By Joginder Tuteja Bollywood Hungama News Network
A launch pad is always looked at with keen interest. Especially so when the filmmaker here i.e. Vashu Bhagnani is someone who was once known as the 'Man with the Midas touch'. At the peak of his stint as a producer, he gave Bollywood a number of musical entertainers like Coolie No. 1, Hero No. 1, Bade Miyan Chote Miyan, Biwi No. 1, Mujhe Kuch Kehna Hai and Rehnaa Hai Terre Dil Mein. During his 15 years of filmmaking, Vashu Bhagnani roped in different composers for most of his films so it doesn't come as a surprise to see the names of Sajid-Wajid on Kal Kissne Dekha cover. Now when he launches his son Jackky Bhagnani along with Vaishali Desai with this Vivek Sharma directed film, expectations of a good, young and energetic musical score are tremendous.
It's nostalgia time at the very beginning of the album as vintage Sajid-Wajid are heard in 'Aalam Guzarne Ko'. A kind of mushy romantic number which belongs to a style similar to that of songs in their non-film album Deewana [which featured Sonu Nigam], 'Aalam Guzarne Ko' is smooth flowing and extremely easy on ears. A winner track which goes easy on arrangements and focuses more on melody, lyrics and vocals, this one does turn out to be impressive for those who love their Bollywood music to be all mushy and romantic in a conventional sense.
Now this one could well have been picturised on Salman Khan. Not that 'Soniye Billori' (which also appears in a 'Club Mix' version) is any great shakes but it has a rather 'template' kind of music that Sajid-Wajid have composed for many a Salman Khan starrers. A fast moving dance number with a Punjabi touch to it and some lazy singing, 'Soniye Billori' is predictable with the 'antra' portions being a better hear than the opening lines.
Thankfully there is quick turnaround in the proceedings with 'Aasman Jhuk Gaya' where melody, love, mush and romance is back into the album. In a mould similar to that of 'Aalam Guzarne Ko' when it comes to slow paced melody, it's beauty lies in the fact that it has a grand appeal to it by means of arrangements while being set in the 70s style melody. A kind of romantic number which is just right for a quintessential launch number, this should be one of the first songs from the film that should be out on air.
From 70s, music moves to the world of 80s as 'Jashn Hai Josh Hai' reminds of the kind of music that could well have been composed for a Feroz Khan movie. The entire orchestra in a mould similar to that of music that was heard in the era gone by and even though the song may not travel the kind of distance to be remembered amongst the best of the best when 2009 closes, it's rhythm is catchy indeed to resonate in your ears long after you have heard it first.
If there is a number that would sit right at the top of the album, it has to be 'Tere Bina Lagta Nahin Jiya'. Even though the number does resemble Viju Shah's 'Mere Sanam Mujhko Teri Kasam' [Gupt] at places (in the 'mukhda'), it could well be a coincidence. Overall, 'Tere Bina' is a passionate song and comes with good energy in spite of its sad setting. The number is arranged well too hence boasting of a rich feel.
A 90 second track which is a prelude to a bigger song which is next to follow, 'Bin Tere Mar Javan Mein' has a semi-classical touch to it and reminds of a style that has been heard in films coming from the house of Subhash Ghai. A situational track, it has a core Indian feel to it and presents Vashali Desai in her classical dance avtar.
Finally arrives the much awaited title song 'Kal Kissne Dekha' which could well be the 'Sitaron Ki Mehfil' [Kaho Naa... Pyaar Hai] moment for Jackky Bhagnani if picturised and choreographed well. The song has everything from the right mix of melody-n-rhythm; high energy, elaborate arrangements, foot tapping appeal and a 'climax song' feel to it. And yes, one can't miss the trumpet that makes its presence felt throughout the song. It is similar to the style that has made Bachna Ae Haseeno a number popular through the decades.
An elaborate stage number where Jackky gets to demonstrate his dancing abilities, Kal Kissne Dekha (which appears again in an equally impressive 'Club Mix' version) is a song that should be unleashed as the film arrives within a week of it's release. A 100 second 'romantic version' (which takes an about turn from being a dance number) brings the album to a satisfying end.
Sameer is entrusted with the responsibility of writing lyrics for a film that marks the entry of a newcomer into the industry. He goes poetic with 'Aalam Guzarne Ko' and 'Aasman Jhuk Gaya' and does well in bringing to fore young love. However, in 'Soniye Billori', he rehashes his own work from the past and comes up with a song which is just a numerical addition to his wide repertoire of work.
He later arrives with 'Jashn Hai Josh Hai' but the fast paced rhythm of the number is so overpowering that at the end all that a listener remembers are the words 'Kal Kissne Dekha' which form major part of the song. Same holds good in case of the title song 'Kal Kissne Dekha' which arrives at the very end of the album. Yet again, it's the music which stays on with a listener than the lyrics. 'Tere Bina' is better written song which is about separation and the pain caused by it.
Sonu Nigam has two songs at the very beginning of the album and he shows once again why music lovers would want to hear more of him. He is in fantastic form with 'Aalam Guzarne Ko' hence proving that when in right mood, he is unstoppable. He is just passable though in 'Soniye Billori' where he just seems to be going through the motions. Perhaps the song's style required him to take a lazy approach but a more energetic approach could have worked better for the composition. Suzy Q is his partner in both the songs and though she is just a notch above being a backup vocalist in her English rendition, she does end up making her presence felt, especially in 'Soniye Billori'.
Shreya Ghoshal is showing it time and again why she is turning out to be such an indispensable artist in the industry. She is superb in 'Aasman Jhuk Gaya' and comes up with the best sung number in the album so far. Shaan is no lesser force either as along with Shreya; he comes up with a rendition that reminds a listener of the songs from the 70s.
While Shreya Ghoshal is quite neat in 'Bin Tere Mar Javan Mein' as well, it is Shaan who leads the show in the title song 'Kal Kissne Dekha'. For an all important number of the film which takes the narrative to its crescendo, Shaan comes across as all charged up and ensures that the sense of euphoria is retained till the very end. However, Shreya is heard very faintly only in the background.
Sajid-Wajid have to complimented for their choice of singers in Kal Kissne Dekha since they invariably bring in different singers to do the job as per a song's genre. For 'Jashn Hai Josh Hai', Alisha Chinoy is roped in to sing a major portion of the song with Neeraj Shridhar appearing a little later. Wajid himself appears on the scene for a short while and together the singers get the job done well.
Later, Wajid gives himself a bigger responsibility of going solo with 'Tere Bina' as well as the 'romantic version' of the title song 'Kal Kissne Dekha'. Coming up with a full throated rendition, Wajid sings in a style that has been made popular by quite a few Pakistani singers in the last couple of years and ensures that he has winner up his sleeves.
'Kal Kissne Dekha' is a good album with 'Soniye Billori' being the only track that stays on to be merely average with 'Jash Hai Josh Hai' being a little better. However, songs like 'Tere Bina Lagta Nahin Jiya', 'Aalam Guzrne Ko' and 'Aasman Jhuk Gaya' do manage to impress well with the title song 'Kal Kissne Dekha' bringing on a grand finale that is indeed going to rock the show.