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   Music Review : Mr. Black Mr. White

 
 Mr. Black Mr. White
Director :
Music :

Lyrics :
Starring :
 Deepak Shivdasani
 Shamir Tandon & Jatin Lalit
 Sameer
 Sunil Shetty, Arshad Warsi, Sandhya Mridul, Upasna Singh, Vrajesh Hirjee, Tania Zaetta & Sharat Saxena

By Satyajit, Bollywood Trade News Network Send to Friend


view MR. BLACK MR. WHITE movie stills

view MR. BLACK MR. WHITE movie stills

Sunil Shetty’s infatuation with his career’s first comical hit GOPI KISHAN makes turbulent moves as it proves to be inspirational for the making of MR. BLACK Mr. WHITE (earlier titled as GOPI KISHAN). The album brings on new composer and arranger Tausif Akhtar in the marquee along with old war-horses Jatin-Lalit and contemporary Shamir Tandon in the credits. Unfortunately the album falls flat on its face from the word “go” as new composer proves too incompetent while old war-horses disappoints completely with their worn-out musical acts.

New composer Tausif Akhtar takes a sedate route by chilling out with contemporary musical exhibit of routine “bhangra” bombastic blast in traditional marriage “naach-gaana” number “Behna Ki Shaadi”. Sonu Nigam’s modulating vocals are well emoted with fine arrangements with thrust of contemporary musical instruments in setting up the tempo. New talent Shailendra’s voice simply adds contemporary impact as background vocals but overall the track lacks the desired zing of a festive treat.

The contemporary Bollywood’s romantic “birdie” hullabaloo in folksy overtones that was rage in early 90’s tries to strike chord in crude sounding “Teetar”. Sukhwinder Singh along with Vasundhra Das sings out this monotonously penned and conceived number that irritates to hilt with its tedious sounding rendition. This Tausif Akhtar’s amateurish composition gets enthralled with tangy and bouncy disco beat fillers but fails to rise above its overall lackluster and dreary display. Even the “remix” version is crassly conceived that hardly adds any trendy substance to the album.

One could have expected explosion of a communion in Daler Mehndi and Mika combined singing act but things gets loosely packed and it all becomes an apology of an occasion in “Tu Makki Di Roti”. The presumed to be quizzical one-liners goes berserk in boorish sounding wording while the ever reliable Asha Bhonsle is completely wasted in the track. Mika tries to be rap singer by emceeing with thrust but the outlandish vocal display and chaotic composition shows the amateurish aspect of guest composer Shamir Tandon. The frenzied tempo gets accelerated in its “club” remix but all it ends up as contemporary traditional number that might works in teasers and promos of the film.



Veterans Jatin-Lalit still holds their pertinent spark though the desired glow is missing in the stereotypically Bollywood’s traditional sounding friendship soundtrack “Ek Dil Ki”. Udit Narayan and Shaan shows their supreme vocal congeniality in delivering out “Gopi-Kishan” ever-lasting comradeship in typical 80’s and 90’s musical way. Alka Yagnik has her own share of delights in beautiful rendition with shimmering feminine chorals in backdrop but overall the soundtrack sounds too old-fashioned and repetitive in present context.

“Samandar”, a seductive pub loving soundtrack by Jatin-Lalit brings on Indi-Pop sensation Neeraj Sridhar with sensuously sounding Suzanne D’Mello in rigorous flows of meager sounding disco thumps. It’s an average sounding disco beat filler track with all ingredients of hitting big on dance floors but the ire and zing of shaking leg on floors is strikingly missing. Jatin-Lalit music proves too incompetent and clichéd to match the likes of Pritam or Vishal-Shekhar’s flair of Gen X music. The second version in the voices of Swata Mohanty and Suzanne D’Mello is even more discouraging but the added zing of disco beat fillers with DJ scratches and claps makes thing better in upbeat sounding remix version.

Kunal Ganjawala’s gruffly paced voice gets into intoxicating modes in trendy makeover of stylized hip-hop cum “bhangra” beat tempo in impressive sounding “Namasteji”. Tausif Akhtar’s musical binge gets into textures of today’s “hot “n” happening” stylish modes and succeeds to some extent to titillate senses. Kunal’s versatility is as its best and the new composer makes his promising (if not earth-shattering) moves with this roguish situational track.

Like its low prospects and almost zilch expectations, the album never holds or delivers any promises and simply adds to the list of non-happening low profile entertainers. Even the much publicized Daler Mehndi and Mika communion proves to be “no show” while rest of them disappoints completely.

Rating – 1/5

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