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Vikram Bhatt movies have always been high on trendy musical
substance and have mainly catered to the commercial needs
of the market. His forthcoming venture 1920, a periodic love
story tries to be path-breaking or innovative to the largest
possible extent. Adnan Sami makes consequential melodic moves
by imbibing the traits of Indian classic music by having maestros
like Pandit Jasraj, Parveen Sultana and Shubha Mudgal taking
the centre-stage. It's a big task to expect anything commercially
striking in album that is designed to attract classes. Does
it have the bankable thrust of appealing to the hoi polloi?
Adnan Sami makes an intelligible experimental move as he
makes Pandit Jasraj sings out nostalgia of romanticism in
a song epitomizing about "promises" in a love relationships
in contours of electronically profound composition in "Vaada
Tumse Hain Vaada". It's a worth-hearing number where
one can experience the expertise of Indian classical singing
of Pandit Jasraj in flows of modernized somber arrangements.
Sameer's expressively articulate wordings get amicably rewarded
as they gets emoted out by the great maestro with well synchronized
feminine chorals in the backdrop. The concluding part of the
number has great ?alaaps' rendition that shows the immaculate
strength of classical singing in it. Parveen Sultana, another
luminary in classical singing sings out the female version.
It's another listening delight for all classical singing lovers
where fusion arrangements get mellowed out in its poignant
wordings. It has great aesthetical melodic values (as per
antiquated subject of the flick) and should be working as
great narrative catalyst to deliver an everlasting impact
of eternal love on big screen. Classical to the core!
Shubha Mudgal, classy folk singer comes out as third major
entrant from classical singing genre vocalist in the album
to song a raunchy folk track "Bichua". Sami experiments
with peculiar singing of Shubha Mudgal than employing regulars
like Richa Sharma to evolve a quintessentially periodical
feel of bygone era in this ostentatiously loud number. It
tries to recreate classy feel of "Chad Gayo Papi Bichua"
(MADHUMATI (1958)) but the intensity lacks ire of piercing
senses. Shubha Mudgal's vocals are suited to the hilt for
the occasion and it will be its slick chorographical moves
that will further be dictating its verdict on charts. The
"club mix" is conceived to race senses for the party
animals where echoing impacts, disco beat fillers and DJ claps
are infused to give it a party feasting impact.
"Aise Jalta Hai Jiya", a daunting and mesmerizing
romantic number by versatile Asha Bhonsle tries to recreate
the romantic impulse of undying love with 60's style of arrangements.
Sami gives it an archetypical outlook by relying heavily on
contemporary arrangements to deliver an intimidating feel
of isolated beloved singing out for her lover.
In terms of concept, its feel is akin to the classy feel of
Lataji immortal melody "Aaja Re Pardesi" (MADHUMATI
(1958)) while the composition reminds of Sami's very own super-hit
number "Kabhi to Nazar Milao". It's a well ushered
situational track that has the whim of delivering some engrossing
moments in film's narration.
Kailash Kher's somber and expressive vocals try to create
a haunting feel of everlasting love in sluggishly conceived
arrangements with routine sounding in "Tujhe Main Pyar
Karu". It sounds like a background number where soft
piano drills, haunting violin notes and sensuous feminine
'alaaps' camouflages together to deliver an intensifying feel
of lost love. It's another expressively conceived situational
number that is likely to be working progressively in the compelling
moments of the film.
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