Sohail Khan, Amrita Arora, Aarti Chhabria, Yash Tonk, Vrajesh Hirjee, Mushtaq Khan, Pankaj Berry, Sayaji Shinde, Kulbhushan Kharbanda, Shahbaaz Khan
By Satyajit, Bollywood Trade News Network
Dabbo Malik, the ephemeral identity in the Bollywood scenario surfaces his presence again in the credits of music composer. TEAM-THE FORCE comes out with his musical expertise but his dreadful phase of mediocrity continues with this shoddy display. Daboo flagged off to impressive flyer with Bhatt’s YEH ZINDAGI KA SAFAR (2001) followed by impressive MAINE DIL TUJHKO DIYA (2002) and TUMKO NA BHOOL PAYENGE (2002). Thereafter the mediocrity dominated in his music with films like CHETNA – the XCITEMENT (2005), SHAADI KARKE PHAS GAYA YAAR (2006) and the recently released NEHLE PE DEHLA (2007). TEAM –THE FORCE comes out as his most worthless works of all time and predictably the most reckless in recent times. Unfortunately none of his offerings promise anything audible and with Daboo’s irritating vocals, it becomes intolerable and unbearable torture for ears.
Talented but extinct Babul Supriyo shells out from hibernation and share moments of intimacy with soft “n” sensuously pitched vocals of Shreya Ghoshal in a lethargically paced 80’s musical set-up in average “Kal Tak To”. It may sound ridiculous that still composers prefer stereotyped “filmi” orchestrations when rock, jazz and hip-hop have completely taken over. Daboo Malik’s insipid percussive works filled with old-fashioned orchestration is a big disappointment. Babul Supriyo’s vocals fail to get assimilated in this bland musical work while Shreya’s over expressive proves too shrill for ears. Mood turns somber and solemn with Daboo’s most audible works making sentimental hues of everlasting love in impressive “Kal Tak To (unplugged)”. The soft piano notes are expressive but Daboo’s voice is no big comparison to today’s Reshammiya’s, Pritam’s or Vishal’s vocal quality.
Cacophonous to the core, the jarring tones and overtones of roadside romance is boorishly implied and garishly conceived with lowest possible aesthetics in pathetically composed soundtrack “Chika Chika Boom”. After sonorous and sentimental unplugged version, Daboo Malik delivers slothful and apathetic number in his raucous and reckless voice. Sunidhi’s callous and screechy vocals are added disappointment with Shabbir Ahmed’s roguish lyrical flow making it a sadistically avoidable soundtrack.
Injurious to ears!
After mediocre romantic duet, Shreya Ghoshal contorts to the nuances of sensuousness in a seductress with contemporary sluggish Arabic musical backdrop in mediocre “Hamara Hal To”. The predictable raunchy “item” song treat minuses all improvised electronic beats and sounds and even Shreya sounds too plaintive and “run of the mill” in this contemporary musical display.
“Satrangi”, a better sounding Punjabi folk base funky paced soundtrack redeems some pride for album and composer but it’s too inept to create any stir in marquee. Vinod Rathod’s harsh and throaty voice erupts well in the contours of “bhangra” and hip-hop musical work while Sunidhi’s noisy vocals fail to impress. Daboo shows first signs of trendy improvisation in his musical work but its insufficient enough to expect anything chartbusting in today’s flashy competitive musical world. Feel and enjoy “bhangra” thump that is mellowed effectively with light-pitched hip-hop work. Youthfully aggressive numbers are always fancied in their remix versions but if they are shouldered with unwelcoming and unimposing vocals then they end up losers. “Satrangi (remix)”, the lonesome remix number have improvised techno-generated beat patterns but unpolished Daboo Malik’s vocals spoil the show. Like Anu Malik and Aadesh Srivastav, Daboo Malik proves too meek contender for “composer turn singer” category and even his loosely conceived compositions are frigidly incompetent.
Daboo Malik’s incompetent and unwelcoming musical work proves too scarce to resurrect his “down in the dumps” musical vocation and the album adds one more dent in his doomed filmography. The compositions of TEAM – THE FORCE range from below average to poor and there is hardly anything audible in any of the composed soundtracks. It’s preposterous to even predict anything consequential or substantial commercial for the album and can be counted as “non-starter” by all standards.