Vashu Bhagnani, a movie maverick, associated with No.1 stylized romantic comical hits (COOLIE No.1, HERO No.1 and BIWI No.1) turns ''big daddy'' with KAL KISSNE DEKHA, as he launches his son Jackky Bhagnani, along with Vaishali Desai, grand daughter of late Manmohan Desai, a phenomenal filmmaker (especially with Amitabh Bachchan) . His prolific musical record in the past speaks volume of his musical instincts and one expects the same as he launches his son in this mushy teenage love saga. Sajid-Wajid, an emerging musical team in the marquee is the work-force behind the musical show and expectations are high. Can Sajid-Wajid's music be able to laud a colorful musical show for these hi-profile star-kids? Let's watch out what's in store for the listeners as this ''futuristic'' sounding title film evokes loads of curiosity for us...
Sajid-Wajid plays safe by not experimenting with either funky tunes or upbeat rhythms and refurbishes some of Sonu Nigam's mesmerizing old melodies like ''Ab Mujhe Raat Din'' and ''Kuch Tum Socho'' (Album- Deewana (1999) into affable composition with modern orchestrations in ''easy-on-ears'' melody ''Aalam Guzarne Ko''. Sonu excels to create the same magic in his mellifluous flows with Suzy Q rendering out affirmative chorals to add sensuous touches to it. Despite some smoothening melodic feel, the soundtrack sounds outmoded and could have worked few years back but still it can be a listening treat for all Sonu's great fans .
Sonu Nigam makes sparkling reappearance in the album with a fervently vibrant ''bhangra-beat'' culture with dash of hip-hop jives and electronica music in impressively loud ''Soniye Billori''. It has that peculiar Salman Khan's stylized fast-paced number appeal, where thunderously punched disco beat filler makes merry with loud ''dhol'' drumbeats to create furore on floors. It's two in a row for Sonu Nigam and Suzy Q and together they create ''dhamal'' on floors. Once again, the novelty factor is missing as composers play safe but deliver loads of amusement in its fervent melodic textures. The catchy punch-line ''Teri Meri Gal Ban Gayi'', entangled with enthralling disco-beat fillers makes it one special Punjabi fun loving track that can stay long on DJ's list.
The hysterical discotheque decorum is catapulted well with effective DJ spins and scratches work as it gets into perfect mold of entertaining party number in ''Soniye Billori (club mix)''. Go for it!
Modernization makes its first plunge into this lovey-dovey album with intrinsically sci-fi stylized sentimental music (similar to impressive ''Meelon Ka Faasla'' (LOVE STORY 2050) making the most remarkable dent in remarkably composed ''Aasman Jhuk Gaya''. Shaan's silken vocal rendition has shades of sobriety of romantic emotions that camouflages to perfection in intimidating-cum-serene sounding arrangements. Sajid-Wajid show inventiveness in orchestration with varied sounds, chorals and vocal modulations serenading out shades of emotions. Shreya Ghoshal's feminine affixation in slender tones adds to its tranquil-feel romanticism and makes Sameer's routine sounding lyrics special for melodic ears.
''Jashn Hai Josh Hai'', a raunchy gypsy brings back 80's action film era where songs like ''Mehbooba'' (SHOLAY) and ''Pyar Do Pyar Lo'' (JAANBAAZ) made their maximum impact on cine-lovers. Sajid-Wajid make hitherto efforts in unraveling this genre with mediocre sounding composition, showing concoction with flick's title with Alisha Chinai leading out the bandwagon of gypsy singers with modest sounding Neeraj Sridhar and Wajid just adding to the credits.
After hearing Wajid in noteworthy westernized melody ''I am in love'' (DHOONDTE REH JAOGE), it's another listening pleasure to find him in great Sufi singing mood in ''Tere Bina Lagta Nahin Jiya''. Once touted as Salman Khan's voice, this composer-turned-singer makes maximum impact as his vocals gets grounded with digitally mastered sound arrangements that echoes out sentimental hues of a distressed lover. Sajid-Wajid's composing brings out memories of Mithoon's melodies that had trendy orchestral setting in Sufi singing modes. This upbeat Sufi soundtrack deserves an aesthetical chorographically viewing to make it a hot ''n'' happening sentimental number for its quality melodic contents.
Laximkant Pyarelal's ''raga'' based composing that was a winning musical factor in 80's hits gets a befitting tribute by Sajid-Wajid in somber classical musical instrumentals and Shreya Ghoshal's pristine singing in ''Bin Tere Mar Javan Mein''. It's brief but pure to the heart as one can reconcile some of L-P's everlasting melodies in its simplistic and mellowed rendition.
KAL KISSNE DEKHA, the words gets the maximum musical semblance in the album and for the listeners in conventional sounding Bollywood dancing maneuvers in the title track ''Kal Kissne Dekha''. Sajid-Wajid makes all required hip-shaking disco-beat arrangements in this contemporary composition that has been a winning statement in their earlier albums. Shaan extols his vocals to loud octaves to emanate out the youthful feel of ''Dil Ne Dil Ko Pukaara'' (KAHO NA PYAR HAI) and romantic overtures of ''Saawariya'' (SAAWARIYA) in making it perfect singing-cum-dancing launch for the debutantes. Shreya Ghoshal has pale and almost unheard presence, while the song is heavily loaded with rap-cum-electronic background musical works that makes it a jumping ''n'' jiving dancing number.
This above average number gets the punch of ''club'' remixing with full throttle flaring disco beat fillers, DJ spins and effervescent beat-juggling and that makes it a much better listening affair in ''Kal Kissne Dekha (club mix)''. A worthy promotional feature song, cool DJ collector's item work; it carries on the good work that can make it popular among urbane listeners. Wajid taxes his vocals to best in ''romantic version'' to add nostalgia to this youthful love saga with soothing appealing music that can be worked out as an impressive background score for the film.
The Sajid-Wajid composed KAL KISSNE DEKHA is an engrossing contemporary Bollywood musical album that works on age-old ''filmi'' stereotypical music fundamentals rather than materializing the present trend of rock or hip-hop musical madness. The songs have shades from their previous successful works and has substantial entertaining quotient. In terms of quality and innovation, Sajid-Wajid make the finest of attempts in ''Aasman Jhuk Gaya'' and Sufi number ''Tere Bina Lagta Nahin Jiya'' while rest of them treadmill safer path of contemporary style of conventional Bollywood's musical hits. The album desires a good mouth of publicity and good show at the box-office to enhance its sales prospects at the stands.