SongsTurka

Pritam Chakraborty turns into Pritam Singh once again for Toh Baat Pakki which has a Punjabi beginning to it with Mika Singh coming behind the mike for 'Jis Din'. A catchy number that instantly gets you jiving, it has everything that you have heard before from Pritam and is still reasonably impressive. This Mayur Puri written number has a good mix of Punjabi and Western arrangements that make it the kind of track that can find an audience in the bigger centres as well as interiors. Expect the track (which is repeated in a 'remix version', just like every other number in the album) to find it's way in the marriage processions to follow if and when the film turns out to be a success.

Toh Baat Pakki is a mixed bag with none of the songs being an assault on the ears but not all turning out to be so likeable that they would make this as the hot selling album of the season. 'Karle Mujhse Pyaar' brings in an urban contemporary feel but needs some solid promotion over next few weeks to make an impression. On the other hand 'Jis Din' is good though it does invoke a sense of deja vu. Don't look for anything extraordinary out of Toh Baat Pakki and you won't mind giving this score by Pritam a listening before he returns with something bigger and better in months to come.

Reluctantly one plays on Striker and Sonu Nigam brings on the longest track in the album, 'Cham Cham', which lasts more than seven minutes. Composed by Shailendra Barve (who was the guest composer in Taare Zameen Par with a beautifully composed 'Mera Jahan' to his credit), 'Cham Cham' written by Jeetendra Joshi is yet another soothing piece with a 'qawalli' base to it. However, instead of following a tried and tested genre, 'Cham Cham' makes a good effort (and also succeeds) in being slower in pace and also maintaining a good blend of rhythm and melody that starts settling in after one has given it a patient hearing 3-4 times.

As stated earlier, it's zero buzz around the film coupled with largely unknown names and coming together of an unconventional score that would go against Striker from the sales perspective. Nothing wrong with being unconventional but then if an album has to make an impression commercially, it requires an adequate backing as well; something which is completely missing in case of Striker.

Karthik Calling Karthik is upcoming romantic thriller, starring Farhan Akhtar opposite Deepika Padukone is directed by Vijay Lalwani. After a hit musical movie Rock On, Farhan Akhtar the producer (with Ritesh Sidhwani) is back with this movie. Hope it rocks when released on 26 February 2010.

Music is tuned by Shankar-Ehsaan-Loy while the lyrics are given by Javed Akhtar. Kartik Calling Kartik songs were requested two times before the release.. also it's from SEL and Farhan Akhtar, my expectations are bound to be high. I am listening a lovely track Jaane Ye Kya Huwa, hope you like them.

What would immediately attract a music lover to Ishqiya is the credit details that include Vishal Bhardwaj and Gulzar. However, even their hardcore fans would have to be cognizant of the fact that Ishqiya doesn't promise a popular soundtrack a la Kaminey (which had 'Dhan Te Nan' as it's anchor) or Omkara (which picked up beyond the rage created by 'Beedi Jalaile'). Instead Ishqiya is more rooted in it's appeal and maintains a classical touch for most it's part.

Ever since the release of Kaminey, it has been established that Vishal Bhardwaj is a strong admirer of Quentin Tarantino. This is evidenced once again in the opening sound of ' Dil To Bachcha Hai' (first in the original and more prominently in the 'remix version') with clear influence of Tarantino. Due to the country flavour of the film, the music too carries a similar mood. One can be assured that even Rahat Fateh Ali Khan would have been challenged by the way he is required to render 'Dil To Bachcha Hai' since it is a complete departure from the sufi numbers that he has been singing (on a rather successful note) off late. Gulzar's lyrics make you play the track repeatedly to get the crux of the matter while the music reminds one of the kind of songs that Mukesh used to sing for Raj Kapoor in his earlier days.

Contrary to popular misconception, Karan Johar's music hasn't stuck on to the world of Kuch Kuch Hota Hai. It has continued to evolve and though it's hard to ignore the romantic breeze evidenced in his films, the fact is that he has in fact strived to be different, though not completely but at least partially, in each of his outings. However, in My Name Is Khan, he along with Shankar Ehsaan Loy and lyricist Niranjan Iyengar have brought not a partial but a substantial difference to the way music in his films is being looked at. Doing something like this was always meant to be a calculated since music as heard in My Name Is Khan doesn't belong to the kind that results in blockbuster sales. However, given the fact that the film boasts of who-is-who of the film and music world, has a guaranteed chartbuster in the form of 'Sajda', comes with a huge curiosity value and overall boasts of a quality feel to it, it is bound to become further popular after the release.

When singers like Rahat Fateh Ali Khan, Shankar Mahadevan and Richa Sharma come together, you know for sure that there is a quality outing in the offing. This is what one gets from 'Sajda', a qawalli, which boasts of some intoxicating rhythm and comes so quickly on your lips that just one listening and you can already hear yourself humming it around. It is amazing to see Rahat Fateh Ali Khan delivering a chartbuster track practically every second month and this New Year couldn't see a better outing than 'Sajda' which maintains an Indian quality to it throughout it's duration. Boasting of a timeless appeal to it, 'Sajda' is a kind of number that is not dependant upon the movie for which it has been composed and promises to play on for many more months to come.

Veer throws a pleasant surprise. There were apprehensions galore (as explained eariler) but a couple of listening pretty much facilitates their dilution. Sajid-Wajid have indeed given their best three soundtracks ever in Veer and though they may have had managed chartbusters earlier, Veer is the kind of album that would fetch them a much deserving respect. Along with Gulzar they have created the kind of tunes that may not necessarily turn out to be the hugest chartbusters of the year but would certainly be remembered for time to come.

From here on the album takes a turn for something even better with 'Surili Akhiyon Wale' coming next. A melodic romantic number that boasts of some heartfelt and never heard before lyrics (has anyone ever heard of 'ankhiyan' being 'surili'?), it is further elevated due to silky vocals of Rahat Fateh Ali Khan. He sings 'Surili Akhiyon Wale' at a low pitch and in the process of doing so comes up with a rendition that would certainly make a mark for months to come. Sajid-Wajid take a complete departure from the kind of score they have made for films like Wanted and get into a classy scheme of things.

Chance Pe Dance is a good album that doesn't have a single bad/below average song and stays consistent for most of its duration. It does experiment with a song or two but doesn't veer away from giving all segments of listeners something to cheer about it. This is why other than a couple of fabulous dance numbers (Pe..Pe..Pepein..., Just Do It), there are also love songs (Pal Mein Hi, Rishta Hai Mera) that keep the balance on. Listen to this one, you won't be disappointed.

Even though Chance Pe Dance is an Adnan Sami album all the way, it is guest composer Pritam's 'Pe..Pe..Pepein...' which turns out to be the opening track. Written by Kumaar, who of late has been collaborating with Pritam on quite a few songs, 'Pe..Pe..Pepein...' has exactly the same hook that was last evidenced in 'Oh By God' [Ajab Prem Ki Ajab Kahani]. Though the song hadn't featured in the film, Pritam was obviously attached to the hook (based on the quintessential 'shehnai' tune that is heard in marriages) and put it to good use in 'Pe..Pe..Pepein...'. The results are expectedly fabulous as the song turns out to be far better than 'Oh By God'. With Neeraj Sridhar, Hard Kaur and Saleem Shehzada bringing in the kind of attitude which is just suited for a song belonging to this genre, 'Pe..Pe..Pepein...' (which later also arrives in a much welcome 'remix version') turns out to be a true dance number which is not just a chartbuster from the word 'Go' but is also all set to get further popular once it's music video is out.

Due to its situational feel, one can't be expecting mega popularity for the album here. However, if one understands the intent of the album, the songs have been pretty much made to facilitate the album's narrative rather than being chartbusters that would get audiences in theaters. In this aspect, Salim-Sulaiman create a good situational album that may well drive the narrative rather than just fitting into it.

Anushka Manchanda is so effective in the way she begins 'Alisha' that one can almost sense Priyanka Chopra to be behind the mike. There is this husky feel about her rendition which brings in a certain attitude to the entire 5 minutes track. In fact Anushka is quite good in this Westernised track (later also appearing in a 'remix version') where she not just changes the pitch a couple of times but also brings in a different tone to her voice. Moreover, Salim Merchant too does a good job in coming behind the mike intermittently and brings on the key words Pyaar Impossible. A good situational track that could well have been a Vishal-Shekhar composition.