Music: Aryan R Jaiin
Lyrics: Rashid Kanpuri, Omraj Pandey Om, Zeeshan Khan & Aryan R Jaiin
Music Label: Zee Music Company
Minimum - this is a small film with smaller names in the music.
Though Javed Ali practically insists, as always, on singing exactly like Sonu Nigam, the two songs he gets in this film, 'Minnat Karta Hu' (the last word should be phonetically spelt 'hoon' but we guess it's too much expect in today's 'chalta hai'-anything goes times!) and 'Bandgi Tum Meri' are among the best songs he has got in recent times.
Sonu-mimicking apart, Javed sings them well, and the lyrics (Rashid Kanpuri and Omraj Pandey Om respectively) are standard but well-written.
This is - as far as we know - Aryan R. Jaiin's debut film as a composer, and while both the songs merge old-fashioned melody well with contemporary flavours, the former, 'Minnatâ€¦', stands out as a lovely and (for today's era) fairly intricate composition that haunts for a long while after it is over, so much so that 'Bandgiâ€¦' has to be heard separately to judge its own merits.
'Ishq Barsa Re' (Sonu Kakkar-Nishad Mishra) gets into familiar Oriental terrain, with apart Arabic instrumentation providing a piquant touch to the standards beats, rhythms, and typically West Asian choral and backing vocal nuances. This heightened flavour has not been tasted in a long while in our film music and that alone brings a refreshing touch, as the last recall-worthy song with this tenor was 'Kaho Na Kaho' from Murder a decade ago! Sonu is alright and Nishad is correctly in the background.
'Nasamajh Tum' (Shaan) is a familiar and layered tune that reeks of the work the singer has done with Sajid-Wajid. The singer is in weighty form and the nice lyrics (Rashid Kanpuri-Aryan R Jaiin) and old-world dholak-based orchestration creates a wonderful aura in these days of cacophonous overseas beats. It is refreshing to hear such placid melodies in today's frenetically rhythmic times.
The two remaining songs are the necessary compromise even the best of talents have to make in today's ambience of songs being short-term commodities for consumption rather than long-lasting endearing friends. 'Balam Bambai Ko' is complete with raunchy lyrics and singing and orchestral gimmicks.
'Munh se kuch na keh gaye / Padosi ko chaabi de gaye' is the brazen sexual innuendo in this item number with apt rural orchestration. Mamta Sharma brings in the clichÃ©d style of such songs (like in 'Munni Badnaam Hui' and more) with some minimum support from the composer singing as well. The lyrics (Omraj Pandey Om) are a shade confused though, with the girl addressing her sweetheart (who has gone to Mumbai already!) and we have to see if they have to fit the visuals instead.
One 'wow' lead track makes the album shine in a way.
'Minnat Karta Hu', 'Bandgi Tu Meri'