Director Priyadarshan, one of the leading comical entertainers in the business today, makes his first big hilarious punch of the year with MERE BAAP PEHLE AAP. Like most of his earlier thriving successes, the flick is presumed to be making news for lead actor's comical timings, hilarious scripting and his pristine subtle comedy laden direction. The album brings two upcoming composers, Tauseef Akhtar (MR. BLACK MR. WHITE) and Vidyasagar (HULCHUL), along with the contemporary Sameer as the lyricist. As can be seen, unlike Priyadarshan's consecutive musical successes (BHOOL BHULAIYAA and BHAGAM BHAG), in the recent past, this album does not have the unofficial numero-uno composer, Pritam, at the helm of affairs. So let us checkout how Tauseef and Vidyasagar have managed the audio affair this time around.
Sangeet Haldipur, an upcoming vocalist who made minimal impacts in tracks in the films like CORPORATE and TRAFFIC SIGNAL is shouldered with most happening track of the album with "Mere Baap Pehle Aap". The song delivers zany hilarious pangs about aged father getting remarried with contemporary arrangements with dash of hip-hop back-up vocals. Vidyasagar's music caters dollops of comical hullabaloo in its slow paced composition with Sameer's easy going lyrics adds amusing elements into it.
Tauseef Akhtar makes inspiring moves by materializing the potentials of Bombay Vikings's Neeraj Sridhar and Alisha Chinai along with mix and match of hip-hop and Arabian music in average sounding "Ishq Subbhan Allah". It has strong influence of Pritam's musical flair as its signature tunes have shades of "Bhagam Bhag" (BHAGAM BHAG). This presumed to be raunchy dancing track can be enjoyed better for its welcoming vocals but nothing much can be expected from its routine sounding composition. Its club "remix" comes as welcome treat for urbane listeners for its racy buzz and adds one pulsating number to the album's credentials.
Vidyasagar makes attempts to infuse elements of modernity of upbeat hip-hop frothy buzz in old-fashioned bar raunchy number in stale and outdated "Shamma Shamma". Sunidhi Chauhan's flashy vocals oozes out coarsely Sameer's outmoded phrases and wordings that are too irritating in its whipping repetitively displays. Avoidable!!!
"Maine Hawa Ke Paron Pe", a contemporary sounding Bollywood love song tries to revitalize the contemporary melodic flows of Vidyasagar's earlier melodies like "Rafta Rafta" (HULCHUL) in to new packaging with average results. Udit Narayan and Shreya Ghoshal penetrative voices gets into soul of the situation but the tenacity of gripping is notably missing. The old-fashioned composition and "run of the mill" wording proves too insufficient to add any harmonic substance into it. Shaan makes honest efforts to recreate the magic in the second version but the mediocrity in music display is too bland and ineffective.
Experienced Alka Yagnik's sweet voice makes most promising vibes with contemporary music and wordings in traditional marriage song "Jaana Hai Tujhko". It's a decent hear situational track that also brings Shaan and strong blend of South Indian's celebratory music in its later interludes. Vidyasagar's music sounds too customary and fails to induce anything innovatory or enthralling to make it strikingly special festive track for listeners.
To sum it up, MERE BAAP PEHLE AAP shows the dearth of musical displays in Priyadarshan's style of work and will not rule the chart from the word "go". Tauseef Akhtar and Vidyasagar's music has proved inadequate to deliver the needful, at least initially. However, keeping in mind Priyadarshan's track record, the album may just click, once and if MERE BAAP PEHLE AAP, hits the bulls-eye, which seems quite likely.