Music Reviews : Do Knot Disturb, Kaminey, Kisaan & Shortkut

Do Knot Disturb – Ever since I read Nadeem Shravan’s name on music credits in the theatrical trailor, curiosity gripped me. Hadn’t they split? From the film’s look, it hardly looked dated. So, were the composers – who ruled the nineties and then returned with some splendid stuff in early 2000’s (Dhadkan, Raaz, Pardes) – returning? I love their music. But one hear, and my enthusiasm wilted. This is hardly a comeback one would look forward to. Remember the scene in Kuch Kuch Hota Hai, where a simple Kajol tries to apply make-up and be hep like her rival-in-love Rani Mukerji, with some absolutely disastrous results? Well, this album is akin to that scene. Nadeem Shravan’s attempts to sound modern descend in pathetically cacophonous consequences. They even get the current chart-topper Pritam’s regular singer Neeraj Sridhar to croon two utterly uninspiring numbers.

The album opens with Zulphein khol khaal ke (Anuradha Sriram, Sonu Nigam). It takes no CID to unravel the opening lines are lifts from old O P Nayyar hit Leke pahla pahla pyaar, which Nadeem Shravan had already pilfered earlier for Tu hai solah satarah (Jeena Sirrf Mere Liye). Is the producer responsible for this double lift, since if I recall correctly JSML was also a Vashu Bhagnani production? But the lift is restricted to the first few lines. In the antaras, a bit of the old Nadeem Shravan surfaces. English lyrics are peppered liberally. In Don’t Ever Leave Me they look particularly forced, especially the ‘O baby o baby’ refrain. Still, this is the only other decent song. Both songs are arranged by another nineties man – Viju Shah.

Mere naal chal soniye is hackneyed with its Punjabi flavor, though the first line is somewhat catchy. Sameer must have sleep-wrote most of the lyrics especially in this one (Imagine rhyming ‘cutie cutie‘ with ‘beauty beauty‘!!). Sachin-Jigar (of Teree Sang fame) arrange this Punjabi concoction. If the picturization can make up for the musical deficit, this one might just linger awhile. Thereafter, the album slips into a mish-mash of uneasy beats and haphazard rhythms. And pray, what is the use of a song called Bebo, when the film doesn’t even star Kareena Kapoor?! Since they are promoting this one, it might stay. Uff!

Nadeem-Shravan’s forte included melody and ear-worthy interludes. In Do Knot Disturb, both are missing.

Agreed that David Dhawan movies hardly provide scope for quality music. Even in that limited ambit, Nadeem Shravan had come up with a few decent songs earlier in Saajan Chale Sasural. This one is a complete no-brainer and perhaps the title is prophetic – Do Knot Disturb yourself by buying this one.

Overall – Largely avoidable; buy for N-S’s nostalgic sake!

Kaminey – Vishal Bhardwaj’s music is as off-beat as the films he directs. Off-late, he is composing for only his own films. The results are no less spectacular than when he wrote the music for Gulzar’s Maachis and Hu Tu Tu. Kaminey is a deeply satisfying album, a potent portion of melody and spunk, intoxicating and interesting. Stirred & stirring. But nothing shaky or shaken. From the motley bunch, the clarion call Dhan Te Nan has screamed its way up the charts and hearts. Sung with vital verve and vigor (Sukhwinder and Vishal Dadlani), the number is infectious. And bloody swine, it flu‘s its way to make you hip, hop and hit the floor. Raat ke dhai baje, another catchy song, would have instantly taken centre-stage in any beer-bar. Yet it retains an exquisite grace, perhaps because of its singers Suresh Wadakar (resurfaced after ages), Sunidhi Chauhan and Rekha Bhardwaj. The AIDS number Fatak has some lip-smacking guitar riffs, and another easy-on-the-hips tune. The theme music is a thrilling saga that seagues the seventies Hindi film background scores with Hollywood caper movies.

The only dampener is Mohit Chauhan’s Pahli baar mohabbat ki hai (a refrain repeated in Raat ke dhai baje); somehow, Mohit’s Anglicised accent gets on my nerves especially when he croons ‘humne gilhari ke jhoothe matar khaaye hain’(whatever that means).

But what took my breath away, and pierced my heart, and settled into my soul is Vishal’s self-sung title track Kaminey. At first I was puzzled by the slow tune. But steadily the number settled, like the cottony snow flakes falling on a full moon night, enveloping you with their warm & comforting softness, and soaking you in their cold & shivery touch. Gulzar’s lyrics aid the number. Sample the lines – Jiska bhi chehra chheela andar se aur nikla, masoom sa kabootar naacha toh mor nikala, kabhi hum kaminey nikle, kabhi doosre kaminey. Pretty much summarizes a life. It’s the kind of number which one wishes to hear alone on ‘repeat’ mode with lights dimmed.

Overall- Must buy.

Love Aaj Kal – Pritam & Imtiaz Ali collaborated for the hugely inspiring Jab We Met. I awaited their second outing. Unfortunately, it falls way short of expectations. True, We twist (Neeraj Sridhar) is catchy and all that. But was it necessary to maul Hemant Kumar’s brilliant Nagin tune ? From thereon, the album only goes down-hill. Chor bazaari do naino ki (Neeraj Sridhar) is good for a couple of hears, but eventually becomes monotonous. Perhaps its the lacklustre tune progression that hampers. Yeh dooriyan (Mohit Chauhan) has potential to be liked, and will outlive all the other songs; though, personally, I preferred Aaj din chadaya tere rang varga (Rahat Fateh Ali Khan). Aahun aahun is partially interesting. I have more or less stopped bothering about interludes in new songs, so finding anything exciting in Love Aaj Kal was out of question. On that note, definitely the album doesn’t provide any pleasant surprises.

Overall – Average

Kisaan – Let’s face a fact squarely. Kisaan‘s music has as much chance to hit the charts as the crops to grow in a drought. Daboo Mallik seems to linger in a time-warp which is neither fully nineties nor completely modern, somewhat like Sajid-Wajid.

Having said that, the reason I bought Kisaan‘s cd is the exceedingly sweet Humko kahna hai tumse kahna hai– agreed, nothing path-breaking. But it has a deeply pleasing rustic charm. And some very good interludes. Plus, its tabla/dholak base is interesting. Shreya Ghoshal sounds dulcet, though Shaan’s urbane voice is a misfit. The song creates a loving ambience.

Neeche saari duniya hai upar rab hai maa is a typical ‘thematic’ song that extols a farmer’s virtue. Harshdeep Kaur renders few ‘Wahe Guru Wahe Guru’ chant to what is actually a Roop Kumar Rathod’s solo. Good flutes in first interlude, though a tad reminiscent of Rab Ne Bana Di Jodi‘s title track.

In Waqt ki dhoop mein yeh badan jal jaaye toh kya (Chal chal re yaara ve chal) – philosophical and partially rousing- Toshi delivers poignantly a short track, but is largely let-down by a lacklustre tune.

However, Punjabi munde, even sans the horrible remix, is painful in its tiredly worn out Punjabi groove. The pop-Kisaan ketchup doesn’t work! Come on Mallik, there are better ways of presenting Punjabiyat. How about hearing Uttam Singh’s Pinjar for starters?

Overall – Good For Two Songs

Shortkut – The Con Is On – Huh?! Was that really Shankar-Ehsaan-Loy who composed this tripe? Ok, I guess their shadows lingered somewhere while recording Kal nau baje tum chaand dekhna, which looks like a reject from Karan Johar’s Kabhi Alvida Na Kahna. An advice- please discard the ‘thapki’ beat, SEL! Tell you what? Kal nau baje is the only good song. And it’s nice to hear Alka Yagnik and Sonu Nigam in a duet. These voices really do help in carrying a mediocre song forward. Nikal bhi jaa patli gali se nikal bhi jaa holds momentary attention. But the rest are as about interesting as eating stale food. And very indigestible, when Shankar-Ehsaan-Loy sound Anand Raj Anand’s pale imitation in Mareeze Mohabbat!!!

Overall – Avoidable