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Music Label: EROS MUSIC


We expect commercial music that is the perfect blend of melody, trendy appeal and bigness in sound.


'Main to superman Salman ka fan' (Wajid) is clearly like the title-song of yore, emphasizing and establishing the character of the hero of the film. However, we do not understand why three writers (Kausar Munir, Danish and Sajid, one half of the composer duo) were needed to create this flippant song. Wajid sings in predictable fashion, but we wonder what Salman Khan, to whom this is clearly a tribute number, will think of lines like 'Arrey Amma kya bigadengi /Daddy kya sudharenge / Hain jalebi jaisi aankhen /Baanke re hum / Teacher kya padhayega / Knowledge kya badhayega /Mauj ki college ke hain / Seekhe-sikhaye hum' as applied to him - that too in praise!

The remix version of this song just makes the pace and noise more intense and can be safely given a miss.

After this too trying (to be a fan number) song comes 'Radha nachegi' (Ritu Pathak leading Danish Sabri and Shabab Sabri). After a wonderful raag-infused 4-line prelude with nice words, the song suddenly veers into a loud mix of rock and folk. And the lyrics (Kausar Munir & Danish Sabri) go the whole hog with stuff like 'Music bajega loud to Radha nachegi'.

It is the sitar-based interludes and the catchy antaras with the Sabri Brothers giving a nice choral feel that lift the song despite the flip-flop in the verse between corny contemporary and nicely folksy. Ritu sings very well, but cannot get rid of the wannabe Sunidhi Chauhan feel in her vocals that she must seriously work at avoiding. This is the one aspect that is probably stopping this talented voice from going (better) places.

Mika and Mamta Sharma along with Sajid-Wajid sleepwalk through the done-to-death-that-too-umpteen-times 'Madamiya' that might have worked big-time had it been the first specimen of this genre five years ago! Kausar Munir's clichéd but wannabe-fresh lines like 'Very respectfully-aa ho jaaoon tera madamiya' and the overtly familiar beats pull down the song further.

Shruti Haasan gets an interesting track, 'Joganiyan' which is the mould of Sajid-Wajid's individualistic blend of Indian-and-Western, akin to 'Meherbaniyaan' (Veer) and 'Shaayarana' (Daawat-e-Ishq). The interesting tune has Shruti's sweet voice standing out, and though she sings the song effectively, she should definitely try to add layers to her art by singing in full-throated fashion, rather than curbing herself as she does in her normal Western mode. However, we could not appreciate weird metaphors like 'Ab chaahe tu raatein jalaa / Ab chaahe tu raatein bujhaa' from Kausar Munir. The composers would do well to avoid such esoteric and essentially meaningless 'phonetics' in their songs, and generally pay greater attention to the lyrics that make a song both register and stay on for long.

Shafqat Amanat Ali sings well, though the song ' Main Nahi Jaana Pardes' is too familiar a drone of a litany to make a real impact. The pure classical flavour is welcome, but the Rock influences and the Punjabi lexicon dilute the impact of the melody. Also, the music is credited to both Sajid-Wajid and Shafqat, and that's a bit like two cooks spoiling what on the surface could have been an appetizing musical broth!

'Tevarific (Mashup) is what is expected from this pointless genre, but the worst song on the track is 'Let's celebrate', written, composed and sung by someone called Imraan Khan. The only thing we can say is that this is a song that, if at all, created, should not have been recorded. It is a mishmash of beats, English, Punjabi and everything that can make a song an offensive assault to our ears.


The music is good in parts, but could have been much better.

Our Pick:

'Radha nachegi', 'Joganiya'