Film: Kis Kisko Pyaar Karoon
Music: Dr. Zeus, Tanishk Bagghi, Javed-Mohsin and Amjad–Nadeem
Lyrics: Shabbir Ahmed, Arafat Mehmood, Raj Randjodh, Mavi Singh and Bhinda Bawakhel
In keeping with today’s trends, the songs are a melange of Punjabi beats, loud vocals, catchy hooks and irrelevance and irreverence in lyrics. At base level, some of the songs seem to work for a while (that is, while listening to them!), and nothing else clearly matters.
Never mind then if this is Abbas-Mustan’s first multi-music director score and one of their weakest after an illustrious (“Khiladi,” “Baazigar,” “Aitraaz,” “Race,” “Race 2”) or nice (“Soldier,” “Humraaz,’ “Taarzan,” “36 China Town”) record.
When we hear the tracks online, it really does not matter that the credits given for music and lyrics are fuzzy and garbled, and the songs are delivered by a motley group of warblers.
Take the lead track “Jugni Peeke Tight Hai,” in which Divya Kumar comes together with Kanika Kapoor in a song said to be composed by Dr. Zeus. For a long time now, singer Kapoor has been waxing high about being a persona non-grata with this gentleman, and we fail to see how the lady keeps coming up with collaborations with the man!
What Kumar is doing in such gimmicky company after a good track record beats us, and he is not really recognizable here as the substantial voice of films like “Finding Fanny,” “Bahubali” and more. The song is a ho-humdrum Punjabi track in which the lyrics are not credited anywhere online. The second version finds Sukriti Kakar in place of Kanika, but that does not make any real improvement or difference.
The second track, “DJ Bajega To Pappu Nachega,” is salvaged by Wajid being the lead singer with Ritu Pathak and Shalmali Kholgade. Danish Sabri provides the rap, and the lyrics are again immaterial in the sense of who assembled the routine words. However, the Marathi beat makes the song a possible winner at forthcoming festivals this year.
“Bam Bam” (Kapil Sharma, Kaur B, Dr. Zeus) is again tuned by Dr. Zeus and written by someone called Raj Randjodh. It is one of those tunes that, try as you might, you cannot recollect after it is over and you have heard something else.
Randjodh even composes (besides writing) the “Billi Kat Gayee Rasta” number sung by Rajveer Singh and Ikka (rap). This is as much a gimmick as the brief and drunken “Hum To Yaaron Latak Gaye,” sung by Kapil Sharma and Kundan Pandey.
Then there is the sole attempt at a romantic melody in Shreya Ghoshal-Jubin Nautiyal-Kundan Pandey’s “Samandar,” composed by Amjad-Nadeem. On a scale of 1 to 10, this one finishes somewhere at 3.5 in its soulful or melodious quotient. It is written by Arafat Mehmood. Ghoshal sounds shrilly off-kilter; the rest is not worth a mention.
And the remixes are heard now-forgotten immediately.
Check out the complete list of music directors and lyricists above. In the digital domain of listening to the songs, we cannot find the missing names — music makers Tanishk Bagghi and Javed-Mohsin and lyricists Shabbir Ahmed, Mavi Singh and Bhinda Bawakhel. But given the product, does it really matter?