There can’t be anything less than a sure shot superhit soundtrack that one expects from Mausam. After all Pritam had created magic for Shahid’s Jab We Met while songs from Kismat Konnection are still hot favourite at satellite channels. Now when Mausam is a huge film for Shahid with his dad Pankaj Kapur directing it, there can’t be any shortcomings whatsoever. With Irshad Kamil stepping in as a lyricist, one is more or less assured of a treat in the offering.
It is a winner of a beginning with ‘Rabba Main Toh Mar Gaya Oye’ kick-starting the album. Even as opening sound reminds one of the kind that was heard in ‘Bheegi Bheegi’ [Raajneeti], one of the best compositions till date by Pritam, you only gear up further to check out what does singer Shahid Mallya has to offer. Rest assured, he pretty much justifies his inclusion as a namesake singer by rendering this track in just the manner as Shahid Kapoor would have wanted.
A melodious composition that requires just one listening to be declared a sure shot success in the making, ‘Rabba Main Toh Mar Gaya Oye’ also appears in another version that has ‘Rahat Fateh Ali Khan’ at the helm of affairs. It is during this version when one gets an impression of the song being on the same lines as ‘Aaj Din Chadheya’ from Love Aaj Kal. Does one mind that? Not at all as the familiarity factor only makes it further catchy.
If one thought that ‘Rabba Main Toh Mar Gaya Oye’ was good then ‘Sajh Dhaj Ke’ only ensures that Mausam would indeed turn out to be one of the most popular albums of the season. A ‘bhangra’ track sung with aplomb by Mika who comes with one of his most spirited efforts behind the mike, ‘Sajh Dhaj Ke’ has Punjabi at the core of it all and reminds one of a setting similar to that of ‘Bhootni Ke’ [Singh Is Kinng]. With English words thrown in as well that make ‘Sajh Dhaj Ke’ all the more lively and funnier, expect the song to be a hot favourite not just during the festivities and celebrations but also the dance floors, courtesy as many as two additional remix versions (Desi Mix Tiger Style and Club Mix Tiger Style) spicing the affairs further.
Quality content of Mausam is further established with ‘Ik Tu Hi Tu Hi’ that has an unlikely singer behind the mike in the form of Hans Raj Hans. With a rather extended ‘alaap’ beginning the track, you know that you are in for a ‘desi’ outing with the opening male chorus on the same lines as the one heard in ‘Saude Bazi’ [Aakrosh]. Nevertheless the similarity ends just at this stage with Hans Raj Hans making the song his own with his soulful rendition.
A love song that may not warm you up as instantly as was the case in ‘Rabba Main Toh Mar Gaya Oye’ or ‘Sajh Dhaj Ke’, ‘Ik Tu Hi Tu Hi’ eventually turns out to be pretty likeable as well once heard 3-4 times. A couple of more versions that follow later, ‘Reprise’ by Shahid Mallya and ‘Mehfil Mix’ by Wadali Brothers ensures that it is difficult to let go off the song even as the soundtrack proceeds.
First ever quintessential situational track in Mausam arrives in the form of ‘Poore Se Zara Sa Kam Hainv’. A sad love song where Rashid Khan is entrusted with the responsibility of creating pathos for the on-screen characters, this is pretty much set in the 60s mode and diverts the album from the lively mood that it had carried so far. Though well written, it isn’t the kind that goes on to become a smash success by any means. Expect the song to play in the background. The song that immediately follows, ‘Aag Lage Us Aag Ko’, is a traditional track that has a Gujarati base to it. Rendered by Karsan Das Sagathia, it is in the ‘Dholi Taro Dhol Baaje’ [Hum Dil De Chuke Sanam] mode and should perk up the narrative of the film as it appears to have been created for an intense situation in the film.
What comes as a surprise though, a pleasant at one at that, is ‘Mallo Malli’ which brings Mausam into the Kismat Konnection/ Badmaash Company mode, what with Pritam giving Shahid what he would have been yearning for all this while – ‘an urban dance floor number’. Yes, the song is a complete diversion from the rest of the album which has a far more traditional/rustic setting to it. However one doesn’t mind at all when Tochi Raina goes singing about in the same mode as Neeraj Sridhar who is surprisingly missing in the entire album.
Nevertheless Tochi does a very good job in ensuring that ‘Mallo Malli’ turns out to be yet another track that has chartbuster written all over it. Expect a striking video with Shahid at his dancing best to take ‘Mallo Malli’ to an all new high even as it arrives in two more versions, one as a ‘remix’ featuring Tochi again and another with Lehmber Hussainpuri [who had recently done a fantastic job with ‘Saddi Galli’ (Tanu Weds Manu)].
Mausam is a fantastic album and has all the ingredients that make for a popular soundtrack. There isn’t really a low point in the album which may have a situational track or two but largely ensures that there is enough ‘masala’ in it to find acceptance amongst masses as well as classes. While ‘Sajh Dhaj Ke’ and ‘Mallo Malli’ are the pick of the lot when it comes to instant chartbusters in the making, ‘Rabba Main Toh Mar Gaya Oye’ and ‘Ik Tu Hi Tu Hi’ are good enough to enjoy a rather extended shelf life.
Just pick this one up!
Sajh Dhaj Ke, Rabba Main Toh Mar Gaya Oye, Mallo Malli, Ik Tu Hi Tu Hi