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"Mera Mann Kyun Tumhe Chaahee..." (MANN -1999)
brought the promising musical duo of Sanjeev Darshan in filmdom.
The magic was out there but consistency was missing in their
following melodic works. After a hiatus of almost half a decade,
the duo fights back their way out in the low profile entertainer,
KAASHH MERE HOTE, with the musical feel that best reflects
out the glowing charms and prowess of their mentor's (Nadeem
Shravan) style of music. Will KAASHH MERE HOTE be turning
the tables and creating forum for this struggling musical
duo? Will the resurrection of 90's magical musical charm be
working bliss for them? Let's take a deep introspection into
it!
Marriage season is on and so the festivity lauds out enthusiastically
in the opening track "Teri Naganee", an ethnically
Punjabi song with loud "bhangra" beat bangs and
deliriously rocking arrangements. Labh Janjua, the vociferous
force behind many folksy Punjabi rollicking numbers sparkles
up the evening with the roaring thrust. It even marks the
arrival of Sanjeev-Darshan with DJ voicing out their names
in most animated way. Upcoming Tripti Singh along with Shweta
Pandit jesters up as the racy back-up singers in adding ethnic
Punjabi touches. Labh Janjua proves to be intelligible lyricist
by mixing out traditional verses (about arrival of newly wedded
bride) coagulated well with youthful wordings that take song
to highest energy level. This comes out as biggest surprise
of this low profile entertainer and if shot lavishly then
it can be one showstopper in its league.
The "masti" gets energized with hi-voltage DJ mixing
as the feverish "club" remixing grooves rules the
floor with thumping impacts. Do expect this "remix"
number to be running loud in marriage functions and will be
adding itself up as promising prospect for the album.
Sanjeev-Darshan pick up new vocalist Shashank Singh Baba
to be youthful "chosen" voice for their comeback
album and expectedly the singer gets a major chunk of the
lot with solo track "Mehbooba". It disappoints completely
with monotonously sluggish shoddy arrangements that brings
memories of early 90's romantic numbers. Even Shashank vocals
prove to be blatantly unimpressive in their rendition with
Sameer's routine lyrical works hardly any substance to it.
Shashank Singh Baba makes another romantic solo maneuver in
"Teri Yaad" that comes with a slightly better sounding
composition. Sanjeev-Darshan makes topsy-turvy moves with
varying shades of percussions and electronic beat sounds that
grow infectiously in its narrative flows. Once again, Sameer's
lyrics prove to be too outmoded and the overall impact of
appealing young listeners sounds lackluster. Shashank delivers
out better performance but neither the composition nor wordings
helps in making the song, a likeable commodity.It's time for
some soothing melody and the mood gets somber with impressive
sounding title track "Kaashh Mere Hote". Shweta
Pandit's penetrative voice in lower subtle tones leaves out
an impression that gets accentuated with pleasing classical
westernized orchestrations. Sanjeev-Darshan's music solemnizes
the supple romantic feel of "Hamara Dil Aapke Paas Hai"
(HAMARA DIL AAPKE PAAS HAI) with soothing flute notes in its
preludes. Sameer's remarkable but contemporary lyrical works
makes the finest impressions in overwhelming the sentimental
feel for the flick. After Shweta's delectably fervent exhibit,
its second version brings out another new singing talent Shaurin
Bhatt on the musical scenario. Shaurin Bhatt (sounding shades
similar to Udit Narayan) slow tempo voice emotes out the heart-warming
hues with similar flair with a captivating charm that enamors
the senses of listeners. Despite some quality singing and
impressive lyrics, the song arrives too late and fails to
leave an overall impression of resounding sentimental title
track. Shaurin voice in contemporary overtones impresses but
still demands some quality soundtracks that really proves
his mettle in the marquee.
Sanjeev-Darshan make efforts in brining out 90's Bollywood
charms by picking up contemporary Nadeem-Shravan's peculiar
style of composing in "Rim Jhim Sawan". It brings
back Shashank Singh Baba with sweet sounding Shweta Pandit
in softer romantic tones. Sameer's worthwhile wordings would
have been bliss in early 90's but now phraseology sounds outdated
with music that is more akin to lure 90's listeners.
Shweta Pandit proves to be ultimate winner amongst the lead
singers as her silken vocal textures gesticulates out the
innocent emotions of "first love" in captivating
"Dil Ye Mera Dil". The soundtrack has trendy flair
in its rhythmical westernized orchestral flows and soothing
English chorals but overall composition fails to grip. Sanjeev-Darshan
make substantial grounding in wooing present-day listeners
with its soft-silken melodic charms but still fails much short
in expectations. It will certainly be raising Shweta's prospects
and this song will surely be an asset (if not a success) in
her credits.
Suzanne intoxicating vocal flare hits high and low in the
concluding soundtrack "Masti Bhara" that sounds
like an old-fashioned 70's cabaret number. The tempestuous
feel is obsolete and the seductive feel sounds lousy and superfluous.
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