By Satyajit, Glamsham Editorial
When it comes to the launch of newcomer, the expectations from musical brigade is expected to be big and melodious. Year 2011 brings out Chirag Paswan, son of politician Ram Vilas Paswan, making his entry with as much as three beauties in the main leads of the film. Sajid-Wajid, a specialist and favorite for Salman Khan’s films, are the leading music composers for the flick with ground support of veteran Javed Akhtar as effective lyricist for this lovable romantic saga. As far as the statistics go, Sajid-Wajid’s soundtracks has been superlative in Salman starrers but have fared mediocre to below-average in their other projects. Low profile, zilch promotion have already been a discouraging factor, but can the finesse of Sajid-Wajid’s composing talent be able to lift the spirits of this romantic flick. Let’s hear to find out its musical facts…
Catching fast to the breezy beach romantic aroma, the first offering ‘Haan yehi pyar hain’ has a strong South-Korean’s soft-rock ballads hues attached to it. This refreshingly orchestrated and well-crafted sound engineered soundtrack is the pick of the album and brings out a quintessentially Bhatt camp’s affixation (to be precise, ‘Kya Mujhe Pyar Hain’ (WOH LAMHE) in its soothing sounding composition. Shaan’s mentholated blowy voice moves congenially in the genteel arrangements and connects well with slenderly toned Shreya Ghoshal. Sajid-Wajid’s romantically paced composition is upbeat in styling but it lacks the catchiness and melodic allures to attract listeners. Despite the fact that it has the strengths of likable vocals, the song sounds too routine but still can be counted as a ‘decent-hear’ for duet lovers.
CHECK OUT: Bollywood throngs to bless Paswan’s Chirag!
For all those who have thoroughly cherished soundtracks like ‘It’s the time to disco’ (KAL HO NAA HO) and ‘Uff teri ada’ (KARTHIK CALLING KARTHIK), there is extra mix ‘n’ match of electronically tuned sounds and rhythms of these songs waiting for them in ‘Wake up now’. This time Sajid-Wajid follow Shankar-Ehsaan-Loy style of disco-composing methods and pump in with extra energy and zest to attract discotheque lovers. It brings on Wajid’s gruffly voice to emote out youthful emotions with amiable back-up vocals of Suzanne D’Mello, adding desired oomph to the racy flows. Once again, the composition is packed with trendy instrumental
maneuvers but falls short in novelty factor to offer anything spectacular in its four minute plus duration.
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After mushy love-duet and disco binge, its mass-friendly ‘item-number’ folksy thrives that comes to forefront in ‘Katto Gilheri’. Daler Mehndi, a name synonym with ‘bhangra’ feisty number, sings out vociferously in typical UP-Bihar nautanki style and catches fast with the raunchy sounding arrangements. Mamta Sharma’s signature stylized nasal twang in folksy tones suits the mood to the hilt and moves in tandem with Daler’s zealous voice. Targeted for frontbenchers and interior audiences, it’s likely to be a visual spectacle as composition does not make much of impact as it did it in songstress recently heard ‘item numbers’ like ‘Munni Badnam’ (DABANGG).
Following the playful folksy tones of ‘Katto Gilheri’, the fun for massy-track lover continues in average sounding ‘Mahi Mahi’. It initiates out with signature tuneful feel of ‘Tinku Jiya’ (YAMLA PAGLA DEEWANA) in its instrumental prelude followed by predictable sounding Punjabi folklore sounding arrangements. Richa Sharma’s full throttle voice along with Wajid’s mediocre sounding vocals is at the helm of affairs that fails to attract. The song sounds too cliched and unimpressive of the lot and proves to be a passable affair.
‘Nazar se nazar mile’, a contemporary Bollywood’s Sufi-qawwali, is a breather and brings some respite from this album that has so far been burdened with mediocrity. Rahat Fateh Ali Khan’s classically varying vocals impresses and brings out bleak memories of his recently sung ‘Isq Risk’ (MERE BROTHER KI DULHAN). Sajid-Wajid surface some ground this time as now the traditional ‘qawwali’ instrumental elements adds melodious buzz in the simple sounding composition. Anupama Raag’s shrill-paced vocals (sounding similar to Tulsi Kumar) work positively in creating a desired romantic ambience and add prosperously in well rendered Rahat’s voice. This may not be counted as finest of Rahat’s efforts this year but adds quality and substance in this lackluster sounding album. The second version replaces Rahat Fateh Ali Khan with Wajid with similar tonality and arrangements in the backdrop. Wajid’s version is pale in comparison (as predicted) and simply adds to the counts in the credits of the album.
MILEY NAA MILEY HUM turns out to be a mediocre listening affair. It falls in the cadre of ‘non-starter’ albums and will hardly make any impact in the marquee. As compared to hit albums like WANTED, VEER and DABANGG, Sajid-Wajid deliver out a passable album that won’t be drawing much appreciation and acceptance from the listeners. There is glimmer of hope in soundtracks like ‘Haan Yahi Pyar Hai’ and ‘Nazar se nazar mile’ but still the album falls short of one deserving chartbusting hit.
Rating – 2 /5
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