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Old 07-21-2012, 02:30 PM   #1 (permalink)
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Default Yeh Jo Mohabbat Hai

<b>EXPECTATIONS</b><BR><BR>
You actually don't have many expectations from the music of <i>Yeh Jo Mohabbat Hai</i>. Since there is nothing known about the film, whether it's the cast or those who are making it, there is further deal of apprehension that comes in. Even though it is Anu Malik at the helm of affairs, you are still unsure about the final outcome since the composer hasn't really been very active on the musical scene of late. Not quite sure if there would actually be anything remarkable in the offering, you play on <i>Yeh Jo Mohabbat Hai</i>, only to end up being pleasantly surprised. <BR><BR>
<b>MUSIC</b><BR><BR>
What catches your attention at the very start is Mohit Chauhan's name for the credits of '<b><i>Pyar Karna Na Tha</i></b>'. For someone who is really selective, he lends credibility to the album and elevates the song to a very good extent. To think of it, the song is actually a complete package affair, what with Mohit (and later Shreya Ghoshal in her own solo version) and Anu Malik coming together for a song that was written by Late Anand Bakshi. The lyrics are just the kind that one associates with the legendary lyricist and the composer-singer pay their homage with a highly melodious song that could have fitted in any superstar's film. <BR><BR>
The beginning of Kausar Munir written '<b><i>Tere Bina Jee Na Lage</i></b>' is such that it reminds one of the opening sound of '<i>Pehla Nasha</i>' [<i>Jo Jeeta Wahi Sikandar</i>]. However, the moment Mohit Chauhan's voice is heard, the song comes on its own. What is further remarkable here is that even though the melody is different, the overall impact created is such that it comes across as the extension of '<i>Pyaar Karna Na Tha</i>' that one heard just moments ago. Though Suzanna Demello chips in briefly with her English lines (without coming across as an interruption though), it is Mohit who rules the show again and impresses largely. <BR><BR>
Roopkumar Rathod is the one who is roped in to sing a song belonging to the 'dard-e-judaai' mode, '<b><i>Naina Thak Thak Haare</i></b>'. Thankfully, despite the genre that has seen hundreds of songs set in the same zone for decades now, lyricist Faaiz Anwar Quereshi does well to bring on a filmy appeal that reminds one of similar songs that were popular in the 80s and the 90s. Though this one won't really go all the way due to its stage and setting, along with the film's narrative it should manage to hold on due to it's soothing feel. <BR><BR>
It is time though for vintage Anu Malik to be heard with '<b><i>Kyon? Kyon? </i></b>' soon after. Reminding one of many such compositions that he made in the 90s, '<i>Kyon? Kyon? </i>' has some tried and tested lyrics by Faaiz Anwar Quereshi which is made of 'dil kyon dhadakta hai', 'kyon paar hota hai', 'seen mein dard kyo hota hai baar baar' andf stuff alike. Does one mind that? No, not at all, because one has to look at the core of the film before terming as something routine or passe. For the genre that <i>Yeh Jo Mohabbat Hai</i> belongs to, this Shaan and Shreya Ghoshal number fits in well while also reminding one of Viju Shah's '<i>Mere Sanam</i>' [<i>Gupt</i>]. <BR><BR>
However, after four reasonably good numbers, there is a downer in the form of '<b><i>Big Fat Indian Wedding</i></b>'. The song tries to fuse Punjabi melody with Rajasthani folk and Western arrangements, but just doesn't manage to hold on well, primarily due to its lyrics. Ironically, the culprit here is Anu Malik who brings in everything from '<i>Indian Wedding</i>' to '<i>Dupatta Hamaar</i>', hence dishing out a 'bhelpuri' that doesn't really call for a second helping. Moreover, even though Neeraj Shridhar is in his usual spirited self, Anmol Malik comes across as a distraction. <BR><BR>
Thankfully Anu Malik reverts to melody soon enough before much damage is done. Just like '<i>Kyon? Kyon? </i>', even his '<b><i>Angel My Angel</i></b>' has his vintage stamp all over it, hence giving a good finale to the album. There is an extended musical piece lasting as long as one minute that opens the song before Sonu Nigam takes over. In fact it is surprising that the song is held on till the very end since it also has Alisha Chinai joining the proceedings. Reminding of Malik's own '<i>Chori Chori Jab Nazrein Mili</i>' [<i>Kareeb</i>], '<i>Angel My Angel</i>' does well too, hence bringing <i>Yeh Jo Mohabbat Hai</i> to a satisfying end. <BR><BR>
<b>OVERALL</b><BR><BR>
<i>Yeh Jo Mohabbat Hai</i> is a reasonably good album that has ample songs which have in it to make you revisit the soundtrack. If '<i>Pyar Karna Na Tha</i>' and '<i>Tere Bina Jee Na Lage</i>' work quite well at the very beginning, '<i>Kyon? Kyon? </i>' and '<i>Angel My Angel</i>' bring the album to a good conclusion. In fact if this soundtrack would have been created for a film with established actors, it could have possibly covered an even bigger distance. It is not exceptional but for those who wish their Bollywood soundtrack to be quintessentially filmy, this one fits the bill. Need of the hour is some aggressive promotion to help the album reach out to its audience. <BR><BR>
<b>OUR PICK(S) </b> <BR><BR>
<i> Pyar Karna Na Tha, Tere Bina Jee Na Lage, Angel My Angel</i>
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