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Dolly Ki Doli

Music: Sajid-Wajid
Lyrics: Kumaar, Danish Sabri & Irfan Kamal
Music Label: T-Series


The third Arbaaz Khan production with Sajid-Wajid - this time a romcom - generates expectations.


The album starts off with the classic half - Punjabi song 'Phatte tak nachna' - classic as in typical over the last decade or so. Sunidhi Chauhan's rich voice, evolved modulation and fine nuances lift the song from the common level. The orchestration is familiar and trite and the lyrics (Danish Sabri) are the usual contemporary kind and at best the song is a passing attraction both with the pubs and the masses.

Sajid-Wajid fare better in 'Fashion khatam mujhpe' sung by Mamta Sharma with Wajid and Danish Sabri, but that's only in the overall 'popular' appeal. The lyrics (Irfan Kamal) have the usual self-conscious blend of being brazen yet remaining within (extended) limits of decency. Every note and instrumental flourish is supremely predictable and Mamta sleepwalks through another raunchy number with the impression that we are still just a few weeks past the 'Munni' and 'Pallu ke neeche' era.

The composers and singer could do well to remember that it's been a very long time since Dabangg and even Rowdy Rathore and that people have moved on, so at least the bottle carrying the old wine should be sparklingly new! The interludes, choral refrains and 'hot' intonations could have all had some freshness.

Next up is probably the most cacophonous song on the album, 'Babaji ka thullu' (Wajid - Danish Sabri). Over-loudly arranged and sung with 'trendy' (sic) rap by Sabri, it has decidedly inelegant lyrics by Danish Sabri again (check 'Dilbar tere peeche bhaagoon kutte ki tarah'!).

Relief comes decidedly in the final two tracks on this score: Divya Kumar delivers the title-track 'Dolly ki doli' with aplomb, yet again raising an average song to a listenable level, at least for one hearing. The lyrics (Irfan Kamal) and even the overpowering orchestration had lots of room for improvement again, but Divya elevates the number with his spirited rendition.

We then come to the sole placid composition, 'Mere naina kafir ho gaye' (Rahat Fateh Ali Khan). Rahat sings it melodiously, but there are two issues: one, his voice and tenor sound extremely dated despite his welcome classical nuances because the singer has little variation to offer here. Rahat should be made to now sing out of his comfort zone (as in 'Main jahaan rahoon' from Namastey London, 'Rishte naate' from De Dana Dan and 'Fakeera' from Badmaash Company) to make an impact. And this does not happen here, where the sole idea seems to be an attempt to complete the producer's trilogy of songs on eyes -'Tere mast mast do nain' (Dabangg) and 'Dagabaaz re tere naina bade dagabaaz re' from Dabangg 3.

That said, the song is pleasant while it lasts and the classical flourishes make for a truly soothing contrast from the old-fashioned and tired numbers earlier.


This is an average album from all aspects - without surprises, without longevity and with only passing popular appeal if well-promoted. Sajid - Wajid need to reinvent instantly and give better melodies, definitely so to the banner that first put them in the big league. This is their second disappointing album in a row after Tevar.

Our Pick:

'Fashion khatam mujhpe', 'Mere naina kafir ho gaye'