Puerile ideas and passable music
Biwi No 1
The music of Biwi No 1 suits David Dhawan's claims to pure (and puerile) family entertainment. It's the only film the industry had the guts to release during the cricket season, and its male chauvinism outraged many critics.
The title track starts off with a rock-style intro and goes on to try out a lot of effects on the synthesiser. Sung by Abhijeet and Poornima, it makes good use of the bass guitar and violins to blend Indian and Western styles. The variety of sounds in the background make it one of the better numbers.
Ishq Sona Hai shows Anu Malik's skill in creating impressive intros. It starts off with western drums and brings in the high notes of the piano and the flute to make it a bubbly rendition by Hema Sardesai and Shankar Mahadevan. The background music in this song is more noteworthy than its lyrics or melody. A rhythmic number with accoustic guitar phrases in the interludes, this one's okay.
Chunari chunari, sung by Anuradha Sriram and Abhijeet, is a dandiya-type folksy number that is synthesised to make it a dance track. Abhijeet is the kind of singer who blends effortlessly into the mood of the songs he sings. Anuradha Sriram's voice, however, sounds like the tape was fast-forwarded while she was singing her bit. It doesn't jar, no, but her voice leaves much to be desired in terms of body.
Anu Malik displays his penchant for composing dance tracks with Hai hai mirchi. Tending to a techno-beat but retaining an innate Indianness thanks to Sukhwinder Singh's voice and a saucy flute and lots of fast-paced drums, this song is simple and well executed.
Jungle hai aadhi raat hai, is a light seductive number, with nursery rhyme-like lyrics. Hema Sardesai's voice has come to be the trademark of the tease. Pleasant use of the accordion here. Reminds one of Aqua's Dr Jones… it's the same mood.
One song that stands out for its good lyrics is Mehboob mere. Sung by Sukhwinder Singh and Alka Yagnik to a fast beat not very different from Michael Jackson's They don't really care about us. The song starts off and ends with an azaan-like call and is interspersed with Arabian-style phrases.
The other two tracks in the album are eminently forgettable. Mujhe maaf karna, sung by child artistes Aditya Narayan and Anmol, together with Abhijeet and Alka Yagnik, aims to be a tearjerker, but leaves one wholly unmoved. Even the use of wailing violins doesn't evoke the pathos that the lyrics suggest.
Aan milo ya milne se has mediocre melody and lyrics, but is redeemed somewhat by good use of the bass guitar and the saxophone. Compared to the rest of the bass-heavy songs, this is the only number that sounds remotely soft and romantic.