This article was last updated on April 16, 2022
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USA: Oye! Times readers Get FREE $30 to spend on Amazon, Walmart…Expectations:
A contemporary 'Muslim social' from Yash Raj Films centering round Hyderabad, Lucknow- and food! Add the hot young stars Aditya Roy Kapoor and Parineeti Chopra, and Sajid-Wajid getting their first chance with YRF, and expectations really run high.
Music:
The first (title) track, 'Daawat-e-ishq' has an exciting Amar Akbar Anthony-'Parda hai parda'-like prelude (in style only) and sets the mood. Sunidhi Chauhan and Javed Ali (sounding again like Sonu Nigam!) flamboyantly open the ethnic and rooted score. This qawwali is fast-paced, but thankfully stops short of what is known as the acid qawwali, a trend set by 'Tumse milke' in Main Hoon Na. The lyrics (Kausar Munir) intend to be mischievous, but we wish that there was more simplicity and pitch- the Urdu is of course welcome, but not the very ordinary thoughts and trendy use of certain words and sentences that are driven by phonetics rather than richness of content.
But in the rest of the aspects, the song is an unadulterated treat, with Sunidhi Chauhan excelling in this (for her) new genre and even Javed Ali doing a consummate job.
In retro style, an instrumental version of this song rounds up the album. The oh-so-routine, even Gulzar-esque phrasing of 'Mannat' (Sonu Nigam-Shreya Ghoshal-Keerthi Sargathia) could have been replaced by better words. Part of this Sufi-oriented song has elements of Hindi folk and the mélange is just average.
The complex and evolved tune and the excellent singing, however, compensates for the routine lyrics, where only the main thematic idea, 'Meri mannat tu / Tujhse hai tujhko maanga' is well-conceived. However, the strident and unusual musical phrasing works big-time to deliver a potential chartbuster.
The reprise version is again routinely worded, though Shreya and Sonu once again sparkle in this lovely melody. This version, somehow, scores over the original in some ways we cannot place – maybe it is more placid, more emphatically romantic in tenor.
'Rangreli' (Wajid-Shreya Ghoshal) is a sprightly and fast-paced romantic dance number that is the only song here that boasts of innovative and also substantial lyrics.
Uninhibited in love, and advocating the celebration of romance that is unique, it speaks of lovers of different kinds and how they must celebrate their own kind of love. The line, 'Kaarobaron waali mohabbat / Karte hain be-imaane' is indeed an interesting specimen of the kind of thoughts there are in this song.
Wajid and a slightly shrill Shreya Ghoshal deliver the song with customary expertise, and the orchestration is earthy and has the right aroma of the soil.
'Shayarana' (Shalmali Kholgade) is the different track, with a modern element that Shalmali delivers with skilled expertise. The lyrics are mundane again, but the tune lingers with its simple, Western feel and old-world rhythm.
The fusion flavour of 'Jaadu tone waaliyan' (Shabab Sabri) lends an infectious spirit to the different and zesty number that is instantly catchy and also lingers. Sabri is expressive and the blend of Indian dholaks and Western instruments including the rock-guitar must be praised. Nevertheless, we wonder what the Punjabi lexicon ( 'jigra', 'veeran', 'waaliyaan') is doing in the locations in which this film is set!
Overall:
Sajid-Wajid's music and sense of melody are very strong and their melodies are aimed ambitiously – complete with proper playback singers rather than fly-by-night crooners – at a long shelf-life. This is their zone, their big (YRF) chance, and they cash in on it, full-on! Pity the lyricist cannot match the standards, after all those ambitious mukhdas.
Our Pick:
'Daawat-E-Ishq', 'Shayarana', 'Jaadu Tone Waaliyan'
Music: Sajid-Wajid
Lyrics: Kausar Munir
Music Label: Yash Raj Films
Article written by staff at Bollywood Hungama. Read more
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