"Mera Mann Kyun Tumhe Chaahee..." (MANN -1999) brought the promising musical duo of Sanjeev Darshan in filmdom. The magic was out there but consistency was missing in their following melodic works. After a hiatus of almost half a decade, the duo fights back their way out in the low profile entertainer, KAASHH MERE HOTE, with the musical feel that best reflects out the glowing charms and prowess of their mentor's (Nadeem Shravan) style of music. Will KAASHH MERE HOTE be turning the tables and creating forum for this struggling musical duo? Will the resurrection of 90's magical musical charm be working bliss for them? Let's take a deep introspection into it!
Marriage season is on and so the festivity lauds out enthusiastically in the opening track "Teri Naganee", an ethnically Punjabi song with loud "bhangra" beat bangs and deliriously rocking arrangements. Labh Janjua, the vociferous force behind many folksy Punjabi rollicking numbers sparkles up the evening with the roaring thrust. It even marks the arrival of Sanjeev-Darshan with DJ voicing out their names in most animated way. Upcoming Tripti Singh along with Shweta Pandit jesters up as the racy back-up singers in adding ethnic Punjabi touches. Labh Janjua proves to be intelligible lyricist by mixing out traditional verses (about arrival of newly wedded bride) coagulated well with youthful wordings that take song to highest energy level. This comes out as biggest surprise of this low profile entertainer and if shot lavishly then it can be one showstopper in its league.
The "masti" gets energized with hi-voltage DJ mixing as the feverish "club" remixing grooves rules the floor with thumping impacts. Do expect this "remix" number to be running loud in marriage functions and will be adding itself up as promising prospect for the album.
Sanjeev-Darshan pick up new vocalist Shashank Singh Baba to be youthful "chosen" voice for their comeback album and expectedly the singer gets a major chunk of the lot with solo track "Mehbooba". It disappoints completely with monotonously sluggish shoddy arrangements that brings memories of early 90's romantic numbers. Even Shashank vocals prove to be blatantly unimpressive in their rendition with Sameer's routine lyrical works hardly any substance to it.
Shashank Singh Baba makes another romantic solo maneuver in "Teri Yaad" that comes with a slightly better sounding composition. Sanjeev-Darshan makes topsy-turvy moves with varying shades of percussions and electronic beat sounds that grow infectiously in its narrative flows. Once again, Sameer's lyrics prove to be too outmoded and the overall impact of appealing young listeners sounds lackluster. Shashank delivers out better performance but neither the composition nor wordings helps in making the song, a likeable commodity.
It's time for some soothing melody and the mood gets somber with impressive sounding title track "Kaashh Mere Hote". Shweta Pandit's penetrative voice in lower subtle tones leaves out an impression that gets accentuated with pleasing classical westernized orchestrations. Sanjeev-Darshan's music solemnizes the supple romantic feel of "Hamara Dil Aapke Paas Hai" (HAMARA DIL AAPKE PAAS HAI) with soothing flute notes in its preludes. Sameer's remarkable but contemporary lyrical works makes the finest impressions in overwhelming the sentimental feel for the flick. After Shweta's delectably fervent exhibit, its second version brings out another new singing talent Shaurin Bhatt on the musical scenario. Shaurin Bhatt (sounding shades similar to Udit Narayan) slow tempo voice emotes out the heart-warming hues with similar flair with a captivating charm that enamors the senses of listeners. Despite some quality singing and impressive lyrics, the song arrives too late and fails to leave an overall impression of resounding sentimental title track. Shaurin voice in contemporary overtones impresses but still demands some quality soundtracks that really proves his mettle in the marquee.
Sanjeev-Darshan make efforts in brining out 90's Bollywood charms by picking up contemporary Nadeem-Shravan's peculiar style of composing in "Rim Jhim Sawan". It brings back Shashank Singh Baba with sweet sounding Shweta Pandit in softer romantic tones. Sameer's worthwhile wordings would have been bliss in early 90's but now phraseology sounds outdated with music that is more akin to lure 90's listeners.
Shweta Pandit proves to be ultimate winner amongst the lead singers as her silken vocal textures gesticulates out the innocent emotions of "first love" in captivating "Dil Ye Mera Dil". The soundtrack has trendy flair in its rhythmical westernized orchestral flows and soothing English chorals but overall composition fails to grip. Sanjeev-Darshan make substantial grounding in wooing present-day listeners with its soft-silken melodic charms but still fails much short in expectations. It will certainly be raising Shweta's prospects and this song will surely be an asset (if not a success) in her credits.
Suzanne intoxicating vocal flare hits high and low in the concluding soundtrack "Masti Bhara" that sounds like an old-fashioned 70's cabaret number. The tempestuous feel is obsolete and the seductive feel sounds lousy and superfluous.
Sanjeev-Darshan comeback vehicle KAASHH MERE HOTE runs out of fuel, even before it could roar up for the final countdown. The album's lonesome promising aspect lies in pompously festive "Teri Naganee" while the rest of the tracks sound average to poor. The honest attempts in refurbishing 90's style of music have gone haywire and the results are discouraging.