Dostana

Dostana
Expectations from a soundtrack belonging to a Karan Johar film are straight forward - It has to be nothing but superb. With the kind of music that his films have boasted over the years (Kabhi Alvida Naa Kehna, Kaal, Kal Ho Na Ho, Kabhi Khushi Kabhi Gham, Kuch Kuch Hota Hai), there is no reason why Dostana should be any different. Add to it names like Vishal and Shekhar who truly understand the pulse of today’s youth and you know that this Abhishek Bachchan-Priyanka Chopra-John Abraham starrer would boast of an entertaining soundtrack all the way. Write your own music review of Dostana After listening to Dostana, you know that it is not just entertaining in get-set-rocking mode. Instead it also has its moments, especially when it comes to the soft numbers (there are three of them) and this is exactly where the core strength of Dostana lies. The album has a mix of everything - from dance number to softer tracks - all of it ensuring that Vishal-Shekhar have yet another successful album up their sleeves after Bachna Ae Haseeno, Tashan and Om Shanti Om. default-300×250.tpl A love song with some unconventional lyrics by Anvita Dutt Guptan, ‘Jaane Kyun’ is an excellent track that gives Dostana a kick start. If the catchy tune isn’t good enough, it is the singer who comes behind the mike for this youthful track, who surprises the most. He is none other than Vishal Dadlani himself who shows an entirely different facet of his personality. He is confident enough to entrust himself with the responsibility of going solo for this flagship number of Dostana and doesn’t make one feel that any other singer would have done a better job with ‘Jaane Kyun’. A fun number which would find immense popularity all over. A track which requires just one hearing to be classified as a chartbuster being brought to you on a platter is ‘Desi Girl’. Want some ‘get-on-the-dance-floors’ beats? Vishal & Shekhar get it for you. Need some catchy lyrics to get on your lips instantly? Lyricist Kumaar does the job right for you. Expect the singers to get some powerful energy in their vocals? Shankar Mahadevan and Sunidhi Chauhan along with Vishal Dadlani can always be entrusted to do that. And if you thought that the feel of ‘Deewangee’ (Om Shanti Om) couldn’t ever be matched again, then choreographer Farah Khan is just a call away. Overall, a complete package deal where absolutely nothing goes wrong! A quintessential Punjabi dance number as far as the tune and arrangements are concerned, ‘Maa Da Laadla’ is the next to come. However, it is the lyrics by Kumaar which makes the number special as there is a lot being conveyed in this hardcore Punjabi number. If one diverts attention away from the racy tune of this number (which is bound to make its presence felt in the discotheques and clubs) and instead delve deep into the lyrics, you would realize that ‘Maa Ka Laadla’, which has singer Saleem at the helm, is one fun number which would aid the film’s narrative in a big way. Watch out for this one! Next comes the much hyped item number in Dostana which features Shilpa Shetty jiving along with Abhishek Bachchan and John Abraham on the Miami beach. Titled ‘Shut Up & Bounce’, the song may sound like a routine/typical dance number but that doesn’t come in the way of the potential it holds as far becoming popular in days to come. With Sunidhi Chauhan leading from the front and Vishal Dadlani providing additional vocals, ‘Shut Up & Bounce’ written by Anvita is all set to be an eye candy all the way, courtesy Miss Shetty and other bevy of beauties expected to dominate the frames captured on the Miami beach. Vishal and Shekhar reserve the best for the end with two extremely soothing numbers bringing Dostana to an end. First to come is ‘Khabar Nahi’ which is just the kind that you wish to put in a repeat mode, switch off the lights, close your eyes and expect the song to make you go for that peaceful sleep. If Vishal excelled as a singer in ‘Jaane Kyun’, one has to hear him in ‘Khabar Nahi’ where is quite good yet again. A beautiful melody which keeps you smiling away as it plays in the background, ‘Khabar Nahi’ is a love song written by Anvita which also has Shreya Ghoshal and Amanat Ali lending their vocals along with Raja Hasan. Shaan would indeed consider himself lucky as he is gifted the best tune and lyrics (Vishal Dadlani does an all around show in the album and also contributes with his writing) in the form of ‘Kuch Kum’. A poetic track which moves at a serene pace and has in it the potential to scale the kind of height which the title song of ‘Kal Ho Na Ho’ did (as far as the soothing feel is concerned) ‘Kuch Kum’ is easily the best of the lot and is immensely likeable within first listening itself. It is a kind of number that you don’t really want to over analyze and instead just hear it to enjoy it to the fullest. No wonder, it has the longest duration when compared to the rest and lasts for close to 6 minutes. Dostana is an excellent album from Vishal-Shekhar and there is not one single number which doesn’t work. In fact if three soft numbers (’Kuch Kum’, ‘Khabar Nahi’ and ‘Jaane Kyun’) are the pick of the lot then ‘Desi Girl’ is a definite must for the dance floors. ‘Maa Da Laadla’ and ‘Shut up & Bounce’ have their own place under the sun and if the film works well at the theaters (which it should), there is no reason why Dostana won’t go on to match the kind of sales that the biggest albums of 2008 (Race, Singh Is Kinng, Jannat, Tashan, JTYJN) have enjoyed this year. Go for it!
Source: www.bollywoodhungama.com

Horn Ok Pleassss
There are some projects from which one doesn’t have any hope whatsoever. Reason is simple. The initial promos of the film do not give an impression of a quality product. Nana Patekar in the lead (in spite of the film being a comedy) doesn’t make one look forward to a melodious outing. Moreover, the film’s title itself doesn’t give one much hopes. Horn Ok Pleassss is one such project. To make matters worse, composer Lalit Pandit hasn’t given one decent soundtrack ever since his split with Jatin, let alone recreate the magic of the 90’s when the duo gave innumerous musical successes. No wonder, expectations are at an all time low. Write your own music review of Horn Ok Pleassss Now if only roping in of Neeraj Shreedhar alone could have made a song successful! With composer Pritam, Neeraj may have given a dozen odd hits by now but he would have to give the title song ‘Pom Pom Pom’ a pass here. This Sajid and Farhad written number has a Western base to it but the theme feel (Nana Patekar is a truck driver in the film) is hardly enticing enough to give the song a second hearing. Even though the song is complimented by a music video with Nana trying to be all hip and cool, ‘Pom Pom Pom’ is such a downer that one is hardly interested in it’s ‘remix version’ as well. default-300×250.tpl Toshi begins the crooning of ‘Nathani Utaro’, an item number, which was the bone of contention between Nana Patekar and Tanushree Dutta a few weeks back. Soon Tanushree walked out and Rakhi Sawant moved in for this song, which also features Nana Patekar and Muzammil Ibrahim. A ‘chalu’ number all the way crooned by Sunidhi Chauhan that doesn’t have any double meaning to it due to it’s straight forward messaging (courtesy lyricist Salim Bijnouri), ‘Nathani’ is for the gentry but there too it hardly succeeds in creating the impact which ‘Dekhta Hai Tu Kya’ [Krazzy 4] managed to make to an extent. And by the way, ‘remix version’ here is completely unnecessary! Third straight down market number is heard in the form of ‘Ayela Ayela’, which could be good enough for the character, played by Nana Patekar in the film but is an out and out assault on the ears on the listener. Lyrics by Sajid and Farhad do not help the cause either with ‘Ayela Ayela’ sounding as a trademark Bappi Lahiri composition from the 80’s. Sung by Sudesh Bhosale and Bela Shende, the song also has Nana Patekar mouthing a few words but to no avail. Yet another quick skip which clearly indicates what to expect from the rest of the album. Shilpa Rao hasn’t set a foot wrong ever since she first made an impression in Anwar. This is why one is apprehensive if Horn Ok Pleassss would end up breaking her winning streak. Thankfully ‘Love Me Baby’ turns out to be a better track, though strictly on relative scale as the number at least goes on to have a urban contemporary feel to it. In fact, one wonders why the song was not the first to be promoted since Rimi Sen’s presence in the song would have made it an eye candy treat at the least. With rap by Earl, the number sees an amalgamation of Vishal-Shekhar and Pritam style of music, though lyrics by Sajid and Farhad threaten to pull it further back. Salim Bijnouri writes ‘Oya Oya’, which has Shilpa Rao and KK coming together behind the mike. In any other project, the duet would have been looked forward to because of the people singing it. However, the way Horn Ok Pleassss has progressed so far, one looses all hopes from the album. Not for the wrong reason, though since ‘Oya Oya’ would be a number that both the singers would pronto want to knock off from their resume. An ordinary composition, which aims at being a dance track, ‘Oya Oya’ only, adds on to the awful mood of the album. With a Maharashtrian base to it, ‘Awaaj Kunacha - Govinda Cha’ is strictly for Nana Patekar fans who would hear him singing the track. Written by Shrirang Godbole, the number (which also has singer Jaywant Wadkar coming together with Nana) reminds one of ‘Aey Ganpat Baja Na’ from Apna Sapna Money Money. However, while this Pritam’s composition was sheer fun, Lalit Pandit’s ‘Awaaj Kunacha - Govinda Cha’ isn’t one at all. Pleassss don’t worry about Horn Ok Pleassss. It is analogous to you being stuck on a traffic signal with thousands horns screaming from all directions. This one is not even an ok album!
Source: www.bollywoodhungama.com

Roadside Romeo
Originally scheduled to arrive in summer of 2008, Roadside Romeo finally gets set to release in theaters this Diwali. Though the film’s teasers have been on for close to a year, it is only now that the audio has hit the stands. With the film aiming for an October 24 release, one wonders whether YRF is really serious about promoting the music since there are only 3 weeks to go before the D-day arrives. Nevertheless, one plays Roadside Romeo CD, which has music by Salim-Sulaiman, who have recently delivered a good score in Fashion. Jaideep Sahni writes the lyrics. Title song ‘Main Hoon Romeo’ is fun which then becomes truly sassy due to the way the entire chorus comes together in support of Kunal Ganjawala. Reminding of the title song of Neal N Nikki (which again had Salim Sulaiman at the helm), ‘Main Hoon Romeo’ goes well with the confident, bindaas and playful character of Romeo, as the song introduces the character. Later in the album, John Stewart and Salim Merchant create the ‘remix version’ which is just the kind that could have burnt up the dance floor if spiced up even more than its current state. Write your own music review of Roadside Romeo A dance number with a touch of seduction comes next, which has been titled ‘Chhoo Le Na’. While Sunidhi Chauhan does her job behind the mic very well as the voice of Kareena Kapoor once again, Sudesh Bhonsle does a ‘Panchamda’ from the 70’s. However, overall the song turns out to be just about fine, notwithstanding the entire carnival feel, and even though KK is also a part of the song, ‘Chhoo Le Na’ doesn’t really make you go wild over the composition. DJ Suketu comes up with his own ‘remix version’ of this track, which has KK leading the charge this time around. default-300×250.tpl A situational track, ‘Cool Cool’ is quite boring to listen to, though one feels that visuals may just take it to a different level. Almost conversational in mood, ‘Cool Cool’ has Javed Jaffrey dominating the show as he comes behind the mike. Pepped up with Western arrangements, ‘Cool Cool’ has Saif Ali Khan doing rap with Marianne D’cruz and Naresh Kamath being the other singers. Kunal Ganjawala and Gayatri Iyer come together for the love ballad, ‘So Right’ which is just made for Saif Ali Khan. Set as a Western melody, this turns out to be the best of the album in quite some time though the chartbuster feel is still missing here. What works though is the serene feel of this romantic song, which should look good on screen, what with two dogs professing love for each other. Later in the album, the song also arrives as a 100-second theme piece that has been titled ‘Rooftop Romance’. No wonder, this one works even more and punctuates the album with the right YRF effect! One wonders what made the composers go for Kunal Ganjawala, song after song, since ‘Apni Dumm Bhi Oonchi Ho’ doesn’t impress either. Not that any other singer would have made it a chartbuster but some variety may have still helped the cause. Anyways, coming back to the song, it also features Earl Edgar, Jugal Hansraj, Salim Merchant, and Anushka Manchanda though even their collective effort at maximum helps in only waiting for the visuals. Just like ‘Cool Cool’, this one too is mainly situational with a horde of dogs and puppies having fun amongst themselves. The songs in themselves are no great shakes and except for a track or two, the remaining just passes muster. Delayed release of the album would take a further toll on the sales of Roadside Romeo. Overall, Roadside Romeo is a barely an OK album where one’s hope only rests on the state of art animation (as promised by the makers).
Source: www.bollywoodhungama.com


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