This film is supposedly a copy of the Hollywood flick, "The Rock" and songs probably don’t really have a place in the story. Even with this caveat, Qayamat’s soundtrack is decidedly average. It is a testament to Ranjit Barot’s talent as an arranger that he is able to transform Nadeem-Shravan’s stale tunes into aurally pleasurable experiences; And that is exactly what he does in two of the seven songs.
The first is the seduction number, "Yaar Pyaar Ho Gaya", sung sensuously by Alisha Chinai, with able support from Abhijeet. The steady drum rhythm and piano backdrop is contrasted by some frenzied light percussion, giving Nadeem-Shravan’s tune a much needed face-lift! Alisha’s singing is particularly good. Her return to playback singing is definitely welcome. Nadeem-Shravan seem to have recycled one of their tunes from the recent album, Yeh Dil.
Barot works his magic on the title track, "Qayamat Qayamat", as well. The arrangements are more dance orientated this time with a more electronic sound. Sonu Nigam lifts the song even further with his brilliant vocals, but the usually dependable Hema Sardesai sounds unbearably shrill!
The rest of the songs are arranged by Nadeem-Shravan regular, Naresh Sharma. The best of which is clearly the peppy, "Mera Dil, Dil Tu Lele", which has a ‘60’s vibe to it. Shaan musters up an energetic and expressive rendition, totally eclipsing co-singer, Mahalaxmi Iyer. This song actually has repeat value, despite Sameer’s insipid lyrics. In fact, the lack of ingenuity and effort on Sameer’s part is a major contribution to this album’s mediocrity.
Kumar Sanu and Alka Yagnik sing well in "Woh Ladki Bahut Yaad Aati Hai", but the song is a rehash of countless other Nadeem-Shravan-Sameer banalities. The solo version by Kumar Sanu is no more appealing.
Abhijeet and Kavita Krishnamurthy display major vocal control in "Dil Chura Liya". Both singers hit the high notes with practiced ease but the track lacks melody, making it sound more like a vocal exercise than a song.
The overly melodramatic high notes of "Aitbaar Nahi Karna" make sitting through this number rather taxing. Abhijeet and Sadhana Sargam give excessively emotional performances at the microphone for this bland and forgettable track. Abhijeet’s solo version just prolongs the torture!
Kumar Sanu and Mahalaxmi Iyer attempt a more sedate number in the form of "Mujhe Tumse Mohabbat Hai". Once again, Sameer’s lyrics are dreadfully predictable and Nadeem-Shravan’s tune (or lack there of) is uninspiring at best.
To top it all, every track is preceded by cheesy snippets of dialogue that just make you want to cringe with embarrassment. "Yaar Pyar Ho Gaya", "Mera Dil, Dil Tu Lele" and "Qayamat Qayamat" are worth listening to, but I doubt anyone will be rushing to see this movie for the music.