The music of director Shaad Ali's Jhoom Barabar Jhoom, is certainly worth the wait. Coming as it does at a time where we have a surfeit of Himesh Reshammiya kind of sounds, this album is a royal treat to the ears. The Shankar-Ehsaan-Loy triumvirate does not disappoint as they come up with an album which should add another notch on their musical journey. That this album is a surefire hit is a feeling that you get, from the first track itself. And the subsequent songs just go ahead and reinforce the feeling.
The album has three versions of the title track Jhoom Barabar Jhoom. Quite a departure from the usual. All three versions have a wonderful, foot-tapping quality about them. But the last one, sung by KK, Sukhwinder Singh, Mahalaxmi Iyer and Shankar Mahadevan is surely the best. The singers take the song to its logical climax. While the 'high' is not equivalent to the 'mast' that the Sufi talks about, it is a near duplication.. There is a wonderful sense of abandon in the song which urges you to let loose. The lyrics by Gulzar, seem to be appropriately worded to the sound of youth. Hearing the different versions of the title track, one would probably find it difficult to imagine that Jhoom Barabar Jhoom is a take off from a famous qawali.
Having said that, Shankar's rendition of the first Jhoom Barabar sets the pace and note of things to follow. This version has more of a lyrical quality to it. Shankar excels in the bols, and the fine chiseled work that his voice displays in the semi-classical bits in the song are surely to be expected from a singer of his calibre. The classical bit is juxtaposed with robust Bhangra beats to create a perfect anthem to youth. Incidentally, this is a song which was originally sung by Daler Mehendi for the film. And there is a minor controversy surrounding the song. But not having heard the Daler version, all one can say is that Shankar casts a spell of sorts. The second version of the song sung by Zubeen, Sunidhi Chauhan and Shankar is probably a little more boisterous.
Bombay Vikings' Neeraj Shridhar and Alisha Chinai get together for a a number called Ticket to Hollywood. It has a very old world charm to it, but very modern rendition. Both singers do a good job. The weakest link in the chain is Kiss of Love sung by Vishal Dadlani and Vasundhara Das. It doesn't have that pulsating life force of the Jhoom Barabars collectively and is frankly, quite inane. The only other song, which is entirely in a league of its own is the Raahat Fateh Ali Khan and Mahalaxmi number Bol Na Halke Halke. This is melodious number on the album. It has a soft, romantic feel to it, which is borne out by the lyrics. But it is Raahat Ali Khan's vocals which will captivate you. Unfortunately Mahalaxmi is unable to match him in this song.
The album opens and closes with Jhoom Barabar Jhoom. Such is the power of this song that it overshadows all that went before and after. Almost mesmeric.
