Ek Vivaah Aisa Bhi Review {3.0/5} & Review Rating
'Ek Music Release Aisa Bhi' - That's an apt way to describe the manner in which the music of Rajshri's latest Ek Vivaah Aisa Bhi has arrived on the stands. You tend to rub your eyes in disbelief to see the CD of this film which stars Sonu Sood and Eesha Koppikar since there hasn't been any promotion whatsoever of either the movie or the music so far. Agreed that Barjatyas follows an unconventional route of publicity of their films but placing an album on stands sans any buzz whatsoever, especially after the success of their last film Vivah, is a little difficult to digest. Nevertheless, leaving the surprise factor behind, one plays on Ek Vivaah Aisa Bhi which sees Ravindra Jain as a composer/lyricist once again after Vivah.
As expected, the album takes a core 'hindustani' route from the word 'Go' with the arrival of 'Mujhme Zinda Hai Woh'. A highly melodious number which continues to work from the 70s till date, this duet by Shaan and Shreya Ghoshal has a decent beginning only to turn into an infectious outing the moment key words 'Mujhe Zinda Hai Woh' arrive after a minute. With a classical feel to it, especially in the portions where Shreya is on the forefront, 'Mujhe Zinda Hai' is a quintessential Rajshri love song with poetic lyrics that turns it into a heartwarming outing. After a six minute long outing, an extension of the same number comes in second part which lasts just a little more than a minute. Yet again, the song works!
Ravindra Jain's touch from the kind of music he composed for films like Chitchor and Ram Teri Ganga Maili is apparent in 'Dekhe Akele Humne Solah Mele' which is yet another pure Indian melody. A Shreya Ghoshal number which again remains rooted to the theme of the film and is completely uncorrupted by the sound which is prevalent in more than 90% of the music that is churned out today, 'Dekhe Akele' makes one look forward to how does 'khallas' girl Eesha carry it on screen.
A situational track about 'we are one family and would live in this house which is temple for us', 'Mandir Hai Ghar Ye Hamara' is a kind of tailor-made number for Alok Nath. This one lasts only two and a half minutes and could as well be the introductory number in the film. Rendered by Suresh Waadkar who is just the right man suited to do the job, 'Mandir Hai...' is yet another easy-on-ears track in the album.
After 'Mujhme Zinda Hai Woh' comes another love duet 'Dono Nibhayen Apna Dharam' which has Shaan and Shreya Ghoshal coming together again. By now, Ravindra Jain has established the mood of the album and one can understand the kind of sound to expect in songs to follow. Sticking to the theme and mood of the film, 'Dono Nibhayen' also takes the traditional route and (rightly) propagates the essence of living with each other forever with all the love and respect in heart. Suresh Waadkar chips in as well in this track which later reappears as 'Sang Sang Rahenge Janam Janam'. A marriage track, it makes for a good listening yet again.
Well, when it is a film by Sooraj Barjatya, how could words like 'Banna Banni' be behind. A chorus number about celebrations in a household which is getting ready for a marriage, 'Banna Banni' is a three minute celebration number which should fit in well into the narrative.
'Kya Soch Ke Aaye The' is a number which indeed sounds good and could well be the flagship number of the album if promoted well. A melodious solo by Shaan that could have made the likes of Hrithik Roshan, Shahid Kapoor, Saif Ali Khan or other lover boys in the town jump on it, 'Kya Soch Ke Aaye The' should be quite some image changeover for Sonu Sood who was once upon a time lip synching to 'Aashiq Banaya Aapne' and 'Aap Ki Kashish'. A sweet sounding number which could fit into any romantic film, this one finds a place for itself right at the top of the album.
A celebration number about 'ladke waale' coming to the household of 'ladki waale' for an engagement ceremony, 'Lo Ji Hum Aa Haye' has a brief beginning by Farid Sabri before Shaan and Pamela Jain takes charge of the proceedings. A uniformly happy number which only goes on to gather pace as it reaches towards the middle, 'Lo Ji Hum Aa Gaye' should be quite some handful when it comes to an extravagant appeal, courtesy trademark Barjatya setting.
A number where the lead couple are enjoying a rainy outing, 'Jhirmir Jhirmir Meha Barse' sees Shaan and Shreya returning with a duet. Staying simple with an innocent feel to the entire setting, this song only adds to the mood of the soundtrack that stays traditional and yet entertaining enough to make sure that a listener gets all that he/she expects from a Rajshri soundtrack.
A 'ghazal' marks an end to Ek Vivaah Aisa Bhi which boasts of a consistent appeal to it. A Shaan solo, 'Neend Mein Hai' is yet another good number that the singer gets to his credit. In fact it is refreshing to hear Shaan rendering a number like this which on any other day may have been grabbed by the likes of Roop Kumar Rathod. However, credit must go to Ravindra Jain who entrusts his faith in the young singer and ensures that he delivers goods.
Ek Vivaah Aisa Bhi is a good album which throws a complete surprise since it came completely unannounced. The soundtrack has it's simplicity and innocent in place with veteran composer/lyricist Ravindra Jain demonstrating that there is a place for a sound like this even in the times when Western sound is dominating the music of practically every other film. Just like majority of other films/music coming from the house of Barjatyas, this one too may take a slow start but would gather good response as the film arrives on screen.
