Too many cooks spoil the broth! WELCOME, a highly awaited laugh riot suffers from the misadventures of bigwigs by getting plagued by some mediocre works from hi-profile bankable composers. All big hopes of hitting charts with great bang and buzz will be dashed to death before it could rise to excel. Himesh Reshammiya, Anand Raj Anand and Sajid Wajid hold the baton alternatively but none of them delivers the needful for this multi- starrer magnanimous comical entertainer.
Sajid-Wajid, the funky musical “Partner” of tinsel town gels along amiably in a frolicking way by inundating the spooky and hilarious feel of WELCOME through comical squeaky back ups and deliriously peppy vocals in the title track “Welcome”. This rock cum jazz “hungama” is reminiscent to the title track of APNA SAPNA MONEY MONEY with the vocal expertise of Shaan, Soumya Rao, Wajid. Unlike “No Entry”, this title track is conceptualized moreover for initial or ending titles and can be utilized better in promotional campaigns.
It may sound weird to experience Anand Raj Anand refurbishing tunes of “Thaare Vaaste” (SHAKA LAKA BOOM BOOM) into new trendy packaging where talented Shankar Mahadevan along with Anand Raj Anand and Shreya Ghoshal delivers a mediocre soundtrack in “Hoth Rasiley”. It is rechristened to be another “Kajra Re” (BUNTY AUR BABLI) for its “mujra-qawalli” racy
tempo but the overtly pitched Rajasthani folksy tunes kill all the thrills. The big occasion of communion between two multifaceted composers Shanker Mahadevan and Anand Raj Anand has gone haywire and all its merits rests on its flashy cinematic flamboyance.
Anand Raj Anand along with svelte Shweta Pandit goes full throttle in typical David Dhawan style of musical entertainment but the wayward vocal flows along with extra pugnaciously punched arrangements makes apology of affairs in average sounding “Tera Sarafa”. The composer showed great zeal and improvisation with vocals in “Bhula Diya” (DUS KAHANIYAN) but this lackluster “masti” filled entertainment turns out to be big damp squib.
Himesh Reshammiya, the first choice composer for the album adds more disappointment to the show by incorporating his ear-deafening orchestration with fine set of extra loud vocals in mischievously conceptualized “Insha Allah”. Like “Ishq Mein” and “No Entry” (NO ENTRY), this impishly flashy duet track comes in typical Reshammiya harmonic modes with contemptuous flows of Sameer’s monotonous Urdu flair. Shaan and Akriti Kakkar are wasted completely while Krishna plagiarizes Reshammiya’s loud nasal twang repeatedly by echoing “Insha Allah” at regular intervals. Skip it!
Reshammiya returns with his similar bling in repetitively mundane “Kola Laka Vellari”(eerie… sounding wordings), a mediocre track that brings memories of his ear-splitting voiced tracks from his underrated albums like RED, AAP KI KHATIR etc. Regrettably speaking, the traditional Reshammiya’s Sufi pop and his peculiar nasal twang are no more voguish and there is hardly any meat in this monotonously played track.
Finally there is something chartbusting in store for listeners in “Uncha Lamba Kad”, where unfamiliar vocals of Anand Raj Anand along with Punjabi pop lingo sparkles all the way with the thrust of scorching hip-hop and rock musical zing. This extra ostentatiously flashy hip swaying track is well feasted with new talent Kalpna sultry voice. ARA maintains his top form of “Billo Rani” (DHAN DHANA...DHAN GOAL) with upbeat musical finesse and promises some frothy amusement in this disappointing film album.
WELCOME disappoints completely in its lackluster and uninspiring packaging and the saving grace lies in the title track and hip-shaking flashy track “Uncha Lamba Kad”. The album was of great significance for its worthy ensemble of star cast but has turned out to be big waterloo for its producers. After loosely conceived RGV KI AAG and NEHLE PE DEHLA, this musical offering with saleable names to its credits proves to be another big loser in the marquee.