Paisa Vasool marks Manisha Koiralaâ€™s debut into the world of film production. She joins the likes of Raveena Tandon, Pooja Bhatt, Juhi Chawla, all of whom are commercial actresses who have recently taken the leap into production. For Manishaâ€™s sake, one can only hope that her stint as a producer will be far more successful that her acting career has been of late (with
Company being her only respectable hit in the past few years). To add a little spice into this feel-good movie, the Nepalese lass has roped in Sushmita Sen. Rumour has it that Paisa Vasool is the ex-Miss Universeâ€™s third consecutive author-backed role (after Filhaal and Samay: When Time Strikes). Interestingly enough, a movie starring two major leading ladies has no leading men! Ji haan, iss film mein koi prem kahani nahin hai! It is alleged that Paisa Vasool will have no romance. Then what could possibly be worth listening to in this soundtrack? Precious little.
Paisa Vasool opens with Bindas, a song that truly lives up to its name! The music this a fantastic blend of techno and traditional music, making it an interesting number of the dance genre. Lyrically, this song can be deemed trilingual: Hindi, English, and French! The initial and final choruses of "Câ€™est la vie!" are extremely refreshing for their novelty. However, the English lyrics are typical for a song from a Bollywood soundtrack, similar to their overuse in Kal Ho Naa Ho. Yet the exact bindas quality of this song has got to be its singer: Vasundhara Das! She has such a magical voice, that anything she sings is bound to become a chartbuster! It is a real shame that one of the best singers in the industry is so under-exposed (Vasundhara should be highly considered for a Sunidhi alternative)! Overall, this is an above average feel-good song.
The soundtrack takes a total nose-dive with Demand. Demand is one of the most revolting songs in recent times; the music and lyrics are so
gawar, that they seem fit for a D-grade movie! But the most atrocious aspect of this song would have to be the singer: Ila Arun! WHY? WHY? Why is still singing? Is their even a market for her disgusting style of voice anymore? To say that Demand is torture on the ears would have to be an understatement.
Hai Re Hai Tera Ghoongta and Helenâ€™s Dance Mix (better known as Piya Tu Ab To Aaja) and Sabse Bada Rupaiya. The first two songs have been remixed to fall into the techno-dance genre, which harms the first song more than the second. The former is sung by Kunal Ganjawala (who made an outstanding debut in Mumbai Matinee) and Sowmya Rao (who could be making her first appearance in a song that isnâ€™t composed by Sandeep Chowta), but their voices are technologically altered, leaving an overall bland feeling inside the listener. Maybe allowing the singers to use their original voices would have been more appropriate.
Helenâ€™s Dance Mix is slightly better. The music becomes too busy at intervals, but is otherwise proper for the intended atmosphere-surprisingly good at times! Not much can be said about the famous lyrics, but there is an eye-brow raiser in the playback singersâ€™ credits: Sawaskita (who is absolutely brilliant!), Pundit Sukhdev Chaturvedi (average), and...Vivek Mushran! Mushran, who made his acting debut with Mainsha in Saudagar, is listed in the credits but his actual participation in the song is ambiguous. Helenâ€™s Dance Mix is above average, to be fair.
Finally, Sabse Bada Rupaiya as a remix is just as bad as-maybe worse than-the original version. The choice of rock as the musical foundation of the songs is smart, but annoying! Furthermore, the addition of rap in the middle of the song is uncalled for! This song makes one gag! Skip it!
Next is a double dosage of the title song, in male and female versions, sung by Hazma Faruqi and Sunidhi Chauhan, respectfully. Both singers fulfill the requirements of the song, and one is unable to decide whose rendition is of a higher calibre. The musical composition of the song is too reminiscent of the title song of Bhoot, which is odd for a soundtrack that can boast of much novelty. The verdict on these songs is reached after the lyrics are considered: pathetic!
Rukte Chalte comes as a breath of fresh air into the soundtrack., as it is the first complete song of Paisa Vasool. It is marvellously composed, stimulating an eerie ambiance. Shankar Mahadevan is outstanding in his rendition, proving that he is equally talented as a singer and as a composer. The lyrics could not be more apt for a song like this, showing that Mr. Nath really does have talent as a song writer! Praises aside, the overall affect of this song leaves all doors for a second listening closed-itâ€™s almost too eerie!
The album ends on a superb note, to say the least! Although the haunting quality of music is further employed in Yaadon Mein, it is a highly pleasing experience. The fact that this is the only romantic song in the album makes one infer that this song was added for commercial value. And thank god for that! The music is smooth like silk and is a real treat for the ears. There are very few Hindi songs that fall into the slow dance genre, and Yaadon Mein is a welcome addition. The ingenious use of the Spanish guitar and the addition of bass deserve great acclaim. Needless to say, Yaadon Mein is a lyrical masterpiece and leaves one lost for words. The ever-reliable Shreya Ghoshal and
Shaan give their all in this song. Their vocal qualities show how wonderfully their voices have matured! One could continue praising this song for a very, very long time!
Itâ€™s a shame that Manisha was not able to get more songs like Yaadon Mein out of her composers and lyricist. This soundtrack should be looked upon as a pathetic follow-up by Bapi-Tutul on their work in Bhoot. The number of puns that one could make based on the title of this movie and the low quality of the soundtrack are infinite. In the end, one beautiful song cannot save a host of repulsive songs. Forget that Paisa Vasool ever had a soundtrack!