After dull and dry spell at the box-office, this summer vacation brings out downpour of comical delights and HASTEY HASTEY is presumed to be one of such “cool” offerings. Comical flicks have never been great on melodic quotient but have certainly provided amusing fan-fare for its upbeat titillating musical outburst. After sloppy ANAMIKA and notable WOODSTOCK VILLA, veteran Anu Malik along with dependable Sameer gets into the proceeding for this comical caper. Like its stumpy profile and undistinguished face value, the album too disappoints with its lackluster display and adds another blob in the credits of ever-fighting composer.
Anu Malik takes an outlandish route by experimenting out with amateurish voice of new talent Shiv Ram Kumar along with contemporary Sunidhi Chauhan in shabby sounding title track “Hastey Hastey”. The sloppy vocals, “run of the mill” wordings and unimposing composition decimate all the listening interest and all it ends up as an apology of affair. As compared to recent hip-shaking title tracks of entertaining comical flicks (WELCOME, APNA SAPNA MONEY MONEY, DHAMAAL etc), this “not-so-happening” track neither delivers quizzical one-liners nor pulsates with its thumping binge. The “sad” version in brief unplugged version sounds much better in voice quality but simply adds to the situational needs of the flick.
Kunal Ganjawala comes out as real “rockstar” of the album by rendering out the finest melody in “Bheegi Bhegi Teri Zulfien” that serenades out delicate thrilling-chilling romantic moments. Anu scores maximum this time by amalgamating recurring paced arrangements into textures of Sameer’s tender wordings that gets brilliantly embellished with Kunal’s remarkable vocals. This finely composed track comes out as saving grace for the album and is likely to working as the major spotlight in the promotion of the film.
“Almad Chere Khuda”, a rip-roaring Sufi rock track by Zubin tries to recreate the magic of “Ya Ali” (GANGSTER) but it all ends up as another average sounding track. Anu Malik takes an impressive splurge into Sufi rock genre by incorporating all the preferred ingredients but the penetrative impulse is missing. The resounding Arabic electronic beat punches, echoing chorals in the backdrop evokes pathos and gels well with Zubin’s reverberating vocals but overall composition sounds too average to embark any magnetism.
Anu Malik makes an inspirational route to Pritam’s style of composing by camouflaging snazzy “girlie” shouts; hip-hop buzz and loud thumping pub-culture throw in “Rock the World”. Shaan’s remarkable vocals and Sunidhi’s imposing rendition are at the helm of affairs but the ear-splitting overdo of orchestration and lackluster gripping plays spoilsport. Like couple of uninspiring fast paced tracks of ZINDAGI ROCKS, this soundtrack sounds too loud and is heavy on machines and gadgets. Anu felt over optimistic about the track and so he recreated this in two more versions in the voices of Shaan and Sunidhi separately. Do enjoy some really “cool” keyboard notes in its middle interludes that form impressive loop for signature tunes for this number.
“New Age Mantra”, a fusion based track about the Gen X “mantra” takes a bow to 80’s “disco” fever by inculcating thunderous vocals and garish sounding disco beat arrangements. It reminds back to tracks like “Hari Om Hari” (PYARA DUSHMAN (1980)) where elements of divinity were mixed in disco beat culture to deliver a peculiar disco feel. This Anu Malik composition tries to mesmerize this feel with elements of trendy arrangements with the expertise vocals of Kunal Ganjawala and Sunidhi Chauhan. Its outmoded overindulges of “disco” fever matched with monotonous sounding wordings in routine vocals fail to deliver captivating feel. Anu Malik makes another struggling effort by refurbishing it in two more versions but the end results are equally disappointing.
Sunidhi Chauhan’s hot-temperedly and sensuous vocals takes the centre-stage in exploiting the antics of seduction in overtly vociferous “Hum Hain Tum Ho”. It’s a routine fan-fare where erupting racy arrangements along with ear-piercing vocals make all the moves for a seductive endeavor.
Anu Malik’s improvised “new age” music proves too ordinary again and HASTEY HASTEY comes out as another mediocre war-fare. Barring the exception of pleasant sounding “Bheegi Bheegi Teri Zulfein”, the rest of tracks simply disappoints and ranges from average to poor in their performance, execution and composition.
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