Salman Khan, riding high on the success of a Tere Naam, a love story and Baghban, a social drama changes gears this time with an actioner 'Garv - Pride and Honour'. Salman plays a cop for the third time after 'Patthar Ke Phool' and 'Auzaar' (both of which didn't create much waves at the box-office) and has Shilpa Shetty as the female lead opposite him. Brother Arbaaz Khan also costars in this cop drama that marks the debut of Punit Isarr (who played 'Duryodhana' in B.R. Chopra's Mahabharat) as a director. A Cinevista Limited Production, who produced slasher thriller 'Sssshhh' last year, 'Garv' has music by Sajid Wajid and lyrics by Jalees Sherwani. Anu Malik too composes a number as a guest composer.

Salman's last two releases, 'Tere Naam' and 'Baghban' had good music. Expectations from 'Garv' too are high because of Salman in the lead and the presence of sizzling Shilpa Shetty. Does 'Garv - Pride and Honour' - an actioner - meets these expectations? Well, not much as after listening to the music, one gets the feeling that something is still missing that could have elevated the prospects of this album to further heights.

Love song 'Hum Tumko Nigahon Mein' marks the opening of the album that is sung by Udit Narayan and Shreya Ghoshal, whose vocals have started to suit the current breed of actresses better and better with each passing day. Udit Narayan is natural as always and the music by Sajid Wajid, though not exceptional, goes well as per the definition of a melodious Bollywood brand love song. Shabbir Ahmed's lyrics are functional. Surprisingly the number sounds better when heard rather than seen, primarily due to routine and uninspiring choreography and average cinematography. As is the trend, especially with albums on T-Series, this number too appears as a sad track 'Fariyaad'. Sonu Nigam sings this track in a sobered tone that doesn't really help the song much because of its predictable nature - both musically and lyrically.

While choreography in the former track lacked any energy, it is just the opposite in 'Dum Mast Mast', a Sufi track. Both Sukhwinder Singh and Sunidhi Chauhan sing at the peak of their vocals in this track that has both the lead actors, especially Shilpa Shetty displaying a holds-no-bar attitude. A high voltage track, both visually and audio wise, it doesn't go all the way mainly due to numerous such songs composed in last few years. In nutshell, the number appears to be mainly as an item number that may not really be of much value addition to the movie's storyline.

After a romantic track and a Sufi track comes the turn of a bhangra track 'Soniye' which is again sung by Sukhwinder Singh, who is this time supported by Shreya Ghoshal. The number doesn't have any novelty whatsoever and is a rehash (or even repetition) of hundreds of such tracks composed for all these years. An attempt at creating a Punjabi celebration mood falls flat and the song just doesn't impress. Probably the charm of seeing Salman doing a jig may excite a few but universal appeal is a strict no-no!! At this juncture one starts wondering that till now why hasn't there been a single melodious love song with a typical Sajid Wajid touch that gave Sonu Nigam his initial hits in his non-film love albums!

Anu Malik rehashes his own 'Yeh Raat' from 'Aks' and presents it as 'Marhaba'. From the opening musical arrangements to the initial rendering by Sunidhi Chauhan, it reminds of 'Yeh Raat'. Zubin supports her in this item track, which is fast paced, has extensive western musical arrangements and enlivens the proceedings to some extent. Though even this track, which is written by Dev Kohli, doesn't promise any retention value, it may hold good till it lasts, at least for the front benchers!

After number of item songs comes a situational track designed solely for Salman Khan's fans (again mainly for the front benchers). Song in picture is 'Khaaya Piya' that goes with the Hindi adage 'Khaaya Piya Kuch Bhi Nahi, Saala Gillaass Toda Barah Anna'. Composed on the lines of Marathi folk numbers to woo the local audience, the song reminds of the 80s when such street songs were picturised for Sanjay Dutt, Mithun or Govinda fans. Lyrics are purely for a particular section from the masses and the rendering by Vinod Rathod and Sunidhi Chauhan is also loud. Much publicity was done when this song was being choreographed a few months back but after listening to it, one feels that the song isn't that exceptional that to be lapped up instantaneously! At best, a very situational song, that may look better in the movie.

Sunidhi Chauhan sings her fourth song, another item number in the movie, 'Saiyan More Saiyan'. A song about 'makhan malai' from 'dilli', 'champa chameli', 'shola badan', 'jalta tan', 'jawaani deewani' and lots more, it has Jalees Sherwani, the lyricist, turn really imaginative and present this 'bhelpuri' of female anatomy. A song meant to be played at a night club, beer bar or the villain's den, it may excite a select section of the audience, but in all just doesn't fit in for the mass appeal.

The album finally reaches an end with a duet by Kumar Sanu and Anuradha Paudwal. Welcome to another rehashed version, this time from Salman's own 'Sarki Jo Sar Se Woh Dheere Dheere' from 'Hello Brother'. Surprisingly there is a also a dash of guess what, even Laxmikant Pyaarelal's 'Jaayo Tum Chahe Jahan' from 'Narsimha', that was released 13 years back. Well, all said and done, at least this number 'Tera Hi Deewana Dil' is foot tapping, has clean lyrics and people may still like it going by the popularity of Salman Khan.

One wonders what would be the reaction of Salman Khan's fans who may be expecting yet another soulful love album after 'Tere Naam'. It is definitely not expected to be too positive mainly due to the nature of the movie itself which is an actioner about cops and secondly the music of the movie which is flat, uninspiring and a rehash of various songs from the past.

Plain average!

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