In multiplex era, child fictional dramas haven’t found fancy of hoi polloi and so do their lighthearted musical offerings. NANHE JAISALMER, a tale about fictional dreams coming true in factual realities, proves to be a breather in this genre and unexpectedly delivers melodic exuberance through its cherubic and jocular vocal and harmonic offerings. After APNE, the winner comes from Sonu Nigam in the form of thematically conceived track “Nanhe Yaar” while fresh talent Vineet surprises with similar vocal tonality in “Kesariya”.
The musical “earthy” ethnicity that catapulted senses with its vintage melodramatic tinge in “Apne to Apne” (APNE) resurfaces back with Rajasthani folksy flair in thematically composed “Nanhe Yaar”. Sonu Nigam melancholically profound vocals anchor another Reshammiya album with optimism after “Apne to Apne” (APNE) forming a soothing equilibrium with moderately balanced arrangements. It’s no ground-breaking hear but Sameer’s expressively poignant lyrical work about “gentleman-teenager” bonding emotes appreciably with enchanting melodic work making it a worthy attribute to both composer and album. Worth-a-hear!
After mediocre “Mehfuz” (APNE), it’s another rock concert bonanza “Ulfat” by vocally passionate Reshammiya for Bobby Deol in a rather more vigorous pitched orchestration. It’s another peculiar Sufi rock that comes with the stylized “sarangi-tabla” looping with energetic percussions adding more sparks into its grandiosity. Reshammiya goes Salman Khan’s ways for his outlandish tongue-twisting “phirangi” accented vocals with minimal impact. Overall it comes more like an overtly repeated Sufi rock track with no big moves. “Ulfat (remix)” promises some hip-shaking moves for party animals for its zany “club” remix and frivolous DJ moves but even this foot-thumping treat sounds repetitive.
“Ranjhana”, a traditionally enriched and filled with over-enthused harmonic zeal soundtrack is impressive concoction of Reshammiya’s “nasal twang” with his rollicking Sufi rock zing. It has better tuneful compositions where cyclical “sarangi-tabla” loops are brilliantly harmonized with soft-pitched orchestration and Reshammiya’s medium octave rendition. The number has better prospects to allure Gen X than “Ulfat” but even this track hasn’t had the tenacity to be chartbusting treat. “Ranjhana (remix)”, a conventional “club” remix has more affixation to traditional melodic binge with stringed instrumental flow forming effective combination with DJ disco fillers.
The sole romantic duet of the album “Lamha Lamha” comes with 90’s style arrangements with medium pitched vocals of Himesh Reshammiya making all moves with huskier Sunidhi Chauhan. The track has conventional 90’s style “Dhim-pichuk-dhum” cyclical rhythmical patterns heard ostentatiously in “Mere Mehboob Mere Sanam” (DUPLICATE) with strong blend of Rajasthani instrumental works. It works well as euphorically choreographed romantic number for its sauntering paced backdrop but its overtly heard rhythms and notes makes it compulsory repetitive. It’s moreover mandatory for a Reshammiya’s album to have remix number and even this ethnically conceived track finds a suitable remix matching in “Lamha Lamha (remix)”. Less on vocals and high on orchestration, it comes additionally as filler for the album than making any frenzy moves on floors.
“Kesariya”, a traditionally Rajasthani “welcome-home” track is cordially enriched with mellifluously driven vocals infused with well synchronized arrangements and penetrative wordings in extruding out an adorable harmonic feel. Vineet, a new singing talent having decree of being Sonu Nigam “clone” is great revelation to melodic ears for his harmonized voice quality and synchronized modulation that add “soul” to this tuneful hear. Reshammiya has a winner in this track for his rhythmically balanced arrangements that may sound old-fashioned but has a mesmerizing “soulful” impact with underestimated Jayesh Gandhi adding more spice with his rustic vocal flow. Sameer’s lyrical expressiveness has a nostalgia that is emanated delightfully with Vineet’s skilled melodious voice and positively giving the flick it’s desired soulful track. Enchanting!
Himesh Reshammiya has few surprises with this low profile entertainer and the prize winning attraction comes in the works from versatile Sonu Nigam and his “clone” Vineet in tracks “Nanhe Yaar” and “Kesariya”. Reshammiya’s atypical “nasal twang” delivers an above average track in “Ranjhana” while “Lamha Lamha” and “Ulfat” works mechanically in the spirit of the film and album.
NANHE JAISALMER may not be a chartbusting album but an impressive album that should be instrumental in film’s narrative flow than making any moves on charts.