By Satyajit, Bollywood Trade News Network

Adnan Sami tries to spice out another “Kajre Re” (BUNTY AUR BABLI) as he innovates out with evergreen pop queen Asha Bhonsle making all chirpy vocal moves with fervently ear-piercing Amit Kumar in “pop-quawalli” “Chandni Raat Hai Saiyaan”. Sami’s last association with Ashaji was booming in playful “girly” track “Lucky Lips” (LUCKY-NO TIME FOR LOVE) but this comes moreover as inspirational lift from chartbusting numbers. Its no “Beedi”, “Namak” (OMKARA) and certainly not Alisha’s award winning “Kajra Re” but a refreshing welcome treat from Asha Bhonsle for all her ardent fans. The number has classical musical backdrop where old-styled instruments (harmonium, tabla, sitar, sarangi) are evidently audible at every “antaras” than any technocratic musical impulse in its harmonic flow. Sami felt extra-special for the number and predictably a “larger than life” success for this “pop-quawalli” as he pitches two different versions (instrumental and remix) for this track. “Chandni Raat Hai Saiyaan (instrumental)” is impressive work of electronic flute rendition by Raghav Sachar where entire lyrical work are synchronized amicably with free-flowing “Sarangi” work with dash of Ashaji sensual whimpers of “Aaeeyaa” in its prelude. It’s more avid to initial or end titles than forming a trend for others to follow but still an affable approach to accommodate space in the album. “Chandni Raat Hai Saiyaan (remix)” works more like a “disco-quawalli” this time with electronically tuned echoing effects creating reverberating impact with fine collage of classical instruments and Asha Bhonsle and Amit Kumar’s voices making it pub-friendly for listeners. DJ Sandeep Shirodkar disco appeal adds to the merits of the track but with no major surprises.

“Chal Nache Shor Machalein”, a perky “all-boy” frolicking track on floors comes as a resounding “title” track with the tangy pub-culture feel and vociferous tinge to it. Once again it’s the clubbing of Adnan Sami and Shaan for this loud and peppy track with strong affixation of hip-gyrating musical structure. It emanates out a male bonding zany ensemble on floors that should possibly collage all lead characters in it. Like “Dekho Dekho Ye Dhaamal”, it works mechanically as “disco-station” number with overtly quivering disco thumps and percussions bangs adding zing to it. Feel its animated thump in its acrobatic dancing and jiving moves amidst flashy lights and let it be cinematic delight as its tuneful display hardly delivers anything chartbusting in its thunderous and boisterous impulse. Its instrumental version comes in contemporary saxophone works by Naveen where the soundtrack is feebly pulverized into situational filler stuff that can either be placed in initial or end titles of the film.

Read Comments & Post Your Comments

Tweet