By Ronak Kotecha, Bollywood Trade News Network
Music director Pritam and the boisterous action thrillers just do not seem to get enough of each other. Dhoom and Chocolate now followed by Ek Khiladi Ek Haseena that has Fardeen Khan slugging it out with the daddy dearest, Feroz Khan. This is yet another, rugged looking, roughed up, tryst with adventure kinds movie, from the Pritish Nandy Communications (PNC) with music created exclusively for the movie.
Attitudes at high altitudes, fierce expressions, and a snobbish disposition, are the constant expressions on the faces of Fardeen Khan and Koena Mitra, while on screen adaptation of Saraah Jahaan Kahe Ishq hai Jhootha. Off screen, Sunidhi glibly steals the show while Kunal Ganjawala goes a bit overboard with fake accents and discreet undertones, but the pulsating beats, contemporary usage of expressions (by Mayur Puri), and a fundamentally great Indian tune, make up for every limitation and confidently demand attention and a compulsive remixed version that can leave night animals and mobile freaks, gasping for more.
Thankfully, the makers seem to be well aware of the potentials of each track or how else would you explain Ankhiyaan Na Maar, the next best thing to happen to this album, dished out subsequently on promos. Indo-western combinations are exploited to the hilt, as east meets west and foots get tapping and bodies grooving. Sunidhi conquers this one too with Dev Kohlis conventional Punjabi idioms adding zeal. For more groovy stuff, tune into Bunty Rajputs remixed version.
So far so good! Well, good may not exactly get better, but not worse either. In fact, treading on a range of music, the album moves onto some soul-searching stuff with who else? Sonu Nigam. Sad song, as they call it, not exactly sad as in bad, but quite a thing with Sonu stretching his vocal chords from deep within, striking a chord with the urbane youth feeling the sweet pain and agony that comes as a package deal with love. Tyro, Amitabh Verma proves to be one hell of a lyricist, while Pritam reassures versatility. Guess what? A remix for this one too, by Bunty Rajput, just about all right, not required though. This is Jal Jal Ke Dhuan.
Back to where we started, Yaaron commences with some rapping in English followed by the usual Hindi jazz by Sonu Nigam and Shaan. The uninterrupted flow of electronic beats and heavy doses on great friendship and love jazz (courtesy Shaan and Mayur Puri), continue until the sudden mute that almost feels like a power failure for a split second and then continues. Hope, Pritam is not overdoing this sudden muting; it is prominent even in the first track.
There is nothing Indian about this. Singer Suzzane D'Mello goes completely western with undertones of sexuality and raw seduction in Jhoom that is a suitable background play for the credits. Quality lyrics by Shabbir Ahmed with a decent tune may just pass off without much harm, but no value addition either. Pritam however, should, feel extremely proud for discovering talents like Suzzanne and Shabbir.
Sukhwinder Singh extrudes high volumes of passion and emotion in Nasha Nasha, but sadly, may not find many takers, due to the overbearing clamor and total lack of melody. One Subrat Sinha, needs to be blamed for the lyrical impairment of the track.
The album starts very confidently with the first two tracks, but starts middling from the third one onward. Post the ear friendly Jal Jal Ke Dhuan, there is nothing much one can expect from the album. If anything, the album only gets too hard bearing and repetitive, such that the tracks lose their individuality and you lose the patience to venture any further. Ek Khiladi Ek Haseena, has not much scope, unless, of course, the teenybopper mobile freak has his way.