After backing Anu Malik for over a decade (Judwaa, Har Dil Jo Pyaar Karega, Jaan-E-Mann), Sajid Nadiadwala returns to the â€˜Oonchi Hai Buildingâ€™ music director for Kambakkht Ishq. The connection between the tunesmith and the producer dates back to the 90â€™s when Judwaa created fury. Be realistic; donâ€™t ask for a Refugee from the Indian Idol judge in 2009. Better ask for music on the lines of Munnabhai MBBS, Main Hoon Na and No Entry. Put it this way: there is no room for pedantic stuff here! Anu Malik has proved over the years that he can deliver masala music and this might be one of the reasons, he has been chosen among the current crop of talented music composers. But whoâ€™s complaining? There is bread and butter for everyone.
Anvita Dutt Guptan, who earlier worked with Vishal-Shekhar in Tashan, Bachna Ae Haseeno and Dostana pens the lyrics.
Om Mangalam stands out solely because of the voice of RDB and the rhythm they bring into their music. The package of the song is similar to their previous factory hits which use a hook line incessantly in the higher notes. The magic really happens when the band sings and repeats Om Mangalam. RBD has mixed Hindu chants with some peppy beats. The line â€˜Hai Rabba Ye Kya Ho Gayaâ€™ is very Malik.
The Om Mangalam (Reprise) by RDB has music which is party ready!
The musical extravaganza emerges in every curve of Lakh Lakh. The pumped harmonium intro, mixed with the rap pieces and the heavy beats, plus the galloping synths, make the Neeraj Shridharâ€™s number terribly catchy. The song sports simple lyrics enough to set the dance floor on fire. The ending of the antara with â€˜Dhana Dhanaâ€™ is the masala ingredient much needed to boost the Punjabi flavored song.
Eric Pillaiâ€™s interpretation of Lakh Lakh (Electro Dhol House Mix) is electrifying to the core. The DJ keeps the tempo furious and the tune epic. (Special mention to Eric Pillai who has mixed and mastered all the songs in the soundtrack)
Bebo (Club Mix) by Kilogram K & G is an average fare.
The stunning instrumentation in Kyun is the probably the only highlight of the song. â€˜Aur Hum Tumâ€™ from Wajood gets slightly reworked into 'Kyun'! There are too many shades of old vintage Anu Malikâ€™s songs embedded in this romantic track that it becomes so hard to identify which pieces have been slightly touched. While the mukhda of the song is an outro of so many old Malikâ€™s hit, the composer shows his forte in composing an antara, which resonates well with his caliber. The piano is also played wonderfully in the preludes and interludes. One would have expected an Anu Malikâ€™s melody which would have echoed in our minds for years to come. But he mostly gets away with it, primarily because of the powerful rendition of Shreya Ghoshal and Shaan. His accompaniment remains undiluted and beguilingly magnetic. Shreya Ghoshalâ€™s version is deep and charismatic.
Salim-Sulaimanâ€™s Welcome to Hollywood is a small contribution to the soundtrack. Written by Sabbir Khan and sung by Karsh Kale and Anushka Manchanda, the piece depicts the on-goings in Hollywood and mentions a few Hollywood superstars. Ironically, this English song sounds very Bollywood because of the word â€˜babyâ€™! It would have been more appropriate to have a song like â€˜Ticket To Hollywoodâ€™ (Jhoom Barabar Jhoom) rather that a situational track with full of programmed sounds.
The weakest link of the soundtrack is surprisingly the title song Kambakkht Ishq, which turns out to be a regular Anu Malik fare. The composer could have turned this one into a chartbuster. It starts off pretty well before sloping into mediocrity â€“ dragging the voices of K.K and Sunidhi Chauhan into unnecessary territories.
Remember how Sandeep Chowta and Nitin Raikwar worked on the words â€˜Kambakt Ishqâ€™ (the song was found to be plagiarized) in Pyaar Tune Kya Kiya. Neither Anu Malik nor RDB could re-create the same frenzy of the said track.
The soundtrack is purely situational with most of lyrics penned by Anvita Dutt Guptan matching the storyline and situations of the movie. A little more effort was expected from Anu Malik because of the close relationship with the producer and the stars of the movie. The musical blockbusters with Akshay Kumar started with Main Khiladi Tu Anari, while with Kareena Kapoor, it was with Refugee, followed by Mujhe Kucch Kehna Hai.
But times have changed. Melodies in those movies are not guaranteed to work today. Malik has tried to simplify tunes to meet todayâ€™s audiences and also presents us with an edgier and sharper sound. It can safely be concluded that there are no ground-breaking songs to rave about - a misstep in the production of a big budget movie. RDBâ€™s contribution is average, in comparison to their earlier work. The repetitive rhythm in each of their composed track is going overboard now.
Anu Malik creates tunes that are not hard work â€“ songs that will work in todayâ€™s times. Itâ€™s a tricky business taking the best of the 80â€™s and 90â€™s music â€“ catchy beats and insistent melodies â€“ and bringing them back into the current world. He doesnâ€™t mess with the arrangements and provides a high production value to all the songs, especially â€˜Beboâ€™ with a Modern Talking touch. The composer keeps his focus on the script of the movie and creates tunes accordingly. In this process of sticking to situational songs, he may have disappointed his fans and music lovers.
Kambakkht Ishq is that kind of soundtrack that is to be played while having fun. Donâ€™t over-analyze it; just enjoy it. In some way, it works for a Sajid Nadiadwala movie. The music provides the necessary gusto needed!