The third member of the Kajol parivar (including Kajol herself) is all set to enter the limelight, (that is, another cousin actually). After Rani Mukherji and Kajol all entered Bollywood with successful careers Sharbani Mukherji takes her foray into the spotlight. Interestingly, there was really little hype to Kajol´s entry, Rani´s entry and now there are little to no expectations for Sharbani´s either (the film or her acting debut). So will Ansh surprise us? With music by Nadeem-Shravan anything seems to go as history has proven (but it can go either way). Be forewarned however, that this soundtrack should appeal to hardcore Nadeem-Shravan fans and those willing to forgive the immensely familiar tunes. With Ansh--The Deadly Part, Nadeem-Shravan have reverted to their Judaai and Saajan days style of music. No jhankar beats, no over use of the piano and no Western style of music. The outcome is pleasant but not "run to the store" material. Ansh has picked up in the sales department, which is sort of a compliment to Nadeem-Shravan. Despite being beaten up by critics for redundancy, their soundtracks have been noticed and have been topping the charts. With the constant debate of the Number One Musician (with only Anu Malik and A.R. Rahman as the competitors), Nadeem-Shravan, withholding whatever position they may hold, seem to be getting the last laugh. When Anu Malik released his soundtrack for the low budget film "Dil Doondtha Hai" the soundtrack went un-noticed, Ansh has seemingly became trendy with music fans. Either way, the competition may go on for the coveted number one composer position but as far as music is concerned Nadeem-Shravan are clearly not ignored. "Beech Bajaria" is folk-ish styled tune with Sapna Awasthi´s loud and screechy tunes taking dominance over the mediocre support music. The instrumentalism doesn't cater to popular listeners and hence the song should serve a purpose in the film (at least we think so). The lyrics compliment the folk style tune though the tune is highly influenced with music from N-S’s qawaali music bank. The hit numbers are all composed in one string, with one background, different singers and effective instrumentalism on N-S´s part. In fact, they are quite well composed for romance enthusiasts and are a major pull for Ansh quality wise. Masoom Chehraa, parts one and two, are sung by Sonu Nigam and Alka Yagnik. Hum Apni Taraf is sung by Kumar Sanu and Alka, and is favorable over Masoom Chehraa to an extent. The song contains a unique opening and follow up with a variety (that has been lacking with them lately) that is much different from the usual Nadeem-Shravan stuff we have been hearing. The tune however that the lyrics, courtesy of Sameer, are rendered in oddly familiar. Both singers do an apt job in both versions with Sonu Nigam striking out a little more. The lyrics are strictly romantic and nothing new in the same sense. Hum Apni Taraf, while the same song with slightly different lyrics, has more of a punch to it for whatever reasons. Kumar Sanu does well with his strong vocals and Alka matches him up note to note. Slowly paced, they are the true standouts in the soundtrack. The only difference with the later version and the previous two is that the piano opens up the soundtrack and takes over for the most part. Kavita Krishnamurthy lends her often mis-used (too often in fact) vocals in “Sirf Sunday Ko”, a situational number with swift beats. The song is a stage number that relies on the dholak to carry it off. Given the fast start off to the song one expected to hear the “Na Na Karte Pyar”, “Re Mama” beats take over- but interestingly enough they don’t. The song is worth a listen but has little repetition value. It’s been a while since we’ve heard a shaadi song like “Dhoom Machi Hai”. It’s sad that the tune and singing flow is directly lifted from some of the eighties tunes that Laxmikant-Pyarelal dished out. The lyrics, Punjabi in essence, are enjoyable and Udit once again sings with all his glory. The chorus and the beats are similar but the singing, supported by newcomer, Dimple, and tune is what is some what irresistible. The heavy use of the drums and shehnaii work well together. It is still a fact that those looking to play a number out of the blue will not pick this wedding number. On the same note, the song is one of the best shaadi songs we’ve heard in a long while. “Desh Ko Yaaro” and “Mumbai Mein” are the fall outs of the soundtrack. A complete soundtrack has all decent numbers. These are totally pointless, in the sense of composition and inclusion on the album that makes one immediately brand the whole soundtrack as “run of the mill”. Singing courtesy K.K, Shaan, (what a waste of two excellent singers), Hozef, Tarif, and oldies singer Mohammed Aziz serves strictly the purpose of having voices in the songs. A harsh reality! For the final cut, Ansh serves its purpose in having an attractive number, and supercedes it in having three, though they are the same songs. The film has been secluded out of the primary Bollywood filming campaign and will probably go unnoticed if that doesn’t change soon. Hopefully, Abbas, who is yet another hit Tamil actor strolling into Hindi Cinema and Sharbani have given this one their all, or else sooner than later, irrespective of this soundtrack, the industry will describe the film as Ansh- The Deadly Flop.
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