By Faridoon Shahryar, Bollywood Trade News Network
Lamha lamha toot gaye
Ek apne se rooth gaye
Manzil pe aane se pehle
Hum rahon se choot gaye
Jin haathon ki hum kismet the
Un hathon se choot gaye
The music of Aryan comprises of this gem (Lamha Lamha) and an assortment of semi precious numbers. Music Director Anand Raj Anand does a Himesh Reshammiya by rendering the goose-pimple-evoking Lamha Lamha in a highly restrained and evocative manner. The best part about this song is the simplicity with which the lyrics, the multi dimensional rhythm pattern, apt female chorus at strategic junctures and an exceptional vocal rendition mesh together as if fish flowing in tranquil waters. The music arrangements have been designed in such a way that the classical alaap and western scatting fuses brilliantly with a combination of strings and drums.
After appreciating this song, one must point out that this ought to have been the only song that Anand Raaj Anand should have sung on this album to maintain exclusivity. The two versions of rock enthused Teri te main fall flat and fail to impress in spite of a few things going right for it. It seems to be a No-Pain-No-Gain track where the protagonist is being egged on to just-do-it in the boxing ring of life. But it neither has the lyrical power of Lagaan's Chale Chalo nor does it have the electrifying zing of Top Gun's Danger Zone. A KK or a Remo might have taken this song to a different level. Alas, Anand totally sounds out of place. Rock singing is not all about screaming. It's about controlled aggression, lots of attitude and Correct Pitching. Moreover, Pamela Jain's portion in the middle is needless and breaks the momentum completely.
Ek Look Ek Look is the song that is bound to set the dance floors on fire and it is smartly packaged in three versions. The original version, a remix version and a dhol mix (There's little or no difference between the remix and dhol mix). The female vocalist Poonam Khubani impresses with her range. She has the raucous sensuousness of Sunidhi Chauhan and the golden-rusticity of Jaspinder Narula. Anand Raaj Anand wisely sings a small portion that does justice to his Punajbi flair rather than going full throttle right till the end. The original version caters to the mitti-ki-khushbu type of crowd while the other two versions are aimed at the discotheque gentry. In the remix and dhol mix, melodious rhythm loop is repeated continually although the lead guitar lacks the magnetism. Shaggy-like-rap interestingly intersperses now and then but it has a heard-before kind of feel. Rap can be fun when used judiciously. Two instant great examples that come to mind are title track of Bunty aur Babli and Paathshaala from Rang De Basanti.
It's quite apparent that Aryan as a film has been made with mutltiplex crowd and expatriate Indians living abroad. Unbreakable Theme, composed by Ranjit Barot justifies it completely. A song in English is a rarity. While My Heart Is Beating from Julie had a mass-appeal, Unbreakable Theme fails to do that. The reason is simple. A cocktail of Sting, Celine Dion, Eminem and Westlife necessarily need not make a good potion. And that's what this song is. It might attract with visuals but as a song it sounds like a bhelpuri of too much salt-and-pepper. Bianca sounds good but she is no Mariah Carrey, nor is Barot a Sting.
The reason why it's a Beautiful Day, on the other hand, leaves an impact is because of Shreya Ghoshal's belief in herself. Her honey-gravel voice gels beautifully with newcomer Hamza's competent rendition to lend credibility to the joyousness of romance. It's not outstanding; yet you wouldn't mind listening to it again and again as the music composer doesn't try to do anything extra. The right mixes of Hindi and English lyrics interwoven with laidback rhythmic charm caresses your love chord.
Now, as we round-it-up, it's time for the two songs that lack innovation or novelty. The first to go down-the-drain is Jaaneman, sung by Shreya Ghoshal and Sonu Nigam. It is strictly average as there's nothing new in terms of music arrangements, lyrics or composition style. The other lame horse Rab ne mere starts with a trademark Kunal Ganjawala alaap. It's high time Ganjawala, like Shaan, takes his singing style to another level before he becomes predictable. Shreya Ghoshaal makes her entry like the breath of fresh air, but neither the lyrics, nor the soft romantic pace does anything to make your heart skip a beat. The end result fails to stir.
In all, Aryan is recommended, as I said earlier for one fabulous song that you'd feel like listening again and again. There's a strong possibility that the music as a whole will catch the attention after repeated listening. It's a decent effort by Anand Raj Anand, but there's a lot more he could still achieve if he stretches himself.