MUSIC | PREVIEW | MUSIC REVIEW

In the times when every film maker, whether big or small, is making big news about his film from the announcement stage itself, Sooraj Barjatya, in typical Rajshri Productions way of film making, has kept low profile and wrapped up his film 'Vivah'. Starring the 'Ishq Vishq' jodi of Shahid Kapoor and Amrita Rao in the lead roles, 'Vivah' is being touted as a 'journey from engagement to marriage'. While Sooraj's first three films [Maine Pyar Kiya, Hum Aapke Hain Kaun, Hum Saath Saath Hain] boasted of music by Ram Laxman, Anu Malik was roped in for 'Main Prem Ki Deewani Hoon'. For 'Vivah', Sooraj goes back to veteran Ravindra Jain for compositions and lyrics. Incidentally 'Vivah' is his 17th film with Rajshri.

Track 1  There is a definite Indian feel in the way the opening song 'Mujhe Haq Hai' is composed, arranged and presented. A song about a couple being at stage when they are ready to give themselves to each other and expect the same in return, it is a 'raaga' based melody that grows on you, albeit after you have heard it far more number of times than you may actually give to a song from an average flick. This Udit Narayan - Shreya Ghoshal song indeed requires immense patience to continue hearing the song time and again for it to be grasped but eventually when it does, it sticks to you. Simple, subtle and situational, don't expect 'Mujhe Haq Hai' to be one of your quintessential Bollywood love song that follows an easy going dream world approach!

Track 2 Pairing of Udit Narayan and Shreya Ghoshal returns with 'Do Anjaane Ajnabi', yet another situational song about a couple who are strangers to each other but are destined to be together soon. The thoughts going in each other's minds and the emotional moments they are having [something which is common between the two] is the subtext of this song that is good on lyrical quality. Just like 'Mujhe Haq Hai', even this track follows a 'raaga' based approach but after a close hearing starts sounding quite pleasant. No, it may not appeal to the ones looking for a 'dhinchaak' variety but for those looking for simplicity in their music, 'Vivah' follows a sweet route.

Track 4 When Sooraj Barjatya is at the helm, how could a marriage be behind? Especially with the film's title itself being 'Vivah', it's all the more identifiable to have a song like 'Hamari Shaadi Mein'. Babul Supriyo is the male partner of Shreya this time around and he comes so close to Kumar Sanu in his rendition that one is actually required to double check the credits. A feel good track about a guy becoming impatient before his marriage and wanting to hurry up the entire affair, its musical arrangements are straight out of 'Hum Aapke Hain Kaun'. First foot tapping number of the album that has a rhythmic appeal; it is the first (and only) track in the album that shows potential to become popular, though a long run for the song is ruled out.

Track 5 It's back to the 'Nadiya Ke Paar' times from the very first note of 'O Jiji' where Pamela Jain and Shreya Ghoshal sing for the two sisters who are conversing about the elder one's husband-to-be. Belonging to the late 70s style of compositions; it has a 'pahadi' folk flavor to it and is again modeled on a small town setting. Though urban audience would hardly go gaga over the song, the song may relate to the interiors where such songs are still heard in Bhojpuri and other local dialect languages.

Track 6 Sound of trumpet marks the beginning of 'Tere Dware Pe Aai Baraat', a marriage procession song where the groom's 'baraat' has arrived at the girl's place. An extremely ordinary number with nothing new about it, it is an umpteenth version of dozens of such tracks heard in the past since the 60s. Sudesh Bhonsle and Ravindra Jain come together to render this song that can be comfortably skipped. Now it is all left to Sooraj Barjatya as one waits to see how has he picturized it.

Track 7 & 9 In an attempt to make the album a complete Indian affair, there is an 'aarti' making an appearance towards the album's end as 'Jai Gauri Maa'. Sung by Pamela Jain, this 2 minute track too is not a new experience in itself as one has been hearing this tune since time immortal in 'Raam Siya Raam' version too. Taking the celebration to its logical conclusion, 'Chota Sa Saajan' is a 80 seconds piece the song for the climax where a father is getting ready for his daughter's 'vidaai'. Sung by Suresh Waadkar and Aparnaa Bhaagwat (who lends her vocals for a kid), this is a little different from other 'vidai' songs since it doesn't take a weepy approach and is instead sung with a smile on the face. On the similar tune comes 'Raadhey Krishn Ki Jyoti' which is a 2 minutes 'bhajan' that wraps up the album.

Track 10 After all the waiting, wooing and marriage comes a family number 'Kal Jisne Janam Yahan Paaya'. Uhhh, well the song really seems too old fashioned now and is of the kind that could have been left behind in 'Hum Aapke Hain Kaun' era. Agreed that the emotions are universal and families continue to be together but a song like 'Kal Jisne' is so situational that it is difficult to imagine it being played by someone while at home or riding a car. A song about families of the young couple (Shahid Kapoor and Amrita Rao) feeling nostalgic about their children's upbringing and how they have grown up from being toddlers, 'Kal Jisne' by Suresh Waadkar and Kumar Sanu does have an Indian feel, but is strictly for the situation.

When the album began, one lend an extra hearing or two to the album since it comes from a reputed production house that has seldom gone wrong on the music front. That's the reason why the first 2-3 songs could at least grow on you after repeated listening. But the patience runs out towards the middle of the album when one starts wondering if Sooraj Barjatya was actually focusing on the commercial aspects at all since 90% of the music is purely situational and that too with not much commercial ingredients attached to it. In the end, what one gets to hear is an average soundtrack that doesn't really make you jump with joy and get the CD on a repeat mode.
 Just about ordinary.