methodic with the chorus and the dhak-dhak creating a chaos. When Alka Yagnik and Udit Narayan are in charge of a song, there needs to be a musical sense somewhere. The piece transforms into a routine Himesh must-have tracks in all his albums. Should I give a good credit for continuity, nice flutes arrangements and a melodic pattern to this one? Of course yes.
The duo is back, now with Kailash Kher. Udit Narayan starts ‘Jhatka Maare’ with the dupatta words. A fast track with heavy beats and noises all the way till Alka Yagnik comes. Surely, this was composed for a situation. This one will work on screen with all the chorus and choreography but average tune and stale lyrics will shun listeners. ‘Aa Jeele Ik Pal Mein’ reminds us of the title song of ‘Kaho… Na Pyar Hain’. Udit Narayan and Alka Yagnik routinely sing the track without any enthusiasm. Music and lyrics are just average. Nothing to rave about except imagining, how Hrithik and Amisha would have danced on this one in 2005?
Five main tunes make this album. ‘Kyon Ki Itna Pyar Tumko’ has a simple tune and ‘Dil Ke Badle Sanam’ is another romantic melodious track which will appeal to the romantics. The rest is a repeat of past albums from this over-worked music director. Even Kunal couldn’t save his song but he has an audience and the track might pick up. Priyadarshan deserves better music anyway. Sameer didn’t show any ability to write more meaningful poetry after some hits lately. Udit and Alka get away with too many heavy numbers. Catchy and peppy numbers are a big miss here especially with a Salman and Kareena combination. Himesh Reshammiya is trying what with this album? The stylistic range is limited. The album starts well with his old style true Indian melody but he loses track half-way! There is a big interrogation mark on this album. A genuine ‘Kyon Ki’…