Pritam’s honeymoon seems to be over now as the appalling news of complete disaster prevails with his uninspiring and lifeless musical work in RAQEEB-RIVALS IN LOVE. It can be lack of innovation, deplorable perception or poor coordination, but it’s a fact that mediocrity has finally crumpled and banished all his positive impact in recent times. Pritam fails disastrously with his “beaten to death” musical exhibit clubbed with the shoddy work from all of his favorites. Unlike LIFE IN A…METRO, where all fresh talents (Soham and Suhail) propelled themselves to supremacy, the album disappoints completely with impecunious vocal display of new talent Gayatri Ganjawala. Even the pop queen Alisha Chinai meanders and scuttles with half-baked “item song” while Zubin Garg disappoints his fans completely with abysmally delivered “run of the mill” musical number.
Soft-pitched guitar strumming clubbed with rattling percussions and mixed with rollicking beat patterns in the prelude sets the aura for “Hitchkokian” style of thriller in the impressive “Jaane Kaise”. Ironically this soundtrack comes out as saving pride for the album where talented KK croons out a highly romantic track with sentimentally appealing lyrics. Sameer’s intensely penetrative lyrical works blooms with perfection in lines like “Tera chehra sanam ik rubaai si hai, Mere dil jism-o-jaan pe tu chaai si hai…” but the music display sounds too repetitive and evocative. It strikes chord lyrically with “Tu Meri Shab” (GANGSTER) but lacks the ire and zing of captivating the feel of idealism of an obsessed lover. KK maintains his golden streak of success with Pritam but this track sounds too low and ordinary as compared to his previous numbers. The musical feel of “Hitchkokian” thriller gets a major foot-thumping thrust with highly animated disco beat fillers with haunting “lounge” musical impact in “Jaane Kaise (Remix by DJ G, Earl and Edgard G)”.
Acrimonious and venomous emotions flares up and fuels up the spiteful attitude of “rival in love” (RAQEEB) with energized musical arrangements and harsh vocals of Kunal Ganjawala in “Dushmana”. It’s a mediocre title track that exhibits the unfortunate tale about the betrayal in love followed by its gory repercussions. Sameer lyrics fail to strike anything innovative with predictable lyrical flow while its musical tonality has shades from “Sanam Mere Humraaz” (HUMRAAZ). Pritam takes a plunge to add sensuality to this title track by imbibing the traits of feminine obsession in its musical textures with the vocals of Sunidhi Chauhan in “Dushmana-2”. Even this chaotic version fails to rush adrenaline and its contemporary display hardly makes it accountable for anything promising or inspiring.
Disappointment and disenchantment prevails after hearing spiritless and lifeless vocal rendition from fresh talent in a Pritam’s album, but this atrociously statement proves itself true in the below average “Channa Ve Channa”. New talent Gayatri Ganjawala proves to be weakest link of this camaraderie and the track proves to be sore thumb for the ever successful music composer. The predictable sensual number comes in a lethargically paced nasal twang of Gayatri Ganjawala, backed up with suffocating musical arrangements with tinge of hip-hop and Punjabi folksy background scores. Sameer’s monotonously delivered lyrics makes thing worse and this soundtrack proves to be rare failure for a young talent. “Channa Ve Chaana (Remix by DJ G, Earl and Edgard g) redeems some pride with vivaciously punched disco beat that flames up with floors with its igniting thumping maneuvers.
The sensual shades of seductress of alluring her menace comes in a voluptuously punched “item song” from ever popular Alisha Chinai in “Qateel”. Its shades inferior to the lately released “It’s Rocking” (KYA LOVE STORY HAI) as it irritates with lousy singing, droning lyrics and jarring Arabian music. After churning chartbusting hit “It’s Rocking”, this proves a damp squib from all quarters and standards and adds one more dent in this lackluster album. Poor show!!!
Zubin Garg, the profitable and affable commodity to musical fraternity digs the final nail in the coffin as the album shapes up to its complete misfortune in lifeless “Tum Ho”. Pritam tries to rejuvenate Latino musical fervor with vibrantly beats but fails to captivate the youthful zest of eternal love. Tulsi Kumar’s meek and shrill vocals further decimate its prospects and makes it avoidable affair.
Pritam, the rock music aficionado with his escalating stature in musical galaxy loses its sheen and gloss in RAQEEB-RIVALS IN LOVE after back-to-back sparkling success of JUST MARRIED, HATTRICK and LIFE IN A…METRO. It’s as different as cheese and chalk from his previous impressive works and should be counted lowest in recent times.