Zindagi Tere Naam

Good things sometimes come in small packages and ZINDAGI TERE NAAM is one such perceptible surprise in the segment of low budget entertainers. Recently Sajid-Wajid had a rollicking blast in PARTNER and the duo maintains their great form again with this low profile entertainer. In terms of contents, the album comes out with mixed bag of amusement with noticeable set of melodies, an energetic 'item song' and a contemporary 'qawalli' number. The major highlight of the film will be return of 70's successful pair Mithun Chakraborty and Ranjeeta in lead roles.

KK makes a remarkable voice make-over as he contorts to 'ghazal-gayaki' type of singing in a song that metaphor the nostalgia of everlasting love in 'Tu Mujhe Soch Kabhi'. Sajid-Wajid's subtle composition has a traditionalistic backdrop with amiable dosages of trendy orchestrations. It's a well conceived track that signifies the eternal love with meaningful wordings by Jalees Sherwani. KK's gleam in modulating overtones is very impressive and the overall track can really be a hallmark for film's touching theme.

'Milne Ko Nahi Aaye', an emblematically melodic presentation of this love saga has characteristically soothing westernized orchestration backdrop shouldered with mellifluous vocals and expressive lyrics. Sajid-Wajid makes this special attribute as it comes in three audibly pleasant versions. The first version comes out as delightful duet by Shaan and Sunidhi Chauhan where tender love moments are exuberated through subtle mix and match of Hindi-English lyrics. Jalees Sherwani's wordings are congenially mesmerized with simplistically verses that make genteel chemistry with soothing arrangements. Shaan makes a delectable presence in the 'male' version while Sunidhi Chauhan's softening vocal textures makes mood tender in the 'female version'. Sajid-Wajid makes appreciably likeable moves in creating fresh whiff of romanticism in all three versions and deserves to be lauded for it. Melodious!!!

After hearing spectacularly rendered 'Mitwa' (KABHI ALVIDA NA KEHNA) and soulful 'Yeh Honsla' (DOR), expectations are high from Paki pop star Shafaqat Amanat Ali Khan in 'Trishna Trishna Dil'. This highly aggressive in tempo song reminds of his unnoticed 'Rakht Rakht' (RED SWASTIK) but this time the arrangements and compositions are much better. Sunidhi Chauhan's affable vocals works well in tandem that has backdrop of 'fusion' style of arrangements. It's overtly classical appeal and aggressive rendition makes it a typical situational number.

The traditional style of 'qawalli' makes its noticeable occurrence where refined voice of Afzal Sabri along with folksy Richa Sharma makes striking presence. It's a contemporary Bollywood's melancholically emoted 'qawalli' where poignant love emotions get highlighted with boisterous vocals and impressive customary instruments. It's likely to be attracting old Bollywood lovers for its remarkable instrumental and vocal flows that capture every heartrending sentiment with flair.

Finally Sajid-Wajid takes a big inspirational lift from Pritam's successful 'item song' 'It's Rocking' (KYA LOVE STORY HAI) in creating a sensational dancing hullabaloo on the floors in the album's most enthralling soundtrack 'Tauba Tauba'. Sunidhi Chauhan's patent style of singing 'item songs' is at its supreme best while Wajid Khan's booming back-up vocals jesters up the proceedings. Its spicy wordings and tangy arrangements add to the show in making this a sure-shot visual delight on big screen. If promoted aggressively with flashy promos, it can be a big surprise for this low profile entertainer that is already suffering from low promotion.

Sajid-Wajid makes decent presence of their prowess in this low profile entertainer where no soundtrack disappoints with its presence. Its high points lie in soundtracks like 'Milne Ko Nahi Aaye', 'Tu Mujhe Soch Kabhi' and massy appealing 'Tauba Tauba'. Due to its low profile, meager face value and zilch promotion, this pleasant sounding album might be facing hard times but still its worthy in its genre and segment.