Article Updated 02 September, 2008 10:45:56 PM IST   Mr. White Mr. Black By Abid ©2008 Bollyvista.com   Deepak Shivdasani was a name to reckon with in the late '80s and early '90s and has worked with top actors like Salman Khan (Baaghi), Ajay Devgan (Yeh Raaste Hain Pyaar Ke) and of course his favourite, Sunil Shetty with whom he has worked in films like Bhai and Pehchaan. Mr. White Mr. Black is his third film with Shetty. The music of his films has always been of the commercial potboiler kind, except for Baaghi and to an extent Yeh Raaste Hain Pyaar Ke and Bhai, with not much emphasis laid on the music scenario of his films. So let's check out if Shivdasani has learnt from his previous mistakes, and whether or not this album is worth the money spent. It is especially important as in this age of cutthroat competition; a good music album always assures that a movie takes a good initial at the ticket window. The first number, 'Tu Makke Di Roti' can also be called the title track of the album, as it establishes the relationship between the two main characters. This song brings together the king of Punjabi pop Daler Mehndi, his kid brother Mika and of course the queen of pop Asha Bhonsle, for the first time. It could have been a chartbuster, if they had been allowed to deliver to a song worth their stature. Although all of them put in a spirited performance, none rises above the below average composition. Sadly, the over-hyped Shamir Tandon wastes a great opportunity to make these great performers deliver something special that would have been a treat for all music lovers. Even the lyrics like "Tu makke di roti meri. Main sarson da saag tera. Makhan to mila de zara haay," fail to make one laugh, though intended to be humorous. There is a reference to Arshad Warsi's pet screen name Circuit in the song as well. 'Tu Makke Di Roti-Remix' has been labeled as 'Alternate Dance Mix' and it is definitely better than the original, with all the additional beats and added English portions (rap) and synthesized music in the background that follows the main song. The next number 'Teetar' is by Tauseef Akhtar and he is a relative newcomer in the music world, but alas, his composition is a total disappointment. The opening harmonium piece is a complete rip off from 'Brij ki dopahri mein paon jale hai' (Karishma -Govinda) and the song itself is inspired by a number of other songs like 'Tooti khidki' (Yaad Rakhegi Duniya). Again, the composer wastes great talents like Sukhwinder Singh and Vasundhara Das. The sedate music arrangements comprising of guitar, drums and beads along with some equally sedate singing is the redeeming feature of the number. 'Teetar-Remix' is by the music director Tauseef Akhtar and he does show some potential here as an arranger. His remixed version has more life infused in it than the original, though his choice of the tune itself remains a mystery as to why he chose this average '80s rhythm, which did not work during those times too. Tauseef gets a chance to redeem himself with his next number 'Samandar' and has at his services popular singer like Neeraj Shridhar riding high after a string of chartbusters along with Suzanne D'mello, who mostly croons in English in the background. That is exactly what Suzanne does here as well, but this time it's with the main song. Neeraj performs well in this flirtatious, propositioning number and the song is a bit better than the other two. The music arrangements, which see a lovely combination of guitar and plates sounds, accompanied by drums and beads along with dispersed vocals in English are good. Yet once again, the antara has a heard before tune. The second version of 'Samandar' is an all girl show, as Swata Mohanty and Suzanne D'mello take over, but Swata simply does not have the charm of Neeraj, (taking nothing away from Swata) even though she sings with ease. Some oriental music commences Kunal Ganjawala's 'Namasteji', a situational number by Tauseef Akhtar. Another very retro track and a song that takes one back to the good old days of Pran Sahab and his qawwalis, which were such a big hit. However, in times like these, one questions the music director's sensibilities on the choice of melody and tune! Piano and violin string sounds along with some lovely flute notes commence 'Ek Dil Ki', the only composition by the music director duo (who have now officially called it quits) Jatin-Lalit. It is a trademark Jatin-Lalit number too. We don't mind at all, do we? After all, we are going to miss their numbers. The simple flowing melody, the equally simple musical arrangements, yet a song (though situational) that appeals and makes for a good hear. Saxophone sounds welcome all to the last composition of the album, 'Behna ki Shaadi'. We, in turn, welcome Sonu Nigam, who is back after a long hiatus in this situational, very traditional marriage number, complete with shehnai and dholak sounds. The lyrics are nice and touch the hearts. The number is a mixture of Punjabi bhangra, and the tune is similar to the mata ka bhajan. Overall, the album is a disappointment. There isn't even a single number worth remembering. Even though the album boasts of one of Jatin-Lalit's last numbers together, that is also forgettable, especially if we keep in mind their high standards. Go for Mr. White Mr. Black, only if it is a habit to buy new audios! Rating: 6 /10   close   Print this Article http://www.bollyvista.com   http://www.bollyvista.com/article/a/31/8801