EXPECTATIONS Zilch are the hopes from the music of Prem Kaa Game which is the revised title of the film Shaadi Ke After Effects which was completed 3 years back. An Arbaaz Khan starrer that has an obvious dated look to it, Prem Kaa Game hardy promises anything musically. Raju Khan composes; Kiran Kotrial writes the songs while Javed Akhtar is the guest lyricist.

MUSIC The way title song ' Prem Kaa Game' begins; one is transported back into the era of the 90s when films of the likes of ' Dulhan Hum Le Jaayenge' and ' Kunwara' were in vogue. Along with Nishant Pandey, there is a computer generated voice (that of a child) that is heard right throughout ' Prem Kaa Game'. There is an attempt at bringing on a fun flavour to Prem Kaa Game (which is about extra marital relationships) but that doesn't quite work, courtesy the treatment of the song which is stuck in the 90s. One can be rest assured that if ' I Wanna Fall... ' is offered to Sonu Niigaam and Sunidhi Chauhan today, they would reject it out rightly. Just think of it, how passé are the lyrics like 'I Wanna Fa Fa Fa.....', which only concludes as '....fall in love'? Though there are clear indications of what the singers are trying to convey here, the song (thankfully) takes a turn for the better by extending 'fa..' into 'fall' and even 'first'. A kind of number that would have made it to the top of the repertoire for Govinda during his 90s innings with David Dhawan, ' I Wanna Fall... ' is funny with Arbaaz Khan and Maliaka Arora coming together. However, the problem yet again lies with the fact that it is at least a decade later. Thankfully, there is some sanity brought into the proceedings with Javed Akhtar bringing matters in his own hands and writing a love song ' Tum Hi Mere'. Ok, let's not be overexcited about hearing something extraordinary here. However, it is just that after a couple of (obvious) item numbers, it is nice to hear a love song which at least comes close to fit into today's times. Sung by Javed Ali, ' Tum Hi Mere' has a racy rhythm to it with a touch of melody, something which does come close to many a tracks made by Bhatt-Pritam combine. In fact one can almost visualise an Emraan Hashmi to be serenading his leading lady with this song. However, this relief is only momentary with Sunidhi Chauhan returning with a solo track. A fast paced track, ' Duniya Se Jo Chaaha' isn't quite an outright reject but doesn't carry enough ammunition also to find a place amongst a music lover's collection. A number with the message of 'Hey, look at me, I am just the one for you', ' Duniya Se Jo Chaaha' may well work with the galleries if given a sensual treatment. After Sunidhi Chauhan, it is the turn of Sonu Niigaam to repeat an act which belongs to the genre similar to that of ' Duniya Se Jo Chaaha'. There is a role reversal of sorts as ' Zabardast' features a male protagonist aiming at being the centre of attraction. With Sunidhi Chauhan in tow, this heard-before track aims at keeping a consistent pace right through its five minutes duration with Western arrangements helping its cause. However, one does wonder what is Vishal Dadlani doing in a song like this?Javed Akhtar returns to the scene once again and this time it is a melodious love outing with Sonu Niigaam and Shreya Ghoshal coming together. Titled ' Magar Kuch To Hai', this is yet another song after ' Tum Hi Mere' which can be reasonably accommodated. Moving at a slow pace with a soft touch to it, courtesy the musical instruments that refrain from going aggressive with beats, ' Magar Kuch To Hai' is set in a Shankar-Ehsaan-Loy mode. Not bad actually! Finally comes the number which was much in news when the film was announced years back - ' Khan Kaa Gyaan'. With Salman Khan putting on the hat of a narrator, ' Khan Kaa Gyan's is more of his story than anyone else. Now if only this song was pitched well, it could have done really well, just like the track 'Most Wanted' from his last big hit Wanted. Salman Khan goes on to introduce himself with references to ' Ek Garam Chai Ki Pyaali Ho', 'Tere Naam', 'Mujhse Shaadi Karogi' and others. Talking about the evils of marriage and giving a good account of him being happy as a single, ' Khan Kaa Gyan' comes with a good potential of being a highlight track.

OVERALL Though one had believed that Prem Kaa Game would be an outright reject, there is indeed a little surprise with a song or two actually turning out to be a decent hearing. Also, if released during the mid-90s, perhaps an added number or two could have worked with the masses as well. However, a dated feel coupled with rushed release and minimal promotion would mean that this game of Prem won't quite reach the winning mark.

OUR PICK(S) 'Tum Hi Mere', 'Khan Kaa Gyaan'

EXPECTATIONS There are certain set expectations that one has from the music of a sport based films. A couple of inspirational tracks, a situational song or two and then a theme track/ background piece. This is the reason why doesn't expect a chartbuster outing from Lahore which has music by M M Kreem, lyrics by Junaid Wasi with Panchhi Jalonvi and Piyush Mishra as the guest writers.

MUSIC An anthem track which can be expected to play at numerous junctures in the film, 'Ab Ye Kaafila' is about the bunch of sportspersons marching ahead in their pursuit of success. A situational track rendered by KK, Karthik and M M Kreem, it has a smooth flow to it and refrains from turning loud. Saving itself from the trap of turning overtly patriotic and predictable, 'Ab Ye Kaafila' is easy on ears even though it comes across as an ad jingle. There is a new Daler Mehndi that one gets to hear in 'Musafir' which is a soft track. One wonders how composer M M Kreem thought of bringing Daler Mehndi out of his comfort zone of 'bhangra' numbers and made him to do this slow moving number about the journey of life. Yet another situational track which can primarily be expected to play for some time in the film's background score, 'Musafir' written by Panchhi Jalonvi has a pensive feel to it and doesn't have much shelf life beyond Lahore. However, M M Kreem thought otherwise and hence he repeats the song, this time by bringing himself behind the mike.Normally one would expect Shankar Mahadevan and Shilpa Rao to come together for a romantic or fun outing. However, the situation is a little different in 'Rang De' which has a start similar to that of Pritam's 'Ishq Hi Hai Rab' (Dil Bole Hadippa). With a Punjabi folk flavour dominant right through its duration, 'Rang De' is foot tapping and brings along the feeling of friendship and euphoria. No, it is not the next chartbuster in the making but still, it is the most crowd pleasing number of the lot so far. The mood changes soon after with M M Kreem coming behind the mike once again for 'Saaware'. A sad track about all happiness being lost and the entire world being a deserted place due to this loss, 'Saaware' promises to get a good 'thehrav' in the narrative of 'Lahore' which promises to be a good sports action entertainer. One looks forward to how the song is placed in the film. Guest composer Hitesh Soni pairs up with lyricist Piyush Mishra to write 'O Re Bande' which is the longest track in the album. Lasting as long as eight minutes, the beats of this 'Sufi' number reminds one of 'Piya Hazi Ali' [Fiza]. A soothing track and the best of the enterprise, 'O Re Bande' is elevated to further heights due to soulful rendition by Rahat Fateh Ali Khan and Shilpa Rao. Lovers of this genre would lap up 'O Re Bande' which has a timeless appeal to it and spreads the message of peace and togetherness. A noble track. Last to arrive is 'Lahore - Theme' which has an international appeal to it and sounds classy. A Western track which is composed by Wayne Sharpe with vocals by international celebrity Lisbeth Scott, 'Lahore - Theme' brings the album to a good closure.

OVERALL Lahore stays situational for most of its duration but maintains a decent quality throughout. It never slips from its zone with tracks like 'O Re Bande', 'Saaware' and 'Rang De' ensuring that you do revisit the album. However, there is near to nil promotion of the album coupled with the fact that it doesn't have any elements that contribute to a soundtrack turning out to be highly popular amongst masses. Moreover, since Lahore is arriving amidst a dozen odd other releases, the hard fact is that this soundtrack would go more or less unnoticed.

OUR PICK(S) O Re Bande, Saaware

EXPECTATIONS When an established actor goes on to launch his first film as a producer, there are good all around expectations. Whether it is the film as a whole or its music, one expects something striking in all departments. This is the reason why when Arshad Warsi arrives with Hum Tum Aur Ghost and ropes in none less than Shankar-Ehsaan-Loy and Javed Akhtar to handle the music department, one looks forward to something striking at the least.

MUSIC Even without going through the credits, it wouldn't have been difficult to figure out that 'Dekho Raste Mein' is the work of Sankar-Ehsaan-Loy. A beautiful tune with a classy feel to it, 'Dekho Raste Mein' is one of the better tracks to have arrived this year so far. The 'mukhda' is highly addictive with both KK and Shreya Ghoshal thoroughly enjoying their outing. Javed Akhtar's lyrics too are sweet and simple while well conveying the emotions of a couple who have just discovered love. For a track like this, one does wonder if a 'remix version' was indeed required. However, the makers do believe otherwise and as it turns out, it is not a wrong decision at all, as evidenced in the club mood that 'Dekho Raste Mein' ends up creating. Wait, there is more. 80 seconds into this version and there is a slight 'bhangra' touch imparted as well with Arshad Warsi himself preceding it with his own rap rendition. Not bad! It's a foot tapping beginning for 'Hum Tum Aur Ghost' which, on the face value, would have seemed like a sad track. However, this is not the case because instead it turns out to be a celebration number with rapid beats ensuring that there is no single dull moment. With a touch of rock to it, 'Hum Tum Aur Ghost' has the kind of rhythm that should be heard right through the narrative of the film. Shankar Mahadevan and Vishal Dadlani come together for this fun track (with chorus by Mani Mahadevan, Arun Ingle, Jaya and Jyotsna Hardikar) and though one can't expect the song to be playing six months from now, 'Hum Tum Aur Ghost' does well for the moment. A shorter 'remix version' comes later with added elements of rap by Bob. If a music video around this song is made, it has the potential of gaining added popularity. Now this track does have good enough ingredients to get the right excitement and pace in the proceedings of Hum Tum Aur Ghosti Rendered by Shaan and Sunidhi Chauhan, 'Banware Se Pooche Banwariya' is fast paced, racy, youthful, energetic and very much today's. In fact at places one does feel like hearing a composition by Pritam. However, leaving the comparison factor aside, one can be rest assured that if picturised well and promoted aggressively, 'Banware Se Pooche Banwariya' is a good enough number to gain instant popularity. On a separate note, it seems like a complete family affair with Maria Goretti forming a part of the chorus group that comprises of Loy Mendonsa, Raman Mahadevan, Anusha Mani, Rahul Saksena and Kaushik Deshpande. It is surprising though that there is no 'remix version' of this track because it is the one for some good times in the party circles. As expected, there is some 'thehrav' in the album with 'Kal Tum The Yahan' coming in next. On the same lines as the song from Rock On - 'Phir Dekhiye' (which was incidentally sung by Caralisa Monteiro, who is the singer here as well) - 'Kal Tum The Yahan' is about the misunderstandings that have crept into the relationship of the leading couple. Set in a Western mode, this smooth flowing number refrains from turning out to be sad and while its mood is solemn, it only brings in variety to the album. Shankar Mahadevan is the male vocalist of the song with Dominique Cerejo and Clinton Cerejo coming together for the chorus. Later arrives an upbeat version of the same number and though the lyrics are still the same and the mood too common, the added beats with some exciting arrangements do well in pepping up the situation a little.

OVERALL Hum Tum Aur Ghost is a good album with at least a couple of numbers doing quite well - 'Dekho Raste Mein' and 'Banware Se Pooche Banwariya'. Since there isn't much time remaining for the release of the film (which would have a telling on the music sales as well), the need of the hour is to aggressively promote these two tracks to generate higher sales figures. It would be a pity if these songs go unnoticed.

OUR PICK(S) 'Dekho Raste Mein', 'Banware Se Pooche Banwariya' 

You know you’ve arrived on the Indian music scene, when your name is taken in the same breath, with that of Lata Mangeshkar.

 

From the age of four, Shreya Ghoshal began accompanying her mother who besides being a good singer even played the harmonium. And, whenever she played a good note on the harmonium, Shreya would sing to it correctly. On her own.

 

Her father recognizing her talent enrolled her into formal training in Hindustani classical music with Maheshchandra Sharma.

 

At eleven, Shreya won the children’s special competition in the Zee TV show Sa Re Ga Ma, hosted by Sonu Nigam. After the competition, Kalyanji – one of the judges, urged Shreya’s parents to shift to Mumbai to hone her talent.

 

In Mumbai, she trained under Kalyanji for eighteen months. Shrimati Mukta Bhide coached her in the basics and nuances of classical singing.

 

Three years later, Gajendra Singh of Sa Re Ga Ma asked her to once again participate in the mega-finals of the competition, its 75^th. A reluctant, unsure and nervous Shreya complied with a Meera Bhajan ... and won it.

 

This time she came under the eye of none other than Sanjay Leela Bhansali, who was scouting for a fresh and talented, innocent-yet-playful voice for his heroine Paro in the film Devdas. The call was made. She heeded. It was 9^th March 2000.

 

She auditioned and was selected.

 

For her first recording Bhansali and music director Ismail Durbar asked her to sing the song ‘Bairi Piya’ casually.  She did. Only to learn that both Sanjay and Ismail Durbar liked it so much that they announced it was the final take.

 

Shreya hasn’t looked back since. She sang five out of the ten songs in Devdas, her voice emoting the pain, confidence and innocence of the heroine - Paro, thus completing Aishwarya’s wholesome portrayal of the character.

 

Other music directors and films followed. She has sung in no less than 9 languages including Hindi. Her fan following numbered in the millions.

 

In her short career to date, Shreya has bagged no less than 4 National Film Awards, 5 Filmfare Awards, 2 Regional Filmfare awards, 4 IIFA Awards, 3 Zee Cine Awards, 3 Star Screen Awards, a Stardust Award, two independent state awards, 3 Apsara Awards... the list goes on.

 

All this, at the tender age of 26.

 

Just like her idol – Lata Mangeshkar, Shreya is genuinely versatile. The texture in her voice lends itself to romantic songs. But, she’s able to modulate her voice to suit a pop song, a classical or a dance number. Her soft, silken, heavenly voice is hugely appealing and is loved by fans of all age groups.

 

Among today’s female playback singers, Shreya is the only one trained in classical music and perhaps it’s this foundation that has enabled her to soar above the others. Her diction and pronunciation in any language is so fluid and unaccented that it’s hard to believe it’s not her native tongue.

 

Shreya knows even in a country like India with its teeming masses and its kaleidoscope of religions, cultures, languages and social strata, it still is all about reaching the individual heart. Which she does. Every time.

 

There’s something else.

 

The songs in a majority of Indian films reflect the love, romance and emotional depths of the stories. And every time she picks up the mike, Shreya Ghoshal has been able to tune her voice and her soul to the mood of the moment in the story. Something so finely achieved, seldom equaled, by Lata Mangeshkar in her six and half decade-old singing career.

 

Above all, in spite of all her accomplishments, Shreya Ghoshal is down to earth. Humble. Hard-working. Respectful. And, she firmly believes, in spite of foolhardy wordsmiths like I, that she’s a far cry from being compared with her idol.

 

But then again, when you really think about it, is it really a question of whether Shreya Ghoshal will surpass her idol Lata Mangeshkar in reputation, accolades, acceptance, standards, quality, range and sustainability?

 

Or is it a question of who among Shreya’s contemporaries are closest in accomplishments and repute to that legendary benchmark: Lata Mangeshkar?

 

Me thinks, you and I, are finally on the same page.  No one else comes close.