EXPECTATIONS There are decent expectations from the music of Prince. Since this is a film from the house of TIPS, certainly quality is expected from the soundtrack. Moreover, the man at the helm of affairs is debutant director Kookie Gulati who has many a music video to his credit. It can well be expected that for his first full length feature film, he would have at least a couple of chartbuster songs up his sleeve. However, since the film has taken a little time in reaching towards the finishing line, there is a slight apprehensive factor that sets in. Nevertheless, one goes on to play the soundtrack of Prince which is made of an astonishing 16 tracks, half of them being remixes. Sachin Gupta composes while Sameer writes.

MUSIC It's a techno start for the album with 'O Mere Khuda' giving a high energy start to Prince, something which was pretty much required for the film belonging to action genre. Atif Aslam, who has been known for singing romantic melodious songs, finds a new space for himself as composer Sachin Gupta puts him in a situation where he has to replicate an effect similar to that of the title song of 'Dum'. The common factor here? Vivek Oberoi. While the opening lines of 'O Mere Khuda' are a cracker, especially with the accompanying sound of 'Aa Bhi Ja Sanam', the 'antara' is a little loose. Still, one doesn't mind the overall effort primarily because of the out and out Western setting of the song which appears again in the 'Dance Mix' version. Later the song is heard again as 'Aa Bhi Ja Sanam' which basically has the same tune as 'O Mere Khuda' but is paced on a slightly slower note. This time around the song has a love setting to it and one can sense that Atif feels a little more in the 'zone' here! With a lounge feel to it, 'Aa Bhi Ja Sanam' makes for a good hear as well and so does the 'Dance Mix' version which is obviously more upbeat.Remember the chartbuster track 'Ho Jaata Hai Kaise Pyaar' from Sanjay Dutt and Manisha Koirala starrer Yalgaar? A couple of lines from the middle of the song are used as a basis to kick start 'Tere Liye' which comes on its own within a matter of seconds and turns out to be a smashing love song that gets the hook on in the very first listening. Atif Aslam and Shreya Ghoshal make for a good pair here as they keep the techno mood of the album on. Despite the Western setting that 'Tere Liye' carries, there is an touch of melody to the proceedings that ensures that if coupled with good visuals (which should be the case), 'Tere Liye' will succeed in keeping the audience's attention on. Such is the confidence of the makers in 'Tere Liye' that the song appears in as many as four versions. After the original, the next to come is the 'Dance Mix' version which has a club feel to it. The 'Hip Hop mix' which comes later is softer in appeal, has a sensual feel to it and is a much better bargain. The best is reserved though for the 'unplugged version' which impresses primarily due to its unadulterated presentation. With just a guitar in the background, composer Sachin Gupta also brings himself behind the mike and comes up with a good solo version. Now this one can be given a repeat hearing. A theme song centred on the protagonist who is struggling to find his own identity, 'Kaun Hoon Main' has a rock setting to it and takes some time before it leaves an impression for the listener. Of course the sad setting of the track as well as an inherent situational appeal means that 'Kaun Hoon Main' is not the next chartbuster in the making. Still, the Western arrangements to the song helps it from turning into a complete pushover as 'Kaun Hoon Main' (which later appears in a 'Dance Mix' and 'Lounge Mix' version) holds on reasonably well and ensures that it goes well with the narrative. Prince gets an item number for itself in the shape of 'Jiyara Jiyara' which has the kind of lyrics that Sameer has been living with for decades now. Though there is nothing novel about the words that are handed over to Alisha Chinoy, credit to her and composer Sachin Gupta who save the number from turning into a complete disappointment. Together, they give a Western treatment to the song (and later do a good fusion in the 'Bhangra Mix' version), hence making it sound contemporary at the least. Expect soaring temperatures when the song is played on screen, especially due to the way Alisha Chinoy goes about singing this number with Hard Kaur coming up with her rap inputs. Monali Thakur gets a solo for herself in the form of 'Ishq Mein' which keeps the upbeat mood of the album intact. There is a sense of seduction prevalent right through this song which doesn't boast of any path breaking lyrics but yet again finds a place for itself courtesy the composer and the singer. A love song where the female protagonist is craving for attention, 'Ishq Mein' gels well with the overall mood of the album and turns out to be a decent inclusion. Later arrives the 'Prince - Mega Mix' which is indeed a mega version considering its running length of 7 minutes. A dance floor track that has to be put on blazing volume to be enjoyed, it is an amalgamation of number of songs from the album and hence sees Atif Aslam, Shreya Ghoshal, Alisha Chinoy and Hard Kaur coming together all over again. It would be interesting to see if a music video is built around 'Prince - Mega Mix'. Prince concludes with a 1 minute theme track titled 'Prince - Theme' which plays its role of 'rounding up the album' quite well. A high energy close to an overall high energy album.

OVERALL As stated earlier, the USP of Prince is its high energy. Regardless of the lyrics or the heard before feel of a couple of songs, Prince works because young composer Sachin Gupta ensures that there is an upbeat mood to each and every song, whether it is the theme track, sad track, love song or an item number. He never lets the tempo slow down for Prince which goes well with the thriller mood of the film. No, Prince is not an album which would be heard six months down the line. However, when heard with the narrative of the film, Prince should do well for the moment.

OUR PICK(S) Tere Liye, Aa Bhi Ja Sanam, O Mere Khuda

EXPECTATIONS Now when did this film get made? Really, with IPL round the corner, it's the same situation as one saw last year when number of films arrived in theatres out of nowhere. Google search reveals that the film also stars Rajesh Khanna in a pivotal role which adds some credibility to the film. However, with not many expectations, one goes on to play Do Dilon Ke Khel Mein which has music by Daboo Malik and lyrics by Panchhi Jalonvi.

MUSIC There is predictability written all over the number 'Jaane Kyun Pyaar Mein' the moment Daboo Malik is heard behind the mike. Arrangements are strictly 90s as well and eventually the song turns out to be one of those Nadeem Shravan tracks in the era gone which can't really be expected to become popular in the current musical scenario. Shweta Pandit does manage to come up with a spirited rendition and one can sense that she is singing with her heart in. However, done to death lyrics by Panchhi Jalonvi and an outdated feel relegate 'Jaane Kyun Pyaar Mein' to one of those heard before outings. Later the song also arrives in the 'remix version' which sees new find Pavni Pandey replace Shweta. The no-show continues with 'Resham Ka Dupatta' following next. Written by Vijay Akela, this 'item number' has lyrics like 'resham ka dupatta faad diya' and much more which clearly describes the feel and mood of the song. Worse, this attempted fusion track has none other than Rekha Bhardwaj at the helm of affairs which makes one wonder what made her sign the song in the first place. One immediately moves on to the next track in the album, 'Ajnabee Ehsas Ko', and there is some redemption with the song taking a softer route. Ok, so this one doesn't break much ground either but in comparison with all the songs heard so far, this one can at least be revisited for a second hearing. Soham Chakrabraty gets all romantic and mushy for this Panchhi Jalonvi written love song which moves at a slow pace and thankfully gets 'thehrav' in the album which otherwise wasn't really going anywhere. There is some preaching at the beginning of 'Samajhdaar Ko Ishara' which is as 80s as it gets. However, there is an advent of beats soon after with Sunidhi Chauhan, Sandeep Acharya, Harshdeep, Daboo Malik and A D Boyz coming together in an obvious attempt to recreate 'Deewangee' (Om Shanti Om). In fact right from the 'mukhda' to the overall arrangements, 'Samajhdaar Ko Ishara' just follows 'Deewangee' to the T, hence aiming at getting the fusion 'qawalli' right. Now let's give it to Daboo Malik and Panchhi Jalonvi because they actually manage to get it right to some extent as well with the song sounding better after repeated listening. A rather long 'Holi' track (lasting over 7 minutes) follows next with the beginning of 'Rang Dalunga Chunri' reminding one of the manner 'De De Pyaar De' (Sharaabi) started. From here on its the trademark sound of 'sa ra ra ra' which takes over which slots 'Rang Dalunga Chunri' into many a Bhojpuri tracks that are made available on music stands every festive season. Udit Narayan is the right choice for this song though it is surprising to see Shreya Ghoshal joining in as well. Dipak Giri and Shalini Srivastava lend support to this average sounding track by guest composers Satish-Ajay and lyricist Nafees Alam which is strictly meant for the smaller town audience. This is followed by another 7 minute long track which has contribution by guest composer and lyricist Sujeet Chaubey. Kailash Kher is roped in to sing this 'dard-e-judaai' number 'Teri Yaad Aayi' which belongs to the school of music that the likes of 'Laal Dupatta Malmal Ka' and 'Ayee Milan Ki Raat' indulged in 20 years back.

OVERALL Do Dilon Ke Khel Mein maintains an outdated feel to it right through its duration which is its major undoing. Yes, there are two or three songs that do manage to catch one's attention. However, with audience expectations being reasonably high in the current times and anything ordinary finding immediate rejection, Do Dilon Ke Khel Mein doesn't stand much chance for itself.

OUR PICK(S) Samajhdaar Ko Ishara, Ajnabee Ehsas Ko

EXPECTATIONS To begin with, there are no expectations from the music of Na Ghar Ke Na Ghat Ke. The film has arrived out of nowhere, has a newcomer (Rahul Aggarwal) who is doubling up as a director as well as the lead protagonist and doesn't quite sound like a musical that one could actually look forward. And then you see the people in charge of the music department and there is some level of resurrection. Composer Lalit Pandit, lyricist Mudassar Aziz and singers like Remo Fernandes, Shreya Ghoshal, Neeraj Sridhar, Sunidhi Chauhan and Sukhwinder Singh make one heave a sigh of relief that there would at least be a song or two that would turn out to be a good hear.

MUSIC Ever selective Remo Fernandes is back rendering a mainstream number in the form of title song Na Ghar Ke Na Ghaat Ke. A song that establishes the character of a central protagonist who arrives from a small town to the city of Mumbai, Na Ghar Ke Na Ghaat Ke tries to be all fun and lively but doesn't cover much distance other than sounding like an ad jingle for Doordarshan. Yes, Remo is spirited in his singing but overall the song doesn't quite cut much ice and at maximum appears as the kind that plays in the opening credit rolls. There is another version of the title song which appears later in the voice of Sukhwinder Singh. Thankfully this sounds a little better than the first version and is rightly selected as the one for the promotional purpose. The lyrics are different in the song and so is the overall music and pacing which makes 'Na Ghar Ke Na Ghaat Ke' sound reasonably better. There is a bit of rap thrown in for good measure as well, something which is expected to elevate the song's mood further. However, the 'remix' is done on Remo's version though one feels that it would have been better had that been done for Sukhwinder's version. Its an entry into the Pritam territory right from the first note with 'Agar Hum Tum Ko' coming conveniently close to 'Chor Bazari' (Love Aaj Kal). Does one mind that? Not at all as the song does turn out to be a good hear, especially with Shreya Ghoshal and Neeraj Sridhar singing quite convincingly. There is an apparent sweetness in the way this love song is presented, especially in the 'antra' portion, which makes one believe that 'Agar Hum Tum Ko' is indeed the kind of number that would have been grabbed by many a director. No wonder, the 'remix version' this time around is most welcome. Sadly though the overall impact of the album is diluted by an item number which appears to be set in a night club. 'Sajan Bawre' is the kind of number that Sunidhi Chauhan has sung to death in last 5-6 years and it's a pity that she continues to pick such numbers at least once every month. A nothing number which is made just for the mass audience in the smaller towns, 'Sajan Bawre' also appears in a 'remix version'.

OVERALL In this rather short album, eventually it is only 'Agar Hum Tum Ko' that one ends up revisiting. Yes, Sukhwinder's version of the title song 'Na Ghar Ke Na Ghaat Ke' is nice too but eventually it stays on to be strictly situational. However, it would be expecting a little too much for the album to make its presence felt at the stands, especially when some of the bigger albums with much more saleable names are also struggling to attract many listeners.

OUR PICK(S) Agar Hum Tum Ko

EXPECTATIONS Vikram Bhatt and good music go together. The albums may or may not register huge sales but the fact remains that Bhatt is one filmmaker who has an ear for music and is conscious of the requirement of some good melodic songs. This is why there are good expectations from the music of Shaapit, especially since it also marks the debut of Aditya Narayan, son of Udit Narayan, as an actor. Chirantan Bhatt is roped in as a composer along with lyricist Sameer for this horror tale with love story playing an integral part of the plot.

MUSIC Even though Chirantan Bhatt holds centre stage for majority of the album (with as many as four songs), it is Nazam Sheraz who kick starts the proceedings for Shaapit as a composer, lyricist and singer. If you had liked 'Vaada...Tumse Hai Vaada' from Vikram Bhatt's last outing '1920', chances are you won't mind listening to 'Tere Bina'. A love song with a sense of sadness, loneliness and longing to it, 'Tere Bina' is a haunting track which can be expected to arrive at multiple junctures in Shaapit. The song doesn't belong to the chartbuster variety but if in mood for a soft outing with lights switched off; 'Tere Bina' does come in handy. From this point on Chirantan Bhatt and Sameer take over the proceedings. To go with the title and situation of the song, 'Ajnabi Hawaayein' has a whiff of air brought alive at the very opening moment. Shreya Ghoshal gets into the 'Gumnaam Hai Koyi' mode for this quintessential 'bhatakti aatma' song which is just perfect for the kind of situation one can expect in the film. There is an element of horror and love interspersed with each other in 'Ajnabi Hawaayein' which automatically transports a listener to a 'veeran jungle' with a haunted house somewhere in the background. Strictly situational! And this is the point where the best (and most commercially viable) track of the album arrives in the form of 'Chaahata Dil Tumko'. With a groovy rhythm to it, this young love song has Aditya Narayan singing for himself and doing a rather good job in creating the right impact. Somewhere in the background, one can also hear Suzanne D'Mello as a background vocalist. Yes, the song has a 'heard before' feeling to it since it follows a mandatory template of an Indi-pop outing but you don't mind it since there is a certain feel-good effect that comes along with it. The same team continues with 'Kabhi Na Kabhi' which has an old world feel to it. Yet again there is a deja vu attached to it and the kind of arrangements used in 'Kabhi Na Kabhi' remind one of many a song that have been heard in Vikram Bhatt films. A nice harmless song by Aditya Narayan which does well for its duration and though it doesn't mandate long queues at the music stands, it won't really turn away listeners either. In comparison the 'rock version' of 'Kabhi Na Kabhi' manages to make a better connect. Its time for some 'masti' to follow with Hamza Faruqui and Chirantan Bhatt bringing on some Persian flavour with 'Hayaati' that has a rather extended beginning to it (as much as 70 seconds) before the singers take over. Surprisingly the song doesn't strike much initially though one starts settling down to its sound after hearing it a couple of times. Nevertheless, the song overall stays on to be an average composition and it depends a lot on the picturisation to take it any distance. Aditya Narayan makes his debut as a composer with the title song 'Shaapit Hua' that arrives in a full on rock version. He writes as well as sings the song along with Sunidhi Chauhan and the way 'Shaapit Hua' has been conceptualised; it does warrant a music video going to it. Completely in line with 'Kurbaan Hua' which was heard just a few weeks back, 'Shaapit Hua' follows a similar composition style and brings on the right intensity and passion which was required for a song belonging to this genre.

OVERALL Even though the music of Shaapit doesn't quite go all the way in meeting the good expectations that one had from it, there aren't any songs that are a turn off either. Yes, mind-blowing chartbusters are missing in this Chirantan Bhatt album but still at least a couple of songs like 'Chaahata Dil Tumko' and 'Shaapit Hua' do manage to make a good impact. These two tracks should be harnessed to the fullest to help the album register good sales since there is still a month to go before the film arrives in theatres.

OUR PICK(S) 'Chaahata Dil Tumko', 'Shaapit Hua'