By Ronak Kotecha, Bollywood Trade News Network

There is one thing common amongst almost everyone associated with this film. None of them have delivered a hit in years. Suddenly, out of the blue, comes this mega banner, soaring budget film that looks straight out of the cans, after several years in the making. The Moranis and Soorma, who have given musical and box-office duds in the last few years, are all set to repeat the same blunders again. Anand Raaj Anand revisits the Bollywood scene after a brief hiatus and the veteran lyricist Dev Kohli stanchly coerces in penning some of the most common terms that are not so "in."

The title track commences with Anand Raaj Anand's emotive initiation in a very folksy Punjabi overture. Kumar Sanu and Alka Yagnik, then take over with mainstream Hindi lyrics and croon a regular, unadventurous track that has a time-tested melody that could have worked wonders in late eighties or early nineties. The sad version of this track is minus Sanu, but just as good.

"Chori Se Dil Ko," is a Sanu solo sans his regular yoodleying and thankfully so, since this is a soft ballad that could be played on a quite evening with some one special waltzing with you. An appreciative effort by the music crew, the track has potentials of victory and can easily linger in your mind for long.

"Kaise Tumhe," sets off with Alka Yagnik's succinct and emotive prelude followed by Udit Narayan's happy-go-lucky singing with a touch of subdued emotion. A tedious tune with those ordinary lyrics has an unseen benefit in Yagnik's bit. A wired marriage proposal quoted verbatim as "Durga, muhjhse shaadi karoigi, karogi na," by an unidentified male voice (sounds like Arjun Rampal, though) put across blatantly toward the end would leave the listeners flummoxed. An instrumental of the this track is better skipped than heard.

"Bajne Lage Hai Shankh Se," has an extremely melodious start by Alka, but fails to withhold the tempo as the track advances toward completion. However, the track is eminently better than the previous one.

Udit Narayan and Alka Yagnik continue to keep each other company, but this time along with Babul Supriyo. "Ye Mehandi Ke Boote," should be a perfect situational for this supposed love triangle and its got a nice tune and pertinent lyrics for a situational like this.

The album goes totally folksy this time with Sukhwinder Singh and Sapna Awasthi in "Dhola Aayo Re." Nothing that matches the previous "Dhol" tracks that have made big in Bollywood, this one's just another track on the album where the temptation to skip was almost irresistible, had it not been for an impressive play of the traditional drum, the Dhol.

Sapna Awasthi attempts her Pardesi sort of act (Raja Hindustani), but this is not even half as convincing. However, "Tere Ishq Mein Pagal," the last track on the album turns out to be the best, so far. Alka Yagnik and Udit Narayan turn their charms on and this time to the fullest. Not to mention, with a fine melody and a supportive orchestra, the track does have a commercial element, such that it's very rightly, among the first two tracks to be doled out for promotions.

The music of Humko Tumse Pyaar Hai is by no means bad, but again, is not suitable for this most dynamic phase of HiFi industry. Anand Raaj Anand, needs to get more contemporary in his compositions, but can be excused him for this one, as this music would have been extremely contemporary, at the time these songs were originally composed.