The name may not be familiar like the A-List music directors who churn out hits after hits but many will jump once they remember his songs, which has been touching hearts since a decade now. Are emotions evoked when one again listens to the sensual â€˜Tu Mile Dil Khileâ€™ (Criminal), the pensive â€˜Gali Mein Chandâ€™ (Zakhm), the semi-classical â€˜Kabhi Shaam Dhaleâ€™ (Sur), the ever-green â€˜Awaarapan Banjarapanâ€™ (Jism), the calm â€˜Tere Is Jahan Meinâ€™ (Rog) and the folksy â€˜Laaga Re Jal Laagaâ€™ (Paheli)? Definitely YES!
He is known as M.M Kreem in Bollywood and uses M.M Keeravani and Maragathamani for his Telegu and Tamil projects respectively. Still, M.M Kreem does not look for publicity stunts and concentrates only on his work. Melodies created by Kreem contain a certain feel - which creates a strong bond between the listener and his music.
A familiar with the Bhattsâ€™ production, M.M Kreem does give a special touch for them and cater to their musical needs, sometimes, with perfection. On her side, Pooja Bhatt engages in her third directional venture after Paap (2004) and Holiday (2006). Music wise, one canâ€™t deny the directorâ€™s special ear for an experimental, soulful and fresh music. In fact, it is â€˜Paapâ€™ which opened the big doors for Pakistani artists to Bollywood and the rest followed. In â€˜Holidayâ€™, Pooja Bhatt gave the chance to Ranjit Barot (a well known programmer and arranger) to prove himself as a music director. (His first assignment as a music director was Raakh (1989) starring Aamir Khan). Pooja Bhatt has chosen a pool of lyricists for â€˜Dhokhaâ€™ and one can again feel the Pakistani musical influences she brought to Bollywood.
An accelerated prelude with crisp guitar sounds, a female chorus and bits and pieces of funky music start Anjana - which in no time, K.K injects life and transforms it straightaway into an immensely likable number. Surprisingly, the four minute track does not take long to be appreciated due to its rather short â€˜mukhdaâ€™ which K.K handles with great ease. M.M Kreem seems very sure of the tune and arranges the number with a range of instruments like the rock guitar while the male and female chorus are used aptly in the prelude and interludes. Lyrics by Shakeel Azmi are worth a mention because of its fresh nature.
The second version comes in the voice of M.M Kreem! A slight change in the prelude is brought while more guitar acoustics are heard in the interludes. The best part is that it is accompanied by a wider range of instruments like the violin and the piano which further beautify the track. Definitely, the mood the song takes a romantic turn with M.M Kreemâ€™s romantic voice blending with the melodious music.
M.M Kreemâ€™s romantic music continues in Kab Tujhe which is packaged as a quasi South Indian track with familiar preludes from the South. Rendered by K.K and Shreya Ghoshal, the music director emphasizes much on the use of the violins and the female chorus for this ballad. â€˜Kab Tujheâ€™ has a trademark Kreemâ€™s stamp all over in the arrangements but fails in the middle with predictable music and singing of the 90â€™s. Both singers sound mechanical in the â€˜antarasâ€™ but since the â€˜mukhdaâ€™ is repeated again, it saves the number from collapsing. The interludes includes rock guitar pieces, violin bits, whistling and saxophone pieces. And justice is not done to the lyrics of Sayeed Quadri, which sounds stale due to its treatment.
Dhokha, the title track is more of a reflective piece, with a strong rock background music, about deceit. Rafaquat Ali Khan sings in various octaves and goes high pitch after the first interlude. Both the male and female chorus are used to repeat â€˜Dhokhaâ€™ in the background while a lot of vocal effects are used throughout the track. However, a few notes of the piano do not gel well with the vocals in the first â€˜antaraâ€™. Lyrics by Khusbir Sing Shaad and Bharat Bhushan Pant are thoughtful. The remixed version by DJ Suketu (Courtesy: Times Music) is passable.
[Additional Credits for the above tracks: Mastering by Eric Pillai]
Composed and sung by Shiraz Uppal, Roya Re is a pleasing and peppy number, even if it contains a sad title. The freshness in the voice of Shiraz Uppal is the plus point. He makes good use of the acoustic guitars and the female chorus. Lyrics are by Sayeed Quadri who delivers rather simple lines but which do make a good listen. In fact, the track could have easily be called â€˜Tanha Dilâ€™. The remixed version by DJ Suketu is simply average.
The soundtrack of â€˜Dhokhaâ€™ is a mixed bag â€“ although it is not catchy or addictive, the songs are ear pleasing. 'Anjana' by M.M Kreem is perhaps the only song which will really click. â€˜Kab Tujheâ€™ loses steam after a brilliant start. Shiraz Uppalâ€™s composed number has already its audience but takes some time to grow. There is also an area where M.M Kreem disappoints in this particular soundtrack: the interludes. He always has this difficult, catchy and melodic interlude somewhere in the soundtrack but alas not this time! The experimentation with the new sounds in electronic music is also missing i.e. M.M Kreem is so talented that he always uncovers unique sounds in some of his tracks. Case in points include â€˜Tere Is Jahan Meinâ€™ (Rog) where beats have been blended with guitar sounds. In a nutshell, the collaboration between M.M Kreem and Pooja Bhatt has not yielded into a memorable soundtrack.