SUPERSTAR, the first upbeat musical presentation of the year brings in the expertise of seasoned campaigner Shamir Tandon in its credits. Shamir Tandon’s impressive filmography has largely been dominated with Madhur Bhanderkar’s socially relevant flicks (PAGE 3, CORPORATE and TRAFFIC SIGNAL) but SUPERSTAR proves to be his first major commercial musical assignment. The album proves his worth both as flamboyant as well as trendy composer as he conquers new territories with different genre of musical works.
Adnan Sami’s gets into “Casanova” kind of groovy impulse where snazzy techno-generated hip-hop and reggae “beach party” blast along with svelte Sunidhi Chauhan helps in creating a rollicking fun feast in “Don’t I Love or Do I Love You”. Shamir Tandon’s musical sparkle reflects Pritam’s finesse to large extent and succeeds in garnishing it with trendy make-over of arrangements where Shabir Ahmed’s mumbo-jumbo wordings give it a thrusting boost. The ostentatiously showcased cinematic moves will definitely be adding more delight in its visual presentation and surely be making it a show-stopper in coming days.
Shamir Tandon prefers Arabic stylized discotheque fervor track “Man Tu Talbat” as the signature track for SUPERSTAR where upcoming singer Hamza Faroqui gets the maximum footage to showcase his worth in all its four versions. Hamza improvises his earlier work “Hibbaki” (THE TRAIN) and gets into centre-stage this time as soloist in this Middle East style of harmonic flow. It’s reminiscent to “Kaho Na Kaho” (MURDER) for its Hindi-English-Arabic wordings jumbling where Hamza’s voice gets into its soul of its sluggish Arabic-Persian textured orchestrations. “Man Tu Talbat (remix)” by Nikhil Chinapa is exhilarated with “club” disco beat bangs where echoing, beat-juggling along with DJ’s scratches and claps set the floors on fire. “Man Tu Talbat (Electro Mix)” has electronica cum trance musical backdrop where the punch-line gets pulverized in repetitious morphing beats patterns with pugnaciously punched percussions in giving it a flashy dancing appeal for dance floors. Finally, it’s “Man Tu Talbat (Spanish Mix)” by Abhijit Vaghani has scintillating carnival decorum where typical Spanish flamenco dance appeal is infused to give it a theatrical look for floors. All the four versions show variations and are highly enthralling in its presentations. Go for it!
“Aankhon Se Khwab Rooth Kar”, a tragic and distressing soundtrack about “lost paradise” brings the typical Shamir Tandon’s melancholic feel that was earlier experienced in tracks like “Na Jis Din” (TRAFFIC SIGNAL) and “Lamha Lamha” (CORPORATE). The mood changes completely from dancing floor to “ghazal-gayaki” singing where folksy nasal twang of Rekha Bharadwaj and Ustad Sultan Khan’s usurping vocals set the mood for the track. Despite its high-contents in both vocals and classical arrangements, it fails to be poignantly penetrative but can well be consumed as piercingly emotional background score. Even “Aankhon Se Khwab Rooth Kar (Ambient Mix)” fails to add any charm except for slight addition of trendy arrangements that accelerates its tempo for pop genre’s listeners.
Now that what we say innovation! New talent Raaj proves to be first significant prodigy of the year for his sluggish cum mellifluous vocals that brings yore of bygone era in the best soundtrack of the album “Ajnabi”. The lethargic rock cum jazz arrangements that was peculiar in 50’s and 60’s is in full swing where Raaj’s meticulously poised vocals (similar to resounding Hemant Kumar’s vocals) get into the groovy textures of rhythmical flows. It can be concluded as facsimile to “Kaisi Paheli Hai” (PARINEETA) in male version for its quality musical contents that transports listeners into golden era with some mystical wordings by Shabbir Ahmed. Impressive!
“Rafa Dafa”, a situational “tapori” track comes out with similar musical fling of bygone era where sluggish rock cum jazz arrangements rules the show. Shaan, Kunal Ganjawala, Sanjeevini, S Shailja and Amrita Kak in their muddled vocals forms the bandwagon of weirdo youngsters who talks gibberish while the lyrics proves to be poor lift from “Masti Ki Paathshala” (RANG DE BASANTI) phraseology.
Earlier it was “Dance with me” (AAJA NACHLE) and now it’s “Dance Piece” that talks about dancing moves and the synchronized electronic beat patterns in it frivolous and loud moves. Do expect some crazy aerobic dancing moves on big screen but nothing consequential in its routine “hip-shaking” feel.
Shamir Tandon shows his brightest sparkle and glitter of being contemporary commercial composer in SUPERSTAR where new talent and good innovation reaps promising results. Soundtracks like “Man Tu Talbat” (all versions), “Ajanabi” and “Don’t I Love or Do I Love You” promises chartbusting success and the album itself proves to be first teenybopper’s delight of the year.