By Satyajit, Bollywood Trade News Network

Choreographer Ahmed Khan’s tryst with lustrous action packed thrillers continues with slick and stylish FOOL N FINAL after the catastrophic disaster of LAKEER. Earlier it was maestro A R Rehman’s stylized packed musical work in LAKEER that proved credible in its offerings and now the baton transfers to the hot “n” happening Sufi funk, rock and pop of Himesh Reshammiya. FOOL N FINAL props up as dancing album than party album but like umpteen Reshammiya’s album, it comes up with repetitive rhythms, inspirational work and overheard beat patterns conceived and spiced in his contemporary Sufi funk and rock style music. The album introduces the musical prowess of Hanif Shaikh as a vocalist in a solo track as well as DJ in four remixes soundtrack with munificent results. Reshammiya’s pulsating tuneful work has been thematically inclined to be in the mold of “dance album” with its consistently foot-thumping impetuous impact delivered vivaciously in its synchronizing and recurring beat patterns. The album still falls short of a deserving chartbusting track and ends up as another mega-budget average grosser.

Acrobatically harmonize and pulsating to the core, the synchronized titillating dancing tunes come out straight to lure the spirits of party animals on floors in “Tere Layee”. This energetic track is more like an aerobic dancing number with recurring pulsating effect arranged cyclically with rigorous hammering impact. Kunal Ganjawala’s along with huskier voiced Himani Kapoor croons out this song in loud tempo with techno-generated high voltage musical arrangements. “Tere Layee” is more of dancing number and its lavish and fulsome choreography will be its high point. Reshammiya suffuses it with excessive recurring paced titillating tunes that may sound jarring to average listener but works positively for a deserving stylized choreographed number. Hanif Shaikh disco jockey skills manors up for the first time as this pulsating soundtrack gets embellished with funky paced DJ claps and cyclic beat juggling impact in contemporary “club” mix style in “Tere Layee (remix)”.

After lifting spirits as an inspiring DJ, Hanif Shaikh marches as a vocalist and flares up senses in peculiar Indi-Pop style of singing in trendy paced “Yeh Dooriyan”. Like Ankur Tiwari (EK CHALIS KI LAST LOCAL), he makes modest and candid attempt to make his mark as vocalist in upbeat style of singing and delivers a teenybopper’s delight that materializes well with the feel of inspiring guitar strumming and vigorously punched percussions. Sameer’s uncharacteristically penned lyrics sounds more like a befitting tribute to pop sensation Shakira in insipid one-liner “Shakira Ve…”, followed by conventional lyrical work. “Yeh Dooriyan (remix)” mixes the moderately paced vocals of Hanif Shaikh with his style of DJ mixing and creates a foot thumping bang with flustering echoing impact. It’s an entertaining “club” mix work that reminds some of fine works of Akbar Sami and DJ Suketu.

After exhibiting musical thrust as “Shakira” aficionado in “Yeh Dooriyan”, Reshammiya’s takes bountiful of inspiration from sensational party album track “Glassy” (sung by Sona Family in pop album ASIAN FLAVA Vol.2) in the hip shaking dancing soundtrack “Ek Kalsa”. Its breed apart in its musical arrangements with strong impulse of Reshammiya’s nasal twang and his traditional Sufi funk but its lyrical arrangements and packing sounds similar to “Glassy”. It’s “Ek Kalsa, Do Kalsa, Teen Kalsa…” getting its make over from “Ek Glassy, Do Glassy, Teen Glassy…” as the word “Glassy” gets replaced by “Kalsa” (pot or vessel) in similar harmonious impact. The unfamiliar word “Kalsa” might confuse listeners and its repetitive synchronized musical rendition sounds more acrobatic and supple than booty shaking. Leave its prospects to Ahmed Khan’s slick and cadenced choreographic skills than its musical stylishness to be best judge of it. Hanif Shaikh’s DJ skills maintain the fervor and fuels up with an accelerated “beats per second” rhythm patterns to make it more foot thumping.

Himesh Reshammiya’s uneventfully recurring and tediously repetitive span continues as he manipulates his “bhangra” number “Nachle its Folkish” (Pop album – Aap Ka Surror) into different but routine musical arrangements in “Sigdi”. Sameer’s assiduously folk lyrics punch another unfamiliar word “Sigdi” after “Kalsa” with no big novelty in its verses or phrases. Jayesh Gandhi’s emotionally goaded classical “alaap” and Earl’s infectious rap rendition has average impact as the number ends up as an above average offering. “Sigdi (remix)” is entertaining fare all the way as the improvised Punjabi folk beat collages well with fine blend of vivaciously paced disco beats fillers and Sufi rock base music.

“FNF (Masti-Remix)” is grand finale and comes out as medley work with infectiously punched beats of “Sigdi” and “Ek Kalsa”. It’s more of an anthem than regular soundtrack that can be worked out as enthralling background score in the film.

Himesh Reshammiya’s propels out with a dancing musical album in FOOL N FINAL than a regular party album with recurring paced beat patterns in a rollicking musical mode. The album neither disappoints nor surprises but experiments with different rip-roaring beat structure and cyclic rhythm patterns that supports vivaciously delivered choreographic work. Reshammiya fails to delivers novelty work again and once again sounds repetitive with overheard tunes in his conventional Sufi rock mode. It has moments of thrill and ecstasy in “Ek Kalsa” and “Sigdi” but none of them can be touted as chartbuster stuff. Simply average!!!

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