A DIFFERENT BEAT! The name of Himesh Reshammiya has been largely linked with his peculiar Sufi rock that has not only enthralled listeners but has also delivered back-to-back successful musical album in last few years. KAJRAARE is his third major multifaceted attempt as actor, composer and singer with his brand of music that is 'breed-apart' and tries to break-loose from present set of upbeat rock music. Like his previous two flicks AAP KA SURROR (2007) and RADIO (2009), this one too has his favorite Sameer as lyricist while Pooja Bhatt makes her another valiant attempt at direction. It will be engrossing affair to listen soundtracks for a musical like KAJRAARE as projects like these are high on melodic quotient. Can we expect the megalomania of Sufi rock ruling again the charts as it did few years back? Will KAJRAARE be the one musical that will resurrect out the sagging career of multitalented Haimesh Reshammiya? Just feel the thump and get started by plugging on the 'play' button...
Sufi funk returns with sultry feminine touches and gets into trendy grooves of fast-pitched beats with mixed bag of English cum Hindi lyrics in the title track 'Kajraare'. Sunidhi's wooingly seductive tones in the prelude try to give it international feel and that gets followed by contemporary Himesh's nasal twang singing in loud octaves. Himesh's composition has his peculiar 'sarangi-tabla' loops that are amalgam with reggae stylized drumming and heavy duty electronic tuneful beats. Its rhythmical signature tunes are catchy and bring back Sufi-rock back in business. Sameer's 'easy-on-ears' lyrics epitomize the gist of the flick and metaphor the fascination of ultra-divine beauty through the eyes of its beholder. The extra repetition of 'Kajrare...kajrare' in the middle interludes adds to the tuneful setting in the composition, overall the song entertains with its funky Sufi-rock punches and promises its place in the charts. 'Kajrare (Party mix)' pulsates and thrills with extra edgy percussive beat elements that collide well with thriving beat juggles and DJ spins to deliver out dancing-feast on floors. Himesh succeeds in setting tempo high for flick with this pulsating beat title track and creates 'word-of-publicity' with his bizarre singing 'n' composing.
The added dimensions of Arabic cultured music seeps into the textures of Sufi-rock funk and create melancholic shades of desperation for real love in engaging 'Rabba Luck Barsa'. For all die-hard Himesh's fans, this solo performance will be captivating as he pounces back with louder tones in his much accepted nasal twang singing style. It starts off with typical 60's tuneful beats followed with poetic one-liners about discovering destined love in this world. Himesh recreates his older singing magic and modulates well in depicting varied emotional shades in well interspersed Urdu poetic wordings ('Teri marzi ho agar, ishq mukkamal ho jaye, dard-e-jigar ka har masla hal ho jaaye...'). Sameer's experience and command over Urdu verbatim, verses and phrases works for the desired situation and creates an amiable tonality for the depressed romantic emotions. It's highly pulsating 'remix' version adds madness of dancing as mood gets eclectic with groovy disco beat fillers in 'Rabba Luck Barsa (Party Mix)'. A well inundated 'lounge' version would be better bet to accentuate the distressed romantic feel but still the racy thriving DJ antics works well for the positive spirits of albums prospects.
The tenderness of 'ghazal-gayaki' takes the center-stage in subtlety of gently pitched arrangements with touches of Sufism in impressive sounding 'Aafreen'. It brings back the mushy feel of composer's earlier tracks like 'Ahista Ahista' (AHISTA AHISTA (2006)) and 'Jaaneman' (RADIO (2009)) with classical Indian musical elements embroiled in it. Himesh's loud voice works in tandem with instrumentals in typical 'ghazal' format with added feminine inputs by promising Harshdeep Kaur. To add to the romantic hues, the lyrics by Sameer emote out penetrative impulse that is pulverized well into simple verses. This will be classy listening delight for all those who treasure classical musical works and it's something that can be cherished for long.
Few years back, Himesh tried out Rajasthani folk with upbeat Sufi-rock and succeeded in creating tracks like 'Thaare Vaaste' (SHAKALAKA BOOM BOOM (2007)) and 'Kesariya' (NANHE JAISALMER (2007)) with particular tongue-twisted accented diction. This time it's 'Tujhe Dekh Ke' that comes with similar folksy touches in tandem with subtle westernized orchestrations and Sufi rock punch. The composition sounds average and overtly heard in arrangements and comes in format of duet. Shreya Ghoshal's slender rendition comes as added elements with Himesh's booming vocals and adds up as average sounding situational song.
In sentimentally profound 'Teriyan Meriyan', Himesh tries to recreate the tender magic of his softer toned tracks like 'Dhoom Teri Aashiq Ki' (KARZZZ (2008)) with added tinge of Sufi Punjabi flavors. It packs the modest Indian instrumental package of 'table', 'sarangi', 'jaltarang', 'sitar' and 'harmonium' in typical Himesh's style of composing. Like 'Aafren', it has trapping of 'ghazal-gayaki' with sublimity and tenderness in expressions with Shreya Ghoshal's subtle singing. The composition lacks novelty but brings back the typical Himesh Reshammiya's package of musical finesse. It's purely situational track and demands something striking to make sparks fly across the screen.
The tempo gets energized but the melancholic shades of love remains as the extra-enthused nasal twang of Himesh in loud tones strikes big in 'Woh Lamha Phir Se Jeena'. This fast-pitched has racy Bollywood's romantic appeal with routine Sameer's lyrical attributes. It's high on jarring percussive elements, enthused rock-mode appeal and makes loud statement of revisiting the old nostalgia of 'lost-love'. Harshdeep Kaur comes in brief rendition and simply adds femininity to the track and all together it's again Himesh at helm of affairs. It bears 'heard-before' syndrome and adds to the narrative situational factor in the flick.
It's great to hear that Himesh pertains to roots of Indian classical music and ends up the album with one of his finest romantic duet composition in 'Sanu Guzara Zamana'. The striking feature is sauntering melodic tuneful impacts incorporated in amalgam of typical Sufi fun with classical Indian musical base. Like 'Jhoot Nahi Bolna' (AAP KA SURROR (2007)), it has racy rhythmical combinations of instrumentals but in sluggish mode to deliver out typical Bollywood's melancholic track. Sunidhi Chauhan impresses and so do the 'alaap' chorals with Himesh's likable varying pitches in the soundtrack. For all Himesh's hard-core, this will be one of the most admirable listening treat that should be adding to pacing of the script in concluding reels. As predicted and desired, its 'lounge' remix appears to accentuate the euphoric love-appeal of the track. 'Sanu Guzara Zamana (lounge mix)' has relaxing feel that adds to the mushy ambience with trendy disco grooves incorporated in Sufi rock melodic base.
KAJRAARE recreates the Sufi rock punch of Himesh Reshammiya with his trademark of singing and composing. Despite the arrival and success of varied music genre and sub-genre in the marquee, it will be interesting to view listener's response to the album and thereafter its commercial success on the stands. Himesh returns back to his nasal twang singing and impresses in soundtracks like 'Kajrare', 'Aafren', 'Rabba Luck Barsa' and 'Sanu Guzara Zamana' while rest of them shows promise of rising up with flick's success. For all die-hard Himesh fans, this is a 'must-buy' affair but album will surely be finding hard times in competing with today's bestsellers like RAAVAN, I HATE LUV STORYS and RAAJNEETI.