Aadesh Srivastav’s musical dominance in marquee has been supreme in Big B films (BAGHBAN, BABUL and MAJOR SAAB) but there’s hardly anything consequential to talk about him in present context. MUMMY JI, a low profile entertainer offers no big promises from him and predictably holds no surprises in store for listeners. Its meagerly rendered compositions falls flat before it could rise to occasions so all it ends up as damp squib. Besides Hariharan’s heart-warming honeyed melody, none of them in assortment sounds commercially viable despite the fact the tracks are overloaded with fast-paced frenzied Punjabi “bhangra” swinging bangs.
Shaan gets into disco beat culture groove with bunch of feminine singing talents in loud and jarring floor dance with minimal impact in the soundtrack “Awaaz Do”. The unimposing vocals of Akruti, Hema Chandra and Richa Sharma in loud modes sound shrill and cacophonous. The over exaggerated rap lyrics with slapdash disco beat arrangements makes it complete thumbs down affair.
Aadesh’s musical genius did a terrific job in “Kehta Hai Babul” (BABUL) and the similar vulnerability about tenderly moments of losing loved ones returns with similar whim in mellifluously rendered “Hum Tum Akele Reh Gaye”. Hariharan’s immaculately pristine vocals are uncut diamonds where Sameer’s penetrative wording forms delectable concoction with supple orchestrations in giving it a soul-enchanting feel. Soul-Stirring!!!
“I wanna rock Mummy Ji”, a salutation tribute to dearest “Mummy Ji” in hip-hop stylized is rather injurious to ears and all credits to cacophonously oozed vocals coupled with ear-splitting rap and “bhangra” ruptured flows. Folksy Richa Sharma makes mess of her singing flair by juxtaposing into this ridiculously penned track where Neha Bhasin’s meek vocals further decimate its prospects. Skip it!
Gurads Mann, the established entity in “bhangra” world gets into festive spirit with traditional marriage “naach-gaana” in customary instrumental flow in “Jashna Di Raat”. Aadesh’s music is completely lackluster and is completely “out of sync” with trendy flair of today’s “bhangra” fusion base works. It’s expected to be scintillating marriage song but all credits to Gurdas Mann’s singing with no major surprises.
Aadesh Srivastav mess up proceeding further by getting behind the mike with Neha Bhasin in poorly conceptualized and disappointedly arranged and delivered “Kudiye Pataka”. It’s one of most worthless “bhangra” numbers heard in recent times for its shoddy loud orchestrations matched inadequately with its substandard vocals. It’s moreover an enforced dancing track with its weird outplay that would be retarding listener’s interest and flick’s proceedings. Avoid It!!!
Sonu Nigam’s emoted “Mujhko Pyar Kaarade” redeems some pride for the album where the competent vocals get into contemporary Bollywood happy-go-lucky singing mode with some appealing musical impact. The rigorous cyclic rendition of “Maula Mere Maula” in its interludes is irksome and sounds too dominating on the pretext of this trendy sounding track. Shweta Pandit svelte vocals are rather too muffled and muted as compared to Sonu’s version and hardly add any meaty structure to this “run of the mill” number. “Sada Chirian Da”, a traditional bride’s “bidaai” soundtrack evokes pathos in the form of impressive Rajiv singing in expressive baritones, followed by brief dialogue from the film. It’s a situational hear that should be adding emotional elements in this women dominated flick.
MUMMY JI adds one more blob in Aadesh Srivastav’s filmography and like its meek expectations, it sums up as complete washout on all accounts. It’s really pity that Hariharan’s “Hum Tum Akele Reh Gaya” will be going unnoticed and all credits to album inadequately display in making it worthless buy for average listener.