Music: Yo Yo Honey Singh, Dr. Zeus, Indeep Bakshi, Tiger Style, Jatinder Shah, Meet Bros Anjjan, Millind Gaba & Jassi Katyal
Lyrics: Alfaaz, Zora Randhawa & Mavi Bains, Indeep Bakshi, Bunty Bains, Kumaar & Millind Gaba
Music Label: T-Series
There is the usual stew of nondescript pop musicians as the demands are just for items, with a romantic melody thrown in.
Intentionally raucous, rhythmic and risquÃ©, Yo Yo Honey Singh continues with his now uber-monotonous and repetitious beats and chaalu fare in 'Birthday Bash' with one Alfaaz, who also pens the lyrics. The word Alfaaz means both words and vocabulary, and obviously the song exhibits poverty in both. Sample the 'worse': 'Maine suna hain tu twenty plus ho gayi / Chadti jawani teri bebas ho gayi', moving on to 'Mood ko banati hain / Phir thoda lalchaati hain / Par raat hote hi jaake apne ghar so jaati hai'. Mr Singh not only keeps objectifying women but, when we consider his fan following with kids, keeps harping objectionable lyrics on them about aish and all the intoxications from alcohol to sex!
The worst part is that the overall melody is catchy and is likely to hold sway at the charts for a fleeting while. Next time, Mr. Singh, please employ your talent for catchy hooks to write substantial songs-if possible, with a positive message or statement in life!
Rajveer Singh and Miss Pooja sing 'Tipsy Hogai' -another rhythm that we wish had tasteful lyrics-and in Hindi please. Kanika Kapoor has already got a clone in Miss Pooja! The lyrics (Zora Randhawa, Mavi Bains) and music (Dr Zeus) are par for this impoverished course and we wonder how female lyricists can write such unabashed songs attacking the dignity of women. Sample this: 'Kal raat main club gayi thi / Chhoti dress paa ke / Itar bitar tipsy hogai / Do teen shot lagaa ke'. Where are film lyrics and music heading?
The third song, written, composed and sung by Indeep Bakshi resembles dozens of past songs of the soulful kind-this track could wander in, no questions asked, into any recent movie, Creature 3D downwards. Every single word ('Chahoon main tujhko bepanaah'), the Punjabi words (sung by Soni B), musical phrasing, high-pitched sections, percussion, and the antara-cross-line-mukhda structure has been done to death before. Again, the saddest part is that we cannot praise this otherwise straight melody, because there is nothing even remotely fresh in it.
'Zaalim Dilli' (Jazzy B with Hard Kaur) also sounds like a million such Punjabi-paap musical antics. As we listen to the ultra-trivial Punjabi lyrics (Bunty Bains) and older-than-the-rivers-of-Punjab tunes, we wonder whether anyone ever listens anymore to such items that seem to come out of some noisome Xerox machine!
Millind Gaba writes, composes and sings 'Saddi Dilli' that seems to be marginally better, because it remains musically sane and Gaba initially avoids gimmicks and cacophony. His voice is also pleasant. The opening line has a nice hook, but midway, he too eventually resorts to the Yo Yo-kind of rap that is obsessed with daru and chicks!
'Maa Da Dandeya' (composed and sung by Jassi Katyal) is yet another Punjabi-dominated song that uses religious overtones in an irreverent manner. Kumaar writes the lyrics.
It is left to seasoned playback singers Sunidhi Chauhan and Arijit Singh to lift this abysmal soundtrack to a transiently respectable level with 'Janib' (one version solo by Sunidhi). The music is by Jatinder Shah, and let's be clear, the song is not at all novel or path-breaking. Arijit sings the prelude lines beautifully and the song settles into a predictable but melodious Pritam mode. It is Singh who is the hero of this song, as his vocals infuse great dignity to this paean of ardour.
Again the mukhdas and antaras, both in lyrics and music, can be interchanged effortlessly with a dozen other songs in the last five years, 'Tum Jo Aaye Zindagi Mein' (Once Upon A Time In Mumbaai) downwards, but the semi-classical and folk instrumentation and the sonorous strains of the smooth tune make that vital difference. Sunidhi Chauhan enters midway and is at her dulcet best.
In her solo version, which again opens with a nice musical prelude, Sunidhi makes a masterful entry, albeit with Punjabi words. The singer maintains an evener keel and exploits this chance to do something mellifluous. Kumaar's lyrics serve the mood.
Finally, K. Mohan brings a fresh touch to 'Meri Marzi Teri Razaa', a different song by Meet Bros. Anjjan standards. The instrumentation too is differently done. Kumaar writes interesting lines like 'Meri marzi teri razaa mein / Hai faasla kyoon ae Khuda'.
Frankly, this is a disappointing album, which attempts to recycle every over-familiar and tried-and-tested musical and lyrical genre in the last five years. The only fresh song is 'Meri Marzi Teri Razaa', while 'Janib' works while the track is on. However, sadly, it is only 'Birthday bash' that will make a passing splash.
'Janib', 'Meri Marzi Teri Razaa', 'Birthday Bash' (in popularity)