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Half of the soundtrack of the June 5 release by Ali Abbas Zafar Bharat contains very good original compositions, which is a lot these days. Although one tries to mask mediocre tunes with overproduction, when the Vishal-Shekhar composers abstain and let the tune breathe, as they usually do with ballads, the results are stellar. In student of year 2 this year, the duo proves it with Fakira . Here they have Chashni .
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The romance is literally syrupy in the lyrics of Irshad Kamil. Mukhda is an instant ear worm. Chashni is a complete beauty that flourishes in the purified version of Neha Bhasin. Bhasin sang disconnected interpretations of Vishal-Shekhar's key ballads in Zafar's previous films with Khan (
JagGhoomeya Dil Diya Gallan and she delivers the best version.
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Slow Motion occupies a prominent place in Salman Khan's list of basic records. Everything is in the right place and in the right amount: eye-catching catchy line, wacky lyrics, contagious beating, Nakash Aziz's mighty vocals and good supporting performance of a curious choice for this kind of song (Shreya Ghoshal).
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Aithey Aa is almost as great as the soundtrack. The pbadages of Akasa Singh, which start the song (and keep coming back), have deliciously suggestive lyrics. The spunky lines of Kamil find their place in Neeti Mohan, who is on fire here. The bbad and shenai combo is a delight. Kamaal Khan is the weakest link in the song. Maybe the presence of the singer Oh Oh Jaane Jaana is a hat in the hat for fans.
There is another version that is a 100% Nakash Aziz show, now intended for Salman Khan to attract their lover. .
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Only if Zinda were longer. The melody has a breathtaking hook, whose composition is both attributed to Julius Packiam and Ali Abbas Zafar. The lyrics are also from Zafar. Barely two minutes and twenty seconds away, the song records its presence as a moving and vigorous tribute to the hero of the film.
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However, the law of averages catches the soundtrack. Sukhwinder Singh sings Turpeya which is about living away from home and missing it, but for some reason it's a hit song. Sometimes the song is relentlessly strong. Kamil's words are on the point. Singh is, as always, stellar. But cacophonic production is distracting.
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The other song of Sukhwinder Singh, Thap Thap is also a song whose arrangement and production betray the tone of lyrics. Kamil's lines on the desire to meet a loved one for years dripping with anxiety, but the song sounds like she wanted you to grab a dafli and dance.
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Finally, we come to the boredom of the six minutes of the album. It's really a marvel when a track intended to stretch on a time-consuming montage is not only a filling, but also a sensational melody. Example: Bhare Naina of [Visha-Shekhar] ( Ra.One 2011) who, despite sinuous interludes, looked powerful enough to hold the attention. Aaya Na Tu is as long and the attempt must be equally operatic, but its recall value is zero.
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Read also:
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