Yeh Jo Mohabbat Hai Music Review

By Satyajit, Glamsham Editorial

"Yeh jo mohabbat hai, ye unkaa hain kaam, mehboob kaa jo bas lete huye naam...(KATI PATANG (1970)" When Kishore Kumar's soul-stirring voice sang those mesmerizing words, it created a hysterical wave for superstar Rajesh Khanna, which not only made this number a timeless hit but also made this flick an evergreen success. Circa 2012, a film titled YEH JO MOHABBAT HAI, launch-vehicle of Aditya Samanta, grand-son of legendary filmmaker Shakti Samanta marks its presence in the marquee as another potential newcomer in this mushy love-story.

Embellished with soothing melodies with bankable vocalists in the credits, it brings back old-war horse Anu Malik as the lead composer with the likes of Late Anand Bakshi, Faaiz Anwar Quereshi and Kausar Munir as the lyricists of the album.

Following the tradition of legendary filmmaker Shakti Samanta evergreen musical hits (KASHMIR KI KALI, TEESRI MANZIL, KATI PATANG, ARADHANA, ANURODH, AMAR PREM etc), it promises to re-launch the legacy of this great filmmaker and promises another big musical extravaganza for its listeners. Will this cute looking romantic saga be the one to match high standards that has been inspiration for many music directors and lovers for decades? Let's find out...

Soothing and calm serene hilly ambience is the epitome of musical spark that makes mood mushier in the opening track "Pyar Karna Na Tha (male)". Mohit Chauhan's immensely likable sonorous baritones bring out the tranquil-filled romanticism in a composition that has upbeat makeover of 70's stylized musical feel. It triggers off impressively with tender piano drills followed with synchronized violin works that later concocts well with light-hearted Indian classical feel that impresses to hilt. It's really great to hear old-fashioned lyrical setting by Late Anand Bakshi getting itself composed, bringing back old memories of veteran lyricist's finest works. What comes out to be the biggest roadblock is its long duration (7.38 minutes) that challenges listener's patience? Decent to the core, it's one of the finest from Mohit's works this year that should strike chords with archetypical Bollywood listeners. After Mohit's lovely voice, its Bollywood Honey Bee Shreya Ghoshal's taking the centre-stage of proceedings in its "female version" with almost similar sounding arrangements and composition. Shreya's harmoniously toned voice works meticulously in modulating tones and sublimes well into the mushy shades of this tenderly-orchestrated composition, overall great singing exhibits by both reliable campaigners that should impress purists. Impressive!!!

Catalyzing out a classical European musical feel in sappy musical ambience, "Tere Bina Jee Na Lage", relives the compassion of the first track with an extra genteel melodic appeal. Whether its blooming Bagpiper sounds or Suzanna Demello's westernized singing binge in prelude, it has intrinsically European feel that surmounts the tonality of the track with grace. Mohit Chauhan's deeply sentimental singing vibes are again at the helm of affairs that impresses and makes this a lively listening affair. Kausar Munir's routine sounding lyrics fails to deliver anything spectacularly poetic but still works with the mood of the track.

In 70's, Laxmikant-Pyarelal created pathos for distressed love-struck lovers in folksy tones in track titled "Beshak Mandir Masjid Todo" (BOBBY (1973)) that worked wonders for the prospects for this hugely successful romantic film. Anu Malik tries to recreate that euphorically tragic feel again in the next soundtrack titled "Naina Thak Thak", a number that tries to build a potential graph in the love-chemistry of the lead pair. Roop Kumar Rathod's classically refined vocals are the perfect choice for the mood but the composition sounds too old-fashioned. It has the blend of Arabic tuneful feel submerged in 70's stylized arrangements that sounds appropriate for the occasion but lacks the much desired innovative feel. In an era of Sufi-rock fusion, this one sounds too outmoded but still can be lauded for the brilliance of Roop Kumar's well crafted voice.

After listening to a couple of impressive sounding love tracks, mediocrity finally plagues the flow of the album and makes its first dent in the form of "Kyon? Kyon?". It's Anu Malik's slip-shod arrangements that plays the big spoil-sport and makes this a complete non-starter from the first beat. Shaan and Shreya Ghoshal's worthy voices sounds completely wasted, even the sultry feminine chorals in the backdrop are too insufficient to make this a happening love duet.

To accentuate out "fun-quotient", "Big Fat Indian Wedding", a fervently orchestrated "bhangra" beat number enlightens the mood and adds the youthful verve in the album. Neeraj Sridhar's vivaciously loud voice raises the tempo of the track and jives well with the pompous festive feel. Anmol Malik's yelling naive voice is too ear-splitting, garish and amateurish. This time Anu Malik turns lyricist too and delivers a feisty composition that has loads of "bhangra" beat rhythmical works to entertain. In hot pursuit to match Sunidhi Chauhan's energetically loud singing attires, Anmol's energized singing disappoints completely and turns out to be the biggest weak-link of the track.

Revitalizing out the late 90's Indi-Pop feel of Sonu Nigam's tracks ("Ab Mujhe Raat Din", Iss Kadar Pyar Hain (Album-DEEWANA (1999)), Anu Malik tries to deliver an archetypical western classical love theme track in the last original soundtrack "Angel My Angel". Lacking in innovations and techno-improvisations, this track comes out as another average sounding situational number that has been heard zillions times in 90's flicks. Sonu Nigam's soft and sauntering paced voice leads the show with silken feminine Alisha Chinai joining him in tandem. It triggers off well with an opera musical setting that sets an ambience of a lively melodramatic happening, followed by predictable arrangements and routine lyrics in flows of likable voices. Sonu Nigam's tenderly fluid voice is the biggest highlight but composition fails to add anything sparkling to his singing efforts; overall a revival of 90's Indi-Pop era with an above-average musical feel that is restricted for the situational needs of the flick.

YEH JO MOHABBAT HAI is a decent listening fare with no great histrionics. The album comes out an effort to vitalize out archetypical Bollywood feel that has been empowering the senses of listeners in the last few decades. "Pyar Karna Na Tha" (both versions) and "Tere Bina Jee Na Lage" are the pick of the lot that should strike chords with young listeners. This is again a mediocre attempt by Anu Malik to resurrect his sagging career as none of the soundtracks promises to be a chartbuster in weeks to come. Low promotions, zilch expectations are already minuses for this flick and an average musical score will surely add to the worries.

Rating - 2.5/5

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