The album begins with a simple and straightforward love song, “Kahin Na Kahin”, sung beautifully by Kumar Sanu and Alka Yagnik. An infectious melody and sufficiently adequate lyrics make this song very palatable. Its not award-winning stuff, but it’ll definitely have you humming along in no time. The current fad for Latin American music is pandered to in, “Dil Hai Deewana”. Udit Narayan steals the show with is well-crafted vocals, making the song an enjoyable experience. Alka Yagnik tries but fails to match the inherent expressiveness in Udit’s voice. The arrays of Spanish guitars that adorn this number make it fairly irresistible. Chitra excels in the love duet, “Mera Dil”, which is slower in pace to the first two tracks. Male vocals are provided by Shreenivas, who sounds remarkably like Hariharan. The words, “Mera dil..” are sung in a tune that is very similar to R.D.Burman’s “Mera Pyar Shalimar” from SHALIMAR. However, after these two words the tune changes suddenly, but somehow the R.D. tune lingers in your mind. Chitra and Shreenivas then have a go at a sad number, “Dekhte Dekhte”, which has some very clichéd lyrics. The tune is also quite dull, which makes sitting through this number very hard work. My advice: SKIP IT. The Latin sounds resurface in the Title track, “Paagalpan”. This song is rather fast and furious with some frantic singing from Raymond George, who sounds like Remo Fernandes. Shradha Pandit provides more sober accompaniment. The song tends to grow on you and what, at first, appears to be utter nonsense, ends up being a rewind candidate. The next track is a nauseating ‘brothers-sister’ family song, which has Udit Narayan, Harward, Javed Ali, Vicky and Sunidhi Chauhan gushing over each other. Even more hideous is the song’s title, “A Ding-Dang-Do” !!!!!!!! “Jhoothe The Vaade” ends up being nothing but a short ‘sad’ version of “Kahin Na Kahin”. Kumar Sanu and Alka Yagnik sing well again, but this version really isn’t appealing. The last track, “Loota”, may initially make you reach for the volume control due singer Swastika’s shrill and rustic vocals. However, once the song gets going, it’s hard not to like this track. The music is a fusion of Indian folk and western rhythms, and Swastika does her best Sapna Awasthi impression – quite different from the way she sang in TERE LIYE. Raju Singh has employed a very effective male chorus to ‘punctuate’ specific phrases throughout the song. PAAGALPAN doesn’t exactly have mind-blowing music, which is usually necessary when introducing a new hero/heroine. The newcomers´ better come up with fantastic performances because I don’t see this movie running on its soundtrack alone! |
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Secretary to the stars, Rakesh Nath, has been instrumental in many a
Bollywood career; most notably, Madhuri Dixit’s. Rakesh’s son, Karan Nath, makes his debut in this film alongside
newcomer, Aarati Aggarwal. Director, Joy
Augustine’s next venture, after the success of his TERE MERE
SAPNE, has a lot riding on it. Not only the career launches of its lead pair, but
also Raju Singh’s debut as a film music director. Raju has composed for a lot of
successful private albums, but composing a soundtrack for a film is a whole different ball
game. Raju Singh is clearly influenced by R.D.Burman, evident in all eight tracks on this
album. The trumpet sounds are all too familiar, being reminiscent of the trumpet pieces in
R.D.Burman´s old numbers.