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Review

Some passable music in a loud album

Sabri Brothers are the choice of this album, which could have been better if only music composer Aadesh Shrivastava had reined in his orchestra


Tarkieb
Zee Music
Rs 45

This album features names you don't frequently come across in film songs -- Sabri Brothers, Jagjit Singh, Shaan and Sagarika.

Tabu, Milind Soman and Nana Patekar star in this Pranlal Mehta film, with Shilpa Shetty doing a dance number.

Sabri Brothers, famed for qawwali singing, are the absolute choice of this album. They sing Kisi ka ban ja in the style they are famous for, and against a backdrop of keyboard and drums.

Jagjit Singh's and Alka Yagnik Kiska chehra is strong on melody, with an acoustic violin backup reminiscent of Pal pal dil ke paas from Blackmail. Nida Fazli's lyrics paint a picture of lovers lost in each other's presence. The violins are a pleasure to listen to, but the general drift of the song is cliched.

Richa Sharma sings Dupatte ka palloo. Her tone is rich and deep. Unfortunately such voices always seem to translate into vamp songs in the filmmaker's mind. The song is shot on Shilpa Shetty doing a special song appearance, flinging a dupatta on and off her face. Generally loud.

Shaan and Sagarika, the brother-sister pair sing Dil mera tarse, a dance number with touches of flamenco, accordion and violin. The tune doesn't stick.

Catching up with Hollywood and A R Rahman -- the Bombay album featured the movie's theme music -- this album also presents the film's theme track. Touches of Mission Impossible, with a heavy violin ensemble playing staccato phrases. A chorus sings snatches on a galloping beat. An atonal voice challengingly throws out the word Tarkieb and it echoes on and on. Again, not a particularly memorable tune.

Alka Yagnik and Vinod Rathod sing Tujhe dhoondoon main. It is full of short phrases played by the flute and the violin ensemble. The flute in the prelude is beguiling. But the rest of the song is too full of violin sounds. The rhythm changes in the interludes and suddenly plays the fast, dramatic ten-beat (thaka-thakita thaka-thakita) pattern that is common in south Indian music and dance.

Aadesh Shrivastava may be just a couple of films old, but he realises the value of using voices with varying timbre. He experiments with rhythm changes in the interludes. He can produce better music if only he can restrain his tendency to overdo his orchestra to the point of unbearable loudness.

S Suchitra Lata


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