Letâ€™s get this straight: Himesh Reshammiya is no fool and the music director-cum-singer-cum-actor (whatâ€™s next; cum-director?) is in his senses although he has been lending his voice non-stop since last year. The change is his music is happening and he is slowly taking the opposite route, which is leading to more refreshing music. The â€˜Ooooohâ€™ is now le passÃ©, repeating words from the â€˜mukhdaâ€™ unlimited times in the â€˜mukhdaâ€™ itself and in the song is in phase of disappearing and the sarangi-shehnai combo is making space for latest sounds from the brand new synthesizers. Himani Kapoor, Vinit Singh, Zubeen Garg, Rahat Fateh Ali Khan and now Hanif Shaikh have all been rendering for the composer recently and thus adding variety to the compositions.
Firoz Nadiadwala is one producer who always has a grand vision for his songs. Case in points: â€˜Jab Bhi Koi Haseenaâ€™ (Hera Pheri) and â€˜Mujhko Yaad Sataye Teriâ€™ (Phir Hera Pheri) became hits due to their choreography and stylish picturisation, despite the average tunes. So whatever be the quality of the tunes, Firoz Nadiadwala still manages to give them the hit tag.
Kunal Ganjawala snatches the mike from Himesh Reshammiya (how did that happen?) in 'Tere Layee' which will pave its way quickly in the charts due to the excellent composition. The track is infused with energy, freshness and exciting vibes. Himani Kapoor demonstrates complete grasp in her singing abilities. Catchy lyrics by Sameer are another contributing factor to this rhythmic track which contains a very spicy â€˜antaraâ€™. Kunal Ganjawala obtains, after a long time, a tailor-made track from the stable of Himesh Reshammiya. The composer makes sure that both the rhythm and the melody are as intoxicating while he doesnâ€™t neglect the chorus and the zippy trance-atmospheric sounds. The remixed version is a must-listen with additional beats and an accelerated tempo, which will rock the dance floors.
Fresh voices in a Himesh Reshammiya soundtrack is now becoming usual and Hanif Shaikh brings more freshness to 'Yeh Dooriyan'. It is completely fair to say that the music composer combines both an effective voice with above average arrangements and the final product is good. The â€˜Shakira Veâ€™ part is catchy and gels well with the mood of the track. The remixed version is another treat, with its pulsating beats.
It does happen that silly and situational numbers are composed which do not fit in a soundtrack but actually fit on screen. The loud, macho and robotic â€˜Ek Kalsa' by Himesh Reshammiya is a time-pass number. Based on a situation, Himesh Reshammiya sings for what is meant for Sudesh Bhonsle, Jolly Mukherjee or Arun Bakshi. The remixed version of this track is another desperate attempt to add more songs in the soundtrack.
Throw some Punjabi lines here and there and a track called â€˜Sigdiâ€™ is born out of the blue. Himesh Reshammiya, as the singer, once again, over-exposes while Jayesh Gandhi is fine in the background. Itâ€™s a complete Bhangra number which has been cooked with all the spicy ingredients like the happening Punjabi music, the loud chorus and also some interesting flute music in the second interlude. The remixed version is simply average.
The â€˜Masti Remix' is a potpourri of the all the tracks blended with beats and more funky sounds.
Himesh Reshammiya does a decent job. However, super-hit material for a producer of such caliber is clearly missing. On the composition side, â€˜Tere Layeeâ€™ and â€˜Yeh Dooriyanâ€™ demonstrate innovation in terms of the sounds used, the voices selected and quality of the tune. On the singing side, all the singers are impressive with the exception of Himesh Reshammiya in â€˜Ek Kalsaâ€™. Hanif Shaikh excels both as a DJ and the singer in his solo track. Himani Kapoor gets the best part in her song and delivers exceedingly well. Watch out for her! The soundtrack of Fool and Final is more of dance-funk compositions with a small dose of Reshammiyaâ€™s singing.