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   Music Review : Mere Khwabon Mein Jo Aaye

 Mere Khwabon Mein Jo Aaye
Director :
Music :

Lyrics :

Starring :
 Madhureeta Anand
 Lalit Pandit, Siddharath Coutto
 Javed Akhtar, Renuka Kunzru and Rohit Bhatia
 Randeep Hooda, Raima Sen, Arbaaz Khan, Suhasini Mulay and Anjan Srivastava

By Satyajit, Bollywood Trade News Network Send to Friend

There were sweetly charmed ''girly'' dreams in the melody ''Mere Khwabon Mein Jo Aaye'' (DILWALE DULHANIYA LE JAYENGE) that set the decorum and trend for path-breaking youthful and entertaining cinema. PVR Cinemas MERE KHWABON MEIN JO AAYE talks about those ''girly'' dreams that get encapsulated in a package of Bollywood musical drama. Like its melodic subject, one can expect innovative and creative musical feel in it. Rock-music has been rage and can be termed as most sought after genre that has been fancied and materialized by every major composer. Lalit Pandit tries to surface out his grounds with this rollicking style of music and hopes for a big success. New music composer Siddharath Coutto comes out as another promising entrant who makes splashes as guest composer in couple of trendy numbers. Can MERE KHWABON MEIN JO AAYE be setting new trends for musicals in Bollywood? Does Lalit Pandit along with Siddarth Coutto be able to create magical success? Let's get started with it by switching on to ''play'' button...


As the title suggests, the flick is bound to be story about aspiring talents and their dreamland and so the first major musical punch goes out in loud vociferous binge of aspiring female vocalist in belligerently rocking “Pahle Toh Meri Inn Ankhon''. Like ''Ye Ishq Hai'' (JAB WE MET), Shreya Ghoshal reinvents herself with peculiar variation and modulations that seems to be going perfect for ''aspirant-friendly'' emotions. Javed Akhtar's simplistic lyrics aren't that penetrative to core but it's the impressive orchestral flows in flute notes and later ''rock-music'' flows that set the mood on fire. After unnoticed ''Tere Woh Pyar'' (RU-BA-RU), this fast-paced feminine solo by Shreya Ghoshal shows her versatility and resilience of rising above the standards. ''Pahle Toh Meri Inn Ankhon'' should be going out special for all Shreya Ghoshal die-hard fans and this also marks promising start to this upbeat Bollywood musical.

''Sehmi Sehmi'', a soft mushy soundtrack about shy and demure girl brings an array of singers in the form of Shaan, Alka Yagnik, Lalit Pandit, Runa Rizvi, and Clinton Cerejo. It's welcome to hear specialist like Alka Yagnik making a ''cool'' comeback in a youthful track where Shaan leads the show. The melodic arrangements have Jatin-Lalit style of popular 90's music with suggestive feel of an angel entering the life of decorous girl. It might not be as impressive in contents as ''Pehla Nasha'' (JO JEETA WOHI SIKANDER) was in 90's but has that extra mushy feel to keep viewers on back of their seats.

Zooming and bombastic disco beat fillers marks the arrival of pompous disco-feast as mood goes full blast in the albums only remix number ''Sehmi Sehmi (''remix)''. It sounds appreciably hot from the original version for its rich peppiness and thrive that gets inundated with every upfront musical beats and thrusting rhythms.

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Anushka Manchandani has surprise in store with her crooner stylized rendition in richly pulsating and strikingly western trendy rollicking soundtrack ''Kabhi Kabhi''. Experimentation goes to its full bloom with upcoming composer Siddharath Coutto getting his ethics perfect about rock-music and blues in right proportion to deliver out a racy remarkable solo track. Anushka gets into the skin of Sheryl Crow style of zany pop singing where rock music always zooms out with tinge of ''blues'', ''jazz'' or ''soul'' musical impact. Bollywood music is racing fast to genres and all complements to this upcoming composer for being innovative as well as appealing. Anushka impresses to hilt and adds herself to the cadre of singers like Alisha Chinai for her notable versatility. Renuka Kunzru's stylishly chic lyrics try to break loose and set the pulses rising up with those peppy one-liners. Excellent!!!

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Siddharath Coutto maintains his pertinently striking ''rock-music'' flair in the sentimental number ''Kab Talak'', that makes Caralisa audible again as a vivacious soloist. After the soulful ''Phir Dekhiye'' (ROCK ON), Caralisa moves a step further in this ''dream-come-true'' solo number that makes remarkable maneuvers in its rock cum jazz composition. It goes out special for pulsating and comprehensive guitar strumming with its racy progressions concocting well with strident percussions. For all rock-music lovers, Siddharath Coutto delivers out a second hit in succession and all efforts seems to be going positive in making it a remarkably appealing rock number. Impressive!!!

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Shaan makes author-backed presence in a track that emanates out the desolated and depressed expressions of protagonists in ''Pathraon Ke Bane In Shahron”. Lalit Pandit charters Pritam route in bringing out the flavors of tracks like ''Rishtey'' and ''Alvida'' (LIFE...IN A METRO) to fore but falls short of befitting composition to deliver the needful. Even the arrangements sounds outmoded and jaded at places and fail to usurp Shaan's penetrative vocals.

Lalit Pandit tries to add nostalgia of emotions in conventional Bollywood sensibilities par echoing impacts in sedate sounding poignant soundtrack ''Zindagi Me Nayi Bat Hone Ko''. Aishwarya does a good job with a number that has both meaningful as well as melodramatic affix in it. The loud drumming in conventional thumps at places impedes the melancholic feel but Aishwarya's voice booms well in effective echoing impacts. Javed Akhtar's lyrics are striking in its substance and get well narrated in those impressive vocals.

''Instrumental'', the finale in the form of album solitary instrumental number comes in varied tempo and textures of orchestral flows. It soothes out the flick's refreshing feel in genteel rhythms and races up in those jarring rocking percussions. Lalit Pandit signifies his masterly stroke of experienced campaigner by making it a significant background score (similar sounding to many of Karan Johar's family dramas) with fine set of musicians backing it up.

MERE KHWABON MEIN JO AAYE makes a noticeable impact with its appealing and innovative westernized fresh appeal. Old war-horse Lalit Pandit delivers some impressive number but new composer Siddarth Coutto turns to be show-stopper with two back-to-back valuable rock numbers. Despite its low profile, the album dares to experiment with numbers like ''Kabhi Kabhi'', ''Kab Talak'', ''Sehmi Sehmi'', ''Zindagi Me Nayi Bat Hone Ko'' and ''Pahle Toh Meri Inn Ankhon'' with promising success.

Rating -3/5

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