After the successful inspiration lift of Najam Sheraz’s “Mainu Tere Naal” into heart-throbbing “Bheege Honth Tere” (MURDER), there seems to be cloudburst of singing talents from the land of Pakistan. Barring the exception of Shafaqat Ali Khan (“Mitwa” in KABHI ALVIDA NA KEHNA) and “Strings” (“Yeh Hai Meri Kahaani” in ZINDA), there has been uninterrupted downpour of Pak rock brigade from esteemed Bhatt camp in the form of Ali Azmat (PAAP), Atif Aslam (ZEHER), Rahat Fateh Ali Khan (KALYUG), Glenn John (WOH LAMHE) and Jawed Sheikh (WOH LAMHE) into Mumbai filmdom. AWARAPAN, the thrilling love saga from Bhatt camp proves to be biggest launch of Pak rock brigade as their hot “n” happening talents Mustafa Zahid (lead vocalist of “Roxen –the band”), Annie and Rafaqat Ali Khan makes vows of great musical resilience with their chartbusting tracks. Pritam, the upbeat styled composer re-arranges their smash-hit compositions (“Toh Phir Aao” and “Mahiya”) and refurbishes them to perfection. Besides these rehashed blistering soundtracks, there is generous dosage of divinity in the form of traditional Sufi work (“Maula Mere Maula”).
After smooth and sauntering Atif Aslam and his rock band “Jal”, its sonorously paced Mustafa Zahid with his trendy rock contingent “Roxen-the band” making vows of irrepressible love in their worldwide hit soundtrack “Toh Phir Aao” (album –“Rozen-e-Deewar”). Pritam’s rearranged “lounge” version makes first dent as the tranquilly pitched arrangements sets an aura of serenity that transcends gently with Mustafa’s delectable voice. The haunting “lounge” impact is meticulously pulverized into contemporary soft rock ballad with impressive concoction of electric, rhythm and bass guitars in the backdrop. “Toh Phir Aao” makes theatrical appeal in its purest form as it minuses the recurring “lounge” impact but impresses to hilt in almost “unplugged” original version. It has booming back up vocals (Haider Halim) along with slow pitched drumming matched flawlessly with enthused guitar strumming (Jawed and Omar Halim) in delivering an amiable picturesque of excruciatingly expressive soundtrack. It boomed to substantial heights in their native land and much can be anticipated from Pritam’s impressive rearranged works. “Toh Phir Aao (remix)”, the reverberatingly pitched disco number electrifies senses as party animal’s special track and well is counted high for it’s visually spectacle decorum for a glossy promotional video track. Like “Woh Lamhe (remix)” (ZEHER), this DJ Suketu’s special is emblematically resounding where ear-splitting DJ beats and claps makes effective thumping that materializes well with thriving vocals.
“Tera Mera Rishta” comes out as original composition from rock band “Roxen-the band”, a sentimental rock ballad with a strong musical backdrop of Southeast Asian music. This song about eternal bonding has peculiar auto-phonic musical base with ethnically matched sensual feminine “alaaps”, exhibiting a situational mushy feel. The serpentine flowing flute notes along with quivering synthesizer notes sets an impressive prelude to the song. Mustafa’s echoing vocals are skillfully submersed into this uncharacteristic style of arrangements where contemporary rock ethics strikes amiable equilibrium. DJ Suketu creates a pandemonium of frenzied events with contemporary “club” mix style rendition in racy and hip-shaking “Tera Mera Rishta (remix)”. Like “Toh Phir Aao (remix)”, it falls into cadre of promotional videos where flashy costumes, lavish set-ups and eye candy stars will be spotlighting the euphoric decorum of the film.
Pakistani “Spice girl” Annie scintillates as the first pop femme fatale from cross-border with her heart throbbing hit “Mahiya” (Album – “Princess”), an enchanting disco track refurbished through the silken “n” sensuous vocals of Suzanne D’Mello. Pritam’s rearranged version is comparatively shriller and jarring from Annie’s original version but reminisces the golden era of Nazia Hassan. The number sizzles out as bi-lingual offering as it cocktails the blend of roaring English lyrics (Asif Ali Beg) with frantic Hindi lyrics (Sayed Quadri) through its enthused rendition. “Mahiya (remix)” comes out as effervescently trendy disco number in Annie’s vocal rendition with heaps of hip-shaking disco beats fillers and booming synthesizer notes. DJ Suketu’s rip-roaring DJ claps; scratches and thumps collide effectively with racy paced musical backdrop in creating a havoc of emotions. This blazing musical offering is presumed to be ground-breaking in its cadre as the number proved to be globe-trotting hit and promises to be eye candy with its lustrous visual binge. If Bhatt’s gambit of pitching female vocal talents succeeds as it did in male talents then the listeners can hear talents like Fariha Parvez, Abida Parveen, Farah Hassan and Shabnam Majeed in future.
Divinity strikes the final blow as the pious feel of “spiritualism” is ushered through the traditional Sufi works of twelfth century poet Baba Farid in sensitively delivered “Maula Mere Maula”. Rafaqat Ali Khan, the last among Pakistani talents renders this spiritual number in a classical vocal mode with finesse of unadulterated classical instrumental work. It has classy appeal and acceptance as it flourishes in ethnic Sufi work where beats and rhythms from conventional instruments like “harmonium”, “sarangi”, “tabla”, “sitar” strikes a fine “jugalbandi” with electric guitar strumming. Rafaqat’s vocal finesse can be sorted in the genre of Rahat Fateh Ali Khan for its flawless classical textures.
AWARAPAN proves to be launching pad for unexplored Pakistani pop talents as it delivers an assorted collection of their hot “n” happening upbeat tracks in a rearranged musical mode. Mustafa Zahid’s stylish “Toh Phir Aao” (all versions) and Annie’s voguish “Mahiya” are expected to be chartbusters in coming weeks while “Tera Mera Rishta” and “Maula Mere Maula” impresses for their strong melodramatic appeal. It would have been better if Mustafa’s most saleable tracks like “Yaadein”, “Aaj” or “Sapney” would have been given a boost in the album. Pritam adds one more feather in his cap and this time as a competent re-arranger than a composer.