After Aamir Khan’s mind blowing directorial debut in TAARE ZAMEEN PAR, its Ajay Devgan tryst with film direction that materializes well with romance-cum-drama flick U ME AUR HUM. Vishal Bharadwaj, the magical sensation behind OMKARA success, proves to be uncharacteristic choice for the album over present set of contemporaries in delivering trendy and feisty sounds, rhythms and music for this romantic roller coaster ride.
Vishal Bhardwaj takes a huge plunge into whirlpools of Latino stylized musical thrust as music runs loud, vocalist croons out emotions while chorals takes centre-stage in chartbusting delight “Jee Lee”. After sassy “Don’t I love or do I love you” (SUPERSTAR), Adnan Sami modulates to perfection in this “cruise-carnival” feast with Shreya Ghoshal adding mesmerizing tones with her svelte rendition. Munna Dhiman’s wording may not be “out-of-world” but certainly delightfully penned with the ecstatic mood of the track. The number is surely be chartbusting success and likely to be next feverish punch on the floors with it ever growing promotion.
Jaspinder Narula did a fantabolous job with the title track “Pyar to Hona Hi Tha” (PYAR TO HONA HI THA) with her uncharacteristically westernized vocal flair and now it’s Shreya Ghoshal softening her vocal textures into another gem of “true-blue” soft rock title track “U Me Aur Hum”. Its supple romantic overtures are gesticulated with fine blend of intrinsically westernized connotations in the backdrop (similar to “Humko Chhone Paas Aaye” (ZINDAGI ROCKS)) while Dhiman’s precariously sentimental wordings are sheer delight. The second version has Vishal Bharadwaj in his sonorous baritones (similar to his previous “O Saathi Re” (OMKARA)) to create a serene wave of emotion, well suited for background score demands. Like recently heard “Main Chali” (BLACK & WHITE), Shreya Ghoshal’s version proves to be much superior choice to her contemporaries work and will surely be encouraging factor in album’s sales.
Kajol’s ever-inimitable “Mere Khwabon Mein” (DILWALE DULHANIYE LE JAYENGE) had countless clones in past and now “Saiyaan” arrives in the marquee with no big thump. This dreamy passion for “dream-boy” sounds lackluster for its insipidly punched “Saheli-Paheli” phraseology coupled with mediocre arrangements, making it strictly on-screen track for Kajol fan club. Sunidhi Chauhan’s sparkling variations and chirpy modulations fails to find the desired concoction of frivolously penned wordings and energized trendy musical thrust.
Bharadwaj goes Pritam’s way for his “Halka Halka” (CHOCOLATE) signature tunes in the prelude in “Phatte”, another mediocre sounding track about lively carnival feast in customary “bhangra” lingo punches. Adnan Sami along with Sunidhi Chauhan gets into intoxicating singing mood but the “masti” and buzz is strikingly missing and with wishy-washy wordings, it’s a completely average affair. Vishal Bharadwaj had colossal success in imbibing traits of “nautanki” mood into electronic beat structures in “Beedi” and “Beedi” (OMKARA) but the magic is completely missing with “bhangra” impulsive and racy punches.
After enthralling “Jee Lee”, Adnan Sami and Shreya Ghoshal gets into another “masti” filled singing act in thriving and infectiously pulsating situational love track “Dil Dhakda Hai”. The sluggish periodic rhythmic beating with chirpy percussions has stylish 80’s pop touches with dash of hip-hop works. The playful argumentative musical work has hilarious tones in its “good-humored” phrases but the entertainment is strictly situational and shoulders on to the comical timings of the lead players.
U ME AUR HUM is an average sounding entertaining album that promises some upbeat musical works in the form of numbers like “Jee Lee”, “U Me Aur Hum” and “Dil Dhakda Hai”. Vishal Bharadwaj’s work fails to notch up any new boundaries in marquee but surely is urbane listener’s delight.