Reviews

TANHA DIL...
Virgin, Rs. 65
Shaan comes out with his third album after a long gap since his last release Lovelogy, and this one’s a welcome change from the trash being churned out in the name of Indi-pop. The singer shows here that he is multi-talented. Besdies singing, he has composed four of the eight numbers (the other four have been composed by Ram Sampath) and written the lyrics.

The album on the whole shows a strong Western music influence, namely jazz and rock. But then while composing, both Ram Sampath and Shaan have given it a softer tone to make it acceptable to Indian listeners. The result is a string of soul-stirring numbers which leave you asking for more. Side A begins with the best number of the lot, Tanha dil. This title track, beautifully composed by Sampath, and exceptionally well-written and well-sung by Shaan, tugs at your heart-strings, as it talks about the unpredictibility in life, and how one is always alone inspite of family and friends. Gumsum ho kyon?, an ode to a beloved, is composed by Shaan, using the flute and percussion to enhance it. Tujh sa na koi composed by Sampath is completely western pop, followed by a mellow Is pyar mein, again composed by Sampath.

Side B has Bhool ja (composed by Sampath), about overcoming hurdles and looking ahead in life instead of wallowing in the past, followed by a slow and introspective Faasle (composed by Shaan) about how your dear ones are always with you even when you are far away. A rock n’ roll number (Baby) tu hai kahan? (composed by Shaan) comes next, and the last number is a high-pitched and forceful Shaan se (composed by Shaan) about leading life ‘king-size’.

Shaan’s endearing youthful voice, and the music (using instruments like sax, violin, guitar effectively) of course contribute in hooking the listeners to the compositions. But more than these, it’s the lyrics which demand more attention. It’s a surprise revelation that Shaan is a good lyricist, coming up with sensitive, thought-provoking lyrics here, and showing a good command over Urdu language. Listening to albums like these are an assurance that Indi-pop has come of age and there is hope. Sampath does a good job of arranging all the numbers, and as for Shaan, one never realised the potential of this young singer since he prefers to keep a low profile.

HUM TO MOHABBAT KAREGA
HMV, Rs. 50
That Anu Malik is in great form is for sure, as he comes up with a different and likeable score here, with a lot of variation and innovation. To use the modern term, it is a very happening score. The upbeat title song, very Western in nature, really strikes you for its pacy rhythm and good singing by Sonu Nigam and Sunidhi Chauhan. Anu has really worked on it to give a totally different sound. The next number, Tere aagey peechey is high on melody and reminds one of Anu’s haunting compositions from his earlier film Sohni Mahiwal. Dada maanja, baap maanja is a fun song, sung by Anu (the composer makes it a point to sing atleast one number these days) and Alka Yagnik. The next number Yeh khushi ki mehfil oozes romance with its lilting tune, where Anu effectively employs a slow-fast rhythm.

The flipside begins with a very interesting number which goes Lehliya lehliya. Folksy in nature, it reminds you of a Talat Aziz song Laagi prem dhun laagi, but what strikes you is the way Lehliya is sung, and Majrooh Sultanpuri’s lyrics. The veteran lyricist has penned a perfect patriotic song here, which is also an ode to national integration, talking about the speciality of all states. The punchline in the song goes Roop ho German, Japani, ya Chini, Turkistani bade badon ko mehenga pade yeh lehanga Hindustani. And Abhijeet, Sukhwindara and Sudesh Bhonsle do full justice in singing it. Suno Suno kaho kaho starts off like the Baazigar number and proceeds on the same tune. Churalo dil has the same tune as Yeh khushiki mehfil, only the words are different, and the singers Anu and Shradha Pandit are really bad singing it. The concluding number is the title track again, but sung by Anu instead of Sonu. One wonders why the need to have two versions of songs in one album, and who’s interested in the second bad version, after listening to the first good one?

TUM MERI MOHABBAT HO
DARD-E-DIL (VOL. 3) With SHAYARI
Venus, Rs. 35
Well one doesn’t know how music buffs react to this concept of picking up popular numbers and interspersing them with shayari, but if the music company has come up with a third volume, it must be working out. Here you have a compilation of romantic hits from the Venus stable, which have between the mukhdas, couplets of verses written by Jameel Mujahid, and recited by Altaf Raja and Minalini Singh. Now whether they intrude in the enjoyment of a song or enhance its appeal is matter of preferences. The songs here include Mera dil bhi kitan pagal hai (Saajan), Tum meri mohabbat ho (Sangraam), Tanhaee (Dillagi), Kaash tum mujhse (Aatish), Dil mera churaya kyon (Akele Hum Akele Tum), Aye ajnabi (Dil Se) and some unheard ones. The album will work with a select few only.

AREY KRISHNA AREY KANHA (MARATHI)
Venus, Rs. 30
The album is of traditional folk songs known as gowlani, usually ssociated with Lord Krishna. There are 10 such songs (five on each side) in the audio, which opens with title lyric and has been expertly rendered by Shakuntala Jadhav. This is followed by Thhakvilya gowlani Harine, written by Sant Namdev and sung by Ajit Kadkade, Radha bichaari written and sung by Sachchidanand (Appa), Kanha rey zara thamb penned by Vithal Shinde and rendered by Pralhad Shinde, and Madhava Devakichya Gopala written by Suryakant Khandekar and sung by Kavita Krishnamurthy.

The flipside opens with Ooth Ladakya ooth Mukunda penned by Shanta Shelke and sung by Kavita Krishnamurthy, and is followed by Sant Bhanudas’ Vrindawani venu kawanacha sung by Ajit Kadkade, Govinda rey Govinda written by Ram Ugaonkar and rendered by Prabhakar Karekar, Radhe tujha Krishna Hari (traditional) sung by Anant Chiplekar, and Bhijali maazi saadi choli written by Deepshyam Mangalwedhekar and sung by Pralhad Shinde. Rendered by well-known singers, the folklore is bound to find favour with music lovers, specially those who like and relish tales relating to Lord Krishna.

MOTA GHAR NI LAAJ (GUJARATI)
Soor Mandir, Rs. 35
An audio of songs from Sagar Art International and Ramanand Sagar’s Gujarati film Mota Ghar Ni Laaj, the music has been composed by Gaurang Vyas and the lyrics penned by Mukesh Mavlankar. There are seven songs on Side A and five on Side B. Some of the tunes may remind listeners of old hit numbers from some earlier films, but that should not be taken as a minus point, rather it goes to enhance their appeal. While some of the numbers are racy and fast-paced, a few are sad in content and rendered feelingly.

Singers Kavita Krishnamurthy, Sadhana Sargam, Mohammad Aziz, Bhupendra Singh, Vinod Rathod, Vatsala Patil, Deepali Somaiya and Sanjay Ojha have done full justice while rendering the meaningful lyrics. Deserving special mention are Preet ghelu pankhi by Vinod Rathod and Sadhana Sargam, Vana rey vagada by Mohammad Aziz and Sadhana Sargam, Jaam tu aaje hawe by Bhupendra Singh, Maala rey maal by Deepali, Sanjay, Somaiya and Vatsala Patil, Gujarati thayee, Gujarati koi bole nahin barabar by Sanjay and Vatsala Patil and Tu hasato naano chaand by Bhupendra Singh. All in all, the album is a collector’s delight.

WALLAH KYA BAAT HAI
Auro, Rs. 35
This album of six ghazals and geets (three on each side) is a Johny Lever and Albert Jasani presentation. Two of these have been written by Nizamuddin Nizam, one each by Kailash Nazar, Vajahat Azmat and Qamar Jalalvi, while the last one is credited to traditional folk. The music, as well as the renderings are by Vajahat Hussain. Each piece is prefaced by compere Shoma Banerjee’s introductory remarks.

Kya hai saaqi with which the audio opens is the pick of the lot. Teri soorat bholo bhali and Mausam-e-barsaat will also be liked by the listeners.

DRAUPADI & GVALAN
SUSHILARANI BABURAO PATEL TRUST-PEN AUDIO, Rs. 40
This audio, which contains songs from two films, Draupadi (1944) and Gvalan (1946), is literally a journey into yesteryears. Both the films were directed by the late Baburao Patel. While the music of Draupadi was composed by Hanuman Prasad, the music of Gvalan was by Hansraj Behl. Both the films had eight songs each, all rendered by Sushila Rani Patel, except one which is a duet she has sung with Mukesh in Gvalan.

The musical compositions in both the films can be termed as vintage music at its best, music which has appeal even today. The cassette is a must in every music lover’s collection.

The audio opens with an introduction by music maestro Naushad Ali, who speaks highly of singer Sushila Rani Patel and the music of the two films.

Reviewed By Salma Khatib And
Pandit Shimpi