EXPECTATIONS Nope, there aren't any expectations that one carries from the music of Madholal Keep Walking. Belonging to art house cinema, neither is this film a musical by any means nor has music being projected as any of the highlights here. Also, it doesn't even have music as a talking point in the bare minimum promotion which is happening around it. No wonder, one barely manages to play on this album which has music by Nayab Raja with Saani Aslam as the lyricist.

MUSIC 'Naina Lage' is a song which appears in three versions right from the beginning till the end of the album. First to come is 'Madholal's Theme' where Bhupinder Singh lends his vocals. A semi-classical track, 'Naina Lage' has a sad undertone to it. While it narrates the tale of the protagonist who is waiting for someone special, it only turns out to be a sad outing, both for him as well as the listener, with an all around depressing show.Same holds true for the 'Wife's Theme' as well as the 'Daughter's Theme', the second and the third version of 'Naina Lage' respectively, where Parveena and Mitali Singh come behind the mike. One doesn't expect a feel good atmosphere in each and every song which is churned out in Bollywood. However, in the times when composers make an extra effort to make even a sad number easy on ears and catchy, a track like 'Naina Lage' doesn't make you long to hear it again. As indicated in the title words itself, the song 'Falsafa Yeh Zindagi Ka' takes a philosophical route. With an old fashioned feel to it, this Altaf Raja sung track could well have been composed a decade or two back. Yet again, it is the lack of freshness which makes 'Falsafa...' totally passe. A song about every man living for his own rather than worrying much about the world around him, 'Falsafa...' is in line with the theme of the film. Next to come is 'Khuda Ke Vaste' and compared to the other numbers in the album, this one still makes for a reasonably catchy outing. A 'qawalli' by Aslam Sabri, 'Khuda Ke Vaste' is about bridging distances and uniting for the sake of peace and togetherness. Of course, there isn't anything spectacularly phenomenal about this track but when compared to what one has heard so far, this one still manages to hold your interest till the very end at the least. However, it is back to dull times with 'Yeh Dharti' which only sinks you further in depression. While the song touches upon the goodies that this earth has to provide with references to 'dharti', 'nadiyan' and 'pahaad', it only ends up seeming like a call for preservation more than anything else. A song that bores for those four minutes that it plays; 'Yeh Dharti' has Raja behind the mike who doesn't do much to salvage one's interest. Surprisingly, there is a rock number that looks at rounding up Madholal Keep Walking which hasn't provided anything so far that could have elevated the proceedings. Even the title song here doesn't succeed in doing so even as Raja Hassan tries to get into a rock mood. Written by guest lyricist Sahil Fatehpuri, this title song of Madholal Keep Walking seems like a last minute addition to fill in the space as a theme track. However, the end result doesn't leave you with the sense of having gained something.

OVERALL Madholal Keep Walking is an inconsequential soundtrack that would go totally unnoticed.

OUR PICK(S) Khuda Ke Vaaste

EXPECTATIONS One doesn't quite know what to look forward to in Soch Lo. Looking at an unconventional poster design though (a bare chest man staring at a distance in a desert); you do get an idea that there would be something surreal in the offing. However, to what extent is something that you get to know only after playing on the album which has compositions by Nitish Pires, Charu Moohan and Mehboob.

MUSIC It's a soft beginning with a Western sound that takes forward 'Mera Yahaan Hai Kaun'. Prashant Ingole writes this theme track about the protagonist who is lost in the big world with no memories of his past life. A soft rock number, it actually turns out to be a decent outing. Composed and sung by Nitish Pires who changes pitch at different junctures as per the song's mood, 'Mera Yahaan...' should do well with accompanying visuals in the film. The female version (by Bianca Gomes) is good too with Sibtain Shahidi contributing with added lyrics. The singing here comes with good attitude and has a classy touch to it. Charu Moohan plays the triple role of composer, lyricist and singer as he brings on 'Dedh Inch Oopar'. Though the lyrics do make you wonder what it is all about, you still pay attention to this yet another slow moving number that has Western influences written all over it. A number which by no means is a typical Bollywood outing, it does remind one of 'Sabse Peeche Hum Khade' which was last heard in Aftab Shivdasani starrer Aao Wish Karein. A number for a niche audience that likes their music to be non-Bollywoodish, it is repeated in a much shorter 'Honeymoon version' (now whatever that signifies in the context of the film)! The longest song comes immediately after with 'Faani Dayar' lasting six minutes. Composed by Charu Moohan, this Sibtain Shahidi written track comes with some truly unconventional lyrics. Sung by Master Salim and Charu Moohan, 'Faani Dayar' has a folk flavour to it and is presented in a Western fusion avtar. Yet another track that doesn't fit into Bollywood scheme of things, 'Faani Dayar' is indeed different but again caters to a very restricted audience base. It is quite difficult to digest 'Save Me Destiny' though which seems to have been affected by a good degree of indulgence that would have gone into it. Mehboob sings, writes and composes the song and comes up with a track that succeeds in only one thing - put you off out-rightly. Not just one struggles to follow the lyrics, the composition is bizarre as well. Worse, the singing only makes it sound worse. If you have to turn someone away from music for long, play this one on for five times in a row. Nitish Pires comes back with Kasera and this time in addition to composing and singing, he also writes a song. Titled 'Kasera', the song belongs to the Indi-pop world and it seems strange to find it fit into a Bollywood film. In fact by this time you also start wondering whether Soch Lo would indeed have a linear narrative even as a film or it would actually follow a bizarre route. Last to come is 'Soch Lo Theme' which is composed by Nitish Pires. A fast moving track that should fill in during the dramatic/thrilling moments in the film, it also has a 70's touch to it at places. In fact, ironically, even as the entire album follows a different route, it is this theme background piece which does come close to being Bollywood at least.

OVERALL There are some film soundtracks that come with a conventional sound. Not all of them work. There are some film soundtracks that try to experiment. Again, not all experiments work. And then there are some soundtracks which are not just unconventional but also strange enough to compliment a film. Soch Lo is one such album.

OUR PICK(S) Mera Yahaan Hai Kaun

EXPECTATIONS Ok, so the music of much hyped Anjaana Anjaani is finally out and it is time to check out what exactly does it have in store. Frankly, the way makers (Sajid Nadiadwala and Siddharth Anand) have chosen to call Anjaana Anjaani a true blue musical of just 2010, the expectations have soared to a great high. Though the year so far has seen some good musical scores, Anjaana Anjaani has pitched itself quite strongly as a film where music is its key strength. Now this by itself is a double edged sword because nothing less than superb is expected when the claims are so high. More so because the film sees Vishal and Shekhar coming together with Siddharth Anand again after Bachna Ae Haseeno (very good), Ta Ra Rum Pam (decent) and Salaam Namaste (good). Also, music in Sajid Nadiadwala's films (Housefull, Kambakkht Ishq, Mujhse Shaadi Karogi, Heyy Babyy) has traditionally gone well as per the genre. No wonder, as a listener, you want to see the music progress to a greater height. Whether it indeed manages to do that? Let's check it out.

MUSIC It's a spirited beginning with first of the title songs in the album, 'Anjaana Anjaani Ki Kahani'. A club track, it is a peculiar case of a dance number that doesn't turn out to be an instant hit with a listener in the very first go. However, once heard a couple of times in entirety, this Neelesh Misra song grows and how. Boasting of a mix of Hindi and English lyrics, it has a late 70s/early 80s feel to it. Call it a coincidence and the fact that it is picturised on Ranbir Kapoor; you do tend to draw a parallel with the kind of dance numbers that Rishi Kapoor was seen during his heydays. Sung with a lot of spunk by new entrant Nikhil D'Souza and Monali Thakur (who takes a totally different route from 'Zara Zara Touch Me' - Race mood), 'Anjaana Anjaani Ki Kahani' should find itself rising up the popularity chart. The song which does require just one listening though to qualify as the top of the charts material is 'Hairat'. A high on energy, youthful, energetic and foot tapping track, 'Hairat' throws further surprise when you check out the singer behind the great job. It is Lucky Ali who is 50+ in age and still gets the kind of mood rolling which could make many a younger singers feel shy. Why doesn't he sing more often? A love song about life being beautiful with a great companion around, 'Hairat' (written by Vishal Dadlani) also stands up for its key word that has seldom been used in the world of Bollywood bound to become a definite chartbuster. After an extended high energy outing comes a song that has Rahat Fateh Ali Khan at the helm of affairs. As has always been the case in album after album, presence of Rahat means that there would be something slow, subdued, subtle and soulful. This is exactly what one gets with 'Aas Paas Khuda' which does require a couple of listening before one settles down to the sound. Written by Vishal Dadlani with Shekhar Ravjiani adding to the chorus, 'Aas Paas Khuda' is about the protagonist being inspired to be positive and trust in the almighty. The treatment in fact has a Western touch to it though Rahat does his own stuff of staying in his 'sufi' zone. What works more though is the 'unplugged version' because with Rahat around, all you wish to listen to is his voice with nothing else around. In this version, there is Shruti Pathak around though one doesn't mind that. It's back to fun and verve and the boyish charm in the voice makes one check out the credit details. As it turned out in case of 'Hairat', there is surprise yet again as the man behind the mike turns out to be Shekhar Ravjiani. He has to sing more often. Period. A young number which could well have been a Valentine Day special, 'Tumse Hi Tumse' one has a Vishal-Shekhar stamp to it when it comes to simplicity. Written by Amitabh Bhattacharya and Anvita Dutt with Caralisa Monteiro contributing with the English Lyrics and also as a singer for that portion, 'Tumse Hi Tumse' is a modern day romantic track for a lazy coffee outing. While all fun and frolic is most welcome, one also looks forward to something truly classy that hooks you to the composition and admires its flow. This is something that one gets to hear in 'Tujhe Bhula Diya' which is not sad by any means despite being set for a sad outing. A lounge outing with Shruti Pathak doing a superb job with her folksy kick-start, 'Tujhe Bhula Diya' is a Mohit Chauhan number all the way as he gets the perfect mood for something that otherwise would have gone unnoticed as a 'dard-e-judaai' track. However, what makes 'Tujhe Bhula Diya' special is the fact that it is straight from the heart and has lyrics (by Kumaar and Vishal Dadlani) that would remain etched in memory, especially the key words in the title. The sufi touch that has been interspersed in this near five minutes song also has Shekhar Ravjiani chipping in and together, the team ensures that there is yet another winner in Anjaana Anjaani. No wonder, the 'remix version' is most welcome as well.In most albums, there are at an average five songs. However, in Anjaana Anjaani there are seven full length songs with a couple of remixes that truly justifies the musical tag that it has lent to itself. The entertainment continues with sixth song - 'I Feel Good' - and one realises that you are indeed feeling good by the time this song appears. In fact this Vishal Dadlani sung and written number makes one wonder that this song could well have come at the very beginning of the album as well. Normally some of the relatively weaker songs make a late appearance in an album but listening to 'I Feel Good' makes one sure that the team here indeed chose some of the best compositions that they had in hand. With Shilpa Rao giving Vishal some good company here, 'I Feel Good' (which has been set as a Western teenage love song) turns out to be yet another good inclusion in the album. The thought around 'weak v/s strong' songs further gets ignited with the arrival of the second title track in the album - Anjaana Anjaani. Really, this song written by Kausar Munir (with Irshad Kamil contributing with chorus lyrics) could well have been at the very top out there! One always had a question whether the team here could ever manage yet another 'Khuda Jaane' (Bachna Ae Haseeno)? Well, the answer is here in the form of 'Anjaana Anjaani'. Credit it to the fact that it is Shilpa Rao holding fort (yet again after 'Khuda Jaane') along with Vishal Dadlani and you know for sure that this one is indeed one complete album. This is the kind of track which has to be nurtured and though one may not sing it day in and night out, it can't be put off once it is on. Also, the oriental sound that does come intermittently is a nice touch too. Go for it!

OVERALL Anjaana Anjaani is a fantastic album and it shows in each and every song that makes an appearance here. This one has a classy touch all through with a mix of club tracks (Hairat, Anjaana Anjaani Ki Kahani) and soulful songs (Tujhe Bhula Diya, Anjaana Anjaani) that rock the show in a big way. While Vishal-Shekhar can pride themselves on coming up with something that justifies a certain quality that one expects from their soundtrack, the makers (Sajid, Siddharth) can be rest assured that this is their best work till date. With the kind of hype that has preceded the album, it should find instant attention coming its way. Once played, it is bound to grow from strength to strength and find itself right up at the top.

OUR PICK(S) Hairat, Tujhe Bhula Diya, Anjaana Anjaani Ki Kahani, Anjaana Anjaani 

EXPECTATIONS  Ten years back, with a title like We Are Family, one would have expected the kind of soundtrack which is associated with Soooraj Barjatya films or closer home, even Karan Johar's own venture like Kabhi Khushi Kabhie Gham. 'Pooja ki thaali', a mother waiting for her son, 100 odd background dancers, antaakshari, dumb charades - all of this and more would have been the order of the day. Not anymore though with films going through a complete makeover in the decade gone by. This is the reason why you expect some modern songs that belong to today's generation in We Are Family. Shankar-Ehsaan-Loy pairing up with Irshad Kamil (who has extensively written with Pritam) is another reason to look forward to what the music has to offer.

MUSIC It's a good start for We Are Family with Rahat Fateh Ali staring from the credit details in the very first song. Now that's a reason good enough to rejoice because the least you expect is a quality outing with purity written over it. This is exactly that one gets with 'Aankhon Mein Neendein' turning out to be a sweet-n-melodious track. Shreya Ghoshal and Shankar Mahadevan give Rahat Fateh Ali Khan good company to ensure that this romantic number passes by seamlessly. Ok, so this may not be the most memorable chartbuster that 2010 would end up with but it doesn't harm one either. And yes, thankfully there is no 'remix' here. On the contrary a song that doesn't come with any 'remix', is basically an official adaptation of a Western hit and still doesn't work is 'Dil Khol Ke Let's Rock'. Agreed that the song was meant to be a parody but it still turns out to be a complete no-no. Meant to be a fun affair with the lead actors trying to form their own Hindi version of 'Jailhouse Rock', this song only ends up distracting a listener and makes one worry about what's next in store. Written by guest lyricist Anvita Dutt Guptan, this attempt at rock - even with hot blood singers like Anushka Manchanda, Suraj Jagan and Akriti Kakkar - deserves a quick skip. Thankfully, We Are Family gets some redemption for itself with 'Reham O Karam'. Reminding of 'Noor-E-Khuda' (My Name Is Khan) in the way it is presented, 'Reham O Karam' starts off as a slow track and makes one wonder if it is an unplugged take that is being offered. However, the momentum picks up 70 seconds into the song and it turns out to be an enjoyable soft rock. Of course one does wonder how a track like this will fit into the film's narrative because of the distinctive genres. Still, coming together of Vishal Dadlani and Shankar Mahadevan behind the mike brings in a certain class to the proceedings. It's a soft beginning for 'Hamesha & Forever', a quintessential family number, which finally makes an appearance in We Are Family. Of course it is presented in a new age avtar and has a definite Western mood to it. It is always a delight to listen to Sonu Nigam and he does well again with his soft vocals once again. He is given company by Shreya Ghoshal in 'Hamesha & Forever' which is not designed as a chartbuster but more in the mood of the kind of background score that runs in Western family flicks. A situational track. The same theme continues for 'Sun Le Dua Yeh Aasman' which has Bela Shende going solo. An even slower follow up to 'Hamesha & Forever', this one is seemingly designed as a track which would get emotions oozing on screen in a trademark Karan Johar manner. Finally, the album ends with a three minute theme piece 'We Are Family - Theme' which basically follows the mood that has been set in the preceding two tracks.
 
OVERALL Music of We Are Family isn't designed to turn into a mega commercial success. While half the album basically comprises of theme tracks, the sole intended chartbuster (Dil Khol Ke Let's Rock) doesn't work. The only number which has the potential to cover some good distance is 'Aankhon Mein Neendein' with 'Reham O Karam' carrying potential to work with a niche audience. The album (basically the situational songs) has its chances of growing further but only once the film is a success.
 
OUR PICK(S) 'Aankhon Mein Neendein', 'Reham O Karam'