Music: Amartya Rahut, Indraneel Hariharan, Dhruv Dhalla & Sandeep Chatterjee
Lyrics: Manoj Yadav, Rajesh Chawla, Puneet Krishna & Tejpal Singh Rawat
Music Label: T-Series
Expectations from the comedy are nil, given the multiple and mostly anonymous music makers.
The Sarita Vardhan-rendered ‘Samjhe Na Koi‘ starts on an authentic traditional note before settling into a modern groove, though with the raag-daari intact. Passably rendered and written (Rajesh Chawla), it is decently composed by Indraneel Hariharan.
The song compensates for the lack of substance in the rest of the score, which opens with two tracks that may be situational but do not justify the complete absence of appeal in them – ‘Goti Jaam‘ (sic), sung and composed by Amartya Rahut, and ‘Maasiji‘ (Alam Gir Khan, Neuman Pinto, Amartya Rahut, who again is the music director). The latter track is clearly a poor cousin of ‘Auntyji‘ from Ek Main Aur Ekk Tu and is even more unmemorable. Manoj Yadav’s lyrics in these two songs are far from what lyrics should be even in the fun genre.
Dhruv Dhalla, who composed the Punjabi folk numbers in Khosla Ka Ghosla, does the confused folk number ‘Saadi Hobby Jhappiyan Paani‘ (sung by Brijesh Shandilya) in which lyricist Puneet Krishna ‘merges’ Punjabi pop with folk lexicon from Uttar Pradesh! The intended amalgam of two different folk streams, however, only leads to (con)fusion. Once we move to the next number, this one is forgotten.
Sonu Kakkar and Altamash Faridi sang ‘Babbe Mast‘, a ‘contemporary’ beats-oriented number written by Tejpal Rawat and composed by Sandeep Chaterjee. As predictable as yesterday, the song has nothing innovative to offer, which is fine, but there is nothing to impress either! The heavy and predictable beats and singing are – pardon us for saying this – completely passÃ© in the post-Aashiqui 2-Yeh Jawaani Hai Deewani-Ram-Leela era, when even GenY needs solid substance to both tango to and download!
The same lyricist-composer team fare marginally better in ‘Machhli Jal Ki Rani Hai‘ (Rhydun Chatterjee, Sandeep Chatterjee), a situational number. However, the song would have fared better if its treatment had not been so ‘rock’ous, that too with some high-pitched rap screeched by Sandeep Chaterjee. Also, the lyrics are drowned in a decibel-heavy shower of instrumentation.
There is nothing to linger in the entire album. ‘Samjhe Na Koi‘ has a passing appeal. It is truly alarming how the music of films – as lucrative as a territory in terms of business potential – is being increasingly left in the hands of word-spinners and the purveyors of what is wrongly considered as ‘trendy’ beats. The rationale behind such mindless inattention to melody is baffling, especially when small films like these have always been salvaged by great music.
‘Samjhe Na Koi’