By:
Joginder
Tuteja,
IndiaFM
Monday,
November
06,
2006
Team
of
Baghban
is
back
with
Baabul.
In
continuation
to
the
trend
of
family
socials
from
B
R
Films,
Baabul
too
follows
the
same
route
as
it
deals
with
the
subject
of
widow
rehabilitation.
Starring
Big
B
in
the
title
role
with
Hema
Malini,
Salman
Khan,
Rani
Mukheree
and
John
Abraham,
Baabul
had
it's
own
share
of
issues
throughout
its
shoot
but
credit
to
director
Ravi
Chopra
that
he
kept
a
brave
face
and
brought
the
film
to
finishing
line.
Aadesh
Shrivastava,
who
gave
some
memorable
songs
for
Baghban,
is
back
with
Baabul
along
with
lyricist
Sameer.
From
a
movie
like
Baabul,
one
expects
a
musical
score
which
is
core
Indian
at
heart.
While
it
certainly
holds
true
after
one
is
through
listening
the
album,
the
thought
at
the
top
of
the
mind
is
-
Why
is
Aadesh
Srivastava
heard
so
rarely,
especially
with
the
most
reputed
banners?
If
given
an
opportunity,
as
in
case
of
Baabul,
he
can
come
up
with
quite
an
impressive
score.
Amitabh
Bachchan
had
sung
a
number
of
songs
for
Aadesh
in
Baghban.
Same
is
not
the
case
with
Baabul
where
he
croons
only
one
track
'Come
On
Come
On'.
A
beautifully
arranged
and
programmed
number
that
has
an
amazing
rhythm
kick
starting
the
proceedings,
'Come
On'
has
Amitabh
Bachchan
and
Sonu
Nigam
simply
freaking
out
throughout
the
proceedings.
This
one
is
not
your
typical
'bhangra'
track
but
instead
is
much
more
with
an
innovative
fusion
of
pop,
rap-n-reggae
and
background
voice
inputs
(Vishal,
Aadesh
Shrivastva,
Ranjit
Barot)
interspersed
with
the
celebration
mood
of
'Come
On
Come
On'.
Just
like
tracks
by
Pritam
which
have
a
lot
of
funk
and
English
inclusions,
'Come
On
Come
On'
too
relies
a
lot
on
rhythm
and
succeeds
in
a
big
way.
Later
in
the
song,
it
is
sheer
fun
to
see
Big
B
and
Sonu
Nigam
exchanging
verbal
volleys
of
one-upmanship
that
keeps
the
proceedings
exciting.
Towards
the
album's
end
comes
the
remix
version
which
anyways
seemed
quite
essential
on
hearing
the
original.
High
on
pace
with
an
added
funk,
this
one
would
be
soon
heard
on
the
dance
floors.
Aadesh
Srivastava
has
a
clear
winner
here
in
'Come
On
Come
On'
After
a
rocking
beginning,
album
takes
a
melodious
route
with
'Keh
Raha
Hai',
a
love
duet
between
Sonu
Nigam
and
Shreya
Ghoshal.
A
sweet-n-simple
song
that
goes
quite
easy
on
arrangements
[in
sheer
contrast
with
'Come
On'],
'Keh
Raha
Hai'
is
a
kind
of
melody
that
seldom
fails
and
keeps
a
regular
Bollywood
buff
entertained.
A
song
which
reminds
one
of
the
kinds
of
songs
that
Anand
Milind
used
to
compose
around
a
decade
and
a
half
back,
it
guarantees
eye
candy
visuals.
It's
retro
time
with
the
arrival
of
'Har
Manzar'
that
has
a
sound
of
late
70s/early
80s.
In
spite
of
being
a
stage
number,
it
doesn't
go
ballistic
in
its
treatment
and
instead
retains
a
softer
touch.
Kunal
Ganjawala
is
at
the
helm
of
affairs
here
and
he
too
is
restrained
in
his
rendition,
hence
making
'Har
Manzar'
a
decent
song
to
hum
around.
In
fact
when
one
hears
the
song
closely,
the
musical
instruments
and
light
chorus
in
the
background
along
with
a
continued
rhythm
make
it
a
certified
retro
number.
Later
in
the
album,
DJ
Suketu
is
called
upon
for
the
remix
version
of
'Har
Manzar'.
One
dreaded
a
thought
of
the
remix
version
going
out
of
control
since
the
soft
music
heard
in
the
original
would
have
been
preferred
any
time
but
to
one's
pleasant
surprise,
this
version
too
flows
smoothly
with
only
an
instrument
or
two
added
to
spice
it
up
a
little.
Overall,
the
song
is
not
the
one
which
would
be
a
single
most
reason
to
make
Baabul
a
chartbuster
fare
but
it
contributes
decently.
Proceedings
become
suddenly
very
sober
with
'Kehta
Hai
Baabul'.
Well,
that
is
quite
expected
with
Jagjit
Singh
rendering
the
song.
A
number
about
a
father's
love
for
his
daughter
and
his
fear
of
living
alone
once
she
is
married,
this
one
is
a
beautiful
hearing
all
the
way.
Expect
moist
eyes
in
the
auditorium
when
the
song
is
on
since
everyone
from
Jagjit
Singh,
Sameer
to
Aadesh
Shrivastava
give
their
all
to
make
'Kehta
Hai
Baabul'
a
memorable
song
which
would
make
quite
a
good
impact
in
the
film.
With
lyrics
like
'Bebasi
Dard
Ka
Aalam
Hai',
one
is
led
to
understand
that
it
would
continue
the
sober
mode
created
with
'Kehta
Hai
Baabul'.
A
song
about
a
man
asking
the
woman
close
to
him
to
lend
him
all
her
sufferings
and
pain,
it
seems
to
have
been
created
for
the
situation
between
John
Abraham
and
Rani
Mukherjee.
A
soft
track
with
a
touching
orchestra,
it
has
been
rendered
very
well
by
Kunal
Ganjawala
who
conveys
the
point
'soft
and
clear'
that
he
is
much
more
than
'Bheege
Hoth
Tere'.
One
of
the
most
balanced
songs
rendered
by
Kunal
where
he
has
kept
the
tone
and
pace
consistent
with
hardly
any
variation,
'Bebasi'
is
a
meaningful
situational
track
for
the
film.
After
a
hiatus
Sonu
Nigam
returns
behind
the
mike
with
'Baawri
Piya
Ki'
which
starts
on
an
extremely
subtle
note.
If
you
have
been
liking
lounge
music
based
on
Indian
classical
music
that
has
been
quite
popular
off
late,
then
you
would
lap
up
to
'Baawri
Piya
Ki'
too.
The
song
that
comes
to
mind
is
'Piya
Baanwari'
since
both
the
numbers
have
their
roots
in
Indian
classical
music
with
a
subtle
touch-up
by
Western
instruments.
Sonu
Nigam
excels
in
'Baawri
Piya'
as
he
goes
extremely
soft
in
this
love
song
that
comes
up
for
the
situation
of
extreme
intimacy
between
a
man
and
a
woman.
Yet
another
track
that
adds
on
to
the
variety
of
Baabul.
Also
watch
out
for
the
multiple
piece
orchestra
that
comes
in
the
middle
of
the
song.
It
gives
a
clear
indication
of
Aadesh
Srivastava's
mastery
over
the
craft!
It's
time
to
return
back
to
some
'masti'
and
'mazaa'
with
'Gaa
Re
Mann',
a
'qawalli'
featuring
Amitabh
Bachchan
and
sung
by
Sudesh
Bhonsle.
What
is
notable
is
that
with
Big
B
crossing
60
years
of
age,
Sudesh
too
brings
that
'old
man'
feel
in
his
rendition
and
keeps
the
vocals
subdued.
The
song
switches
mood
1
minute
into
the
song
with
arrival
of
Alka
Yagnik
as
she
gets
into
a
filmy
romantic
rendition.
Soon
her
vocals
too
merge
with
the
'qawalli'
mood
of
the
track
and
both
she
and
Sudesh
Bhonsle
get
into
a
duet.
Thereafter
they
are
joined
by
Kavita
Krishnamurthy
who
croons
about
the
beauty
of
everyone
loving
together.
A
track
seemingly
picturised
on
Big
B,
Hema
Malini
and
Rani
Mukherjee,
it
has
a
potential
to
grow
if
picturised
impressively.
Mood
of
the
album
changes
again
with
a
'bidaai'
situation
as
Richa
Sharma
sings
'Baabul-Bidaai'
song.
With
zero
instruments
in
the
background,
Richa
keeps
the
song
in
check
strictly
through
the
prowess
of
her
vocals
as
she
creates
a
painful
atmosphere
as
witnessed
in
every
'bidaai'
ceremony
after
a
marriage.
Sonu
Nigam
closes
the
album
with
'Vaada
Raha',
a
short
situational
love
song
with
a
sad
undertone.
A
promise
about
love
staying
on
forever,
this
one
may
find
a
place
in
the
narrative
on
multiple
occasions.
In
two
words,
soundtrack
of
Baabul
can
be
defined
as
HIGH
QUALITY.
There
is
not
a
single
moment
in
the
album
when
one
feels
cheated
or
thinks
that
high
claims
about
the
album
being
distinct
are
untrue.
Instead
one
just
feels
the
urge
of
appreciating
Aadesh
Srivastava
for
the
sheer
range
he
brings
in
the
music
of
the
album.
Though
'Come
On'
is
a
chartbuster
all
the
way,
the
songs
which
are
most
impressive
in
the
album
are
those
that
are
soft
numbers/situational
tracks.
These
may
not
turn
out
to
be
the
tracks
that
would
be
played
down
the
street
but
in
a
remote
corner
of
your
house,
they
are
bound
to
bring
in
a
tear/smile
or
two!