Chords & Notes
Aithe.. Enti.!... Supreme... Rs. 25
IN THIS era of cacophonic music, here comes an album which has slow and soft melodies like Edo kotta lokam and Muthyamaina. Remember the old time husky number Ninnu choodani nannu paadani? It gets modified a little in the album to suit today's requirements and is repeated twice - once rendered by Smitha and the other by Parthasarathi and Nishma.
Nuvve naaku lokamani by Unnikrishnan also sounds similar not only to a couple of old melodies but also to light classical songs. Ghantadi Krishna composes music for lyrics penned by Jayasurya, R.D.S. Prakash and Sahiti. S.P. Charan, Nitya Santhoshini and Unnikrishnan prove their mettle as singers.
If something can be called upbeat, it is the fast-paced Rangeela song in the album, which, by the way, looks like the Telugu cinema's answer to Jhankar Beats with its rehash of old numbers.
Charas... Saregama... Rs. 55
TIGMANNSHU DHULIA managed to get a good score for his debut film Haasil. The songs were not chartbusters, nevertheless they made for good hearing. Raju Singh's score for his second venture Charas is fresh in parts. `Eclectic' in nature, the songs are soothing to the ear and have pounding music as well (which is not harsh either).
The opening song Hum Hain Deewane is fast paced and energetic and rendered in a lively way by Shaan and Sonu Nigam. The second song Sulgay Hue Hain is the highlight of the album. Beginning with soft piano strains, Raju Singh orchestrates well to produce a feel-good compositions with classical overtones. Kumar Sanu and Alka Yagnik add depth by their voice (which is modulated to a certain extent by Alka). The other worthwhile number is Tumhe Arpan (on Side B), a soft number, which grows on the listener. Hariharan and Chitra sing in a leisurely fashion. Bhambole is a kind of `masti' song by Sunidhi Chauhan.
Yeh Dhuan, being aired on the telly, reminds one of the famous Dum Maro Dum from Dev Anand's Hare Rama Hare Krishna as far as the picturisation goes.
The tune has a catchy, lilting beat and rhythm. Mahalaxmi Iyer is able to capture the attention of the listerner with her husky singing. Sowmya Raoh sings the title song penned by Tigmannshu himself. A typical song being sung after one is high on drugs (Charas here). So the singer sings at a high pitch against a heavily synthesised sound. This album may not capture the fancy of all but it can be heard for the different music.
ALTAF RAJA composes music for this album. After hearing the first song Paanch baje one gets an inkling on the nature of the subsequent songs.
There is a sense of déjà vu in terms of tunes, the tedium is quite a bit to bear and one may even be tempted to put it aside after a few minutes.
Altaf Raja sings a rather morose Jaane Kab Honge Kam which is quite drab. The only song in the album with some life to a certain extent is perhaps Paanch baaje which is rendered once by Sunidhi Chauhan and then by Altaf Raja himself.
As there is nothing inspiring about this album it can be given a miss.
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