From
a
hilarious
2005,
the
season
of
comedies
continues
in
2006
with
massive
back
to
back
successes
of
Malamaal
Weekly
and
Phir
Hera
Pheri.
While
Malamaal
Weekly
hardly
had
any
numbers
to
talk
about
and
music
of
Phir
Hera
Pheri
gained
most
from
the
call
of
'Ae
Meri
Zohrajabeen',
one
expects
a
rollicking
soundtrack
from
Vishal-Shekhar
who
have
been
the
composer
duo
responsible
for
bringing
a
new
age
funky
soundtrack
to
Bollywood
films.
Starring
the
quartet
of
Ajay
Devgan,
Arshad
Warsi,
Tusshar
Kapoor
and
Sharman
Joshi
along
with
one
and
only
Paresh
Rawal,
the
film
has
Rimi
Sen
as
the
solitary
heroine
with
Vishal
Dadlani
and
Kumaar
coming
together
for
lyrics.
Months
after
their
last
full
fledged
score
in
Taxi
No.
9211
[they
composed
a
solitary
qawalli
in
Tathastu],
Vishal
Shekhar
promise
to
return
with
a
bang
with
the
musical
score
of
Golmaal,
a
Rohit
Shetty
film.
The
final
result
is
something
that
is
quite
stylish,
satisfying
and
thoroughly
enjoyable!
'Golmaal
Golmaal
Everything
Is
Gonna
Be
Golmaal'
-
As
soon
as
the
chorus
girls
start
crooning
this
in
unison,
you
know
what
to
expect
from
the
rest
of
the
album.
With
a
funky
rhythm
to
boast,
the
fun
begins
as
soon
as
hip-hop
comes
into
picture
and
from
this
point
on
there
is
no
looking
back.
Though
the
song
is
shot
on
the
'four
boys'
in
the
movie,
it
is
Anushka
Manchandani
who
sings
the
track
with
aplomb
as
her
voice
suits
the
foreign
babes
on
the
beach
gyrating
along
with
the
boys.
Not
to
be
confused
with
Anushka
Dandekar
[another
popular
small
screen
celebrity
who
was
seen
as
John
Abraham's
wife
in
Viruddh],
Anushka
Manchandani
is
a
former
VIVA
girl
who
makes
her
Bollywood
playback
singing
with
this
number.
Vishal
Dadlani
too
joins
in
briefly
for
an
intermittent
voiceover
to
add
the
spice.
A
fun
number
with
an
eye
candy
appeal
that
should
set
the
ball
rolling
for
the
film,
title
song
Golmaal
by
Vishal-Shekhar
is
the
best
way
to
begin
this
youthful
album.
For
a
song
like
this,
there
is
an
immense
scope
for
a
remix
to
rock
and
the
same
happens
as
the
beats
take
a
different
dimension
altogether
by
taking
a
metallic
touch.
Play
it
on
loudly
and
hit
the
dance
floor
without
a
second
thought!
One
hears
Golmaal
once
again
with
the
track
'Daal
Me
Kaala
Ya
Kaale
Mein
Daal'
that
has
Shaan
and
K.K.
singing
along
to
the
racy
rhythm
set
by
the
composer
duo
with
Vishal
doing
his
rap-n-reggae
in
the
background.
A
situational
number
set
in
western
mode,
one
can
expect
its
signature
tune
during
the
crooning
of
Golmaal
to
appear
as
a
part
of
film's
background
score.
No,
it's
neither
a
dance
number
nor
or
of
a
kind
to
be
sung
along
but
one
won't
really
mind
playing
it
on
during
a
fast
drive
on
a
highway
with
a
group
of
friends
as
accompanying
partners.
Also,
it
fits
in
well
with
the
situation.
It
comes
in
both
the
original
and
a
much
faster
remix
version
but
it
is
the
latter
that
works
more
due
to
the
genre
of
the
song
and
the
mood
it
creates.
Have
you
been
watching
music
channels
lately?
Then
we
are
sure
you
wouldn't
have
missed
the
signature
tune
that
has
accompanied
the
initial
promos
of
the
film
where
each
of
the
characters
in
the
film
were
introduced
[remember
the
famous
scene
with
Ajay
Devgan
on
two
bikes?]
The
signature
tune
turns
out
to
be
'Theme
music
-
Golmaal
that
begins
with
a
whistle
and
continues
to
be
western
in
approach
with
right
ingredients
of
rock
and
metallica.
The
music
picks
up
pace
towards
the
latter
half
and
starts
sounding
like
a
RD
Burman
tune
[Vishal
Shekhar
continue
to
be
inspired
by
Burman
da]
and
the
club
mix
arrangement
in
the
end
give
the
theme
music
just
the
right
finale!
After
as
many
as
5
tracks
dedicated
to
the
spirit
of
Golmaal
comes
the
best
song
of
the
album
'Kyon
Aage
Peeche
Dolte
Ho'
and
you
have
to
just
hear
it
to
believe
it!
If
you
have
been
thinking
that
Vishal
Shekhar
are
primarily
about
Dus
Bahane
and
Salaam
Namaste
then
you
have
to
hear
'Kyon
Aage
Peeche'
to
see
what
they
are
capable
of!
That's
because
they
pull
off
a
number
that
almost
pays
a
homage
to
a
song
composed
half
a
century
back
-
'Jawaan
Hai
Mohabbat'
sung
by
Noorjehan!
An
amazing
composition
set
in
the
50s,
it
revolves
around
a
situation
in
the
film
where
Paresh
Rawal
and
Sushmita
Mukherjee
sing-n-dance
a
la
50s
style.
Shot
in
black
&
white
with
everything
from
musical
arrangements
to
choreography
to
costumes
to
mannerisms
to
background
dancers
to
shot
taking
being
truly
50s,
it
makes
for
a
hilarious
4
minutes
number.
Sone
Pe
Suhaaga'
comes
through
excellent
rendition
by
Sneha
Pant
who
brings
back
the
nostalgia.
Shekhar
is
her
male
partner
and
while
he
is
fine,
it
is
Sneha
who
should
walk
away
with
all
the
accolades.
Fun
continues
in
the
remix
version
of
the
song
that
again
maintains
the
authenticity
of
50s
by
adding
in
'dholki'
beat
to
make
it
sound
like
a
Punjabi
'ched-chaad'
number!
Party
mood
of
the
album
is
pretty
much
evident
from
start
to
end
as
'Mast
Malang'
has
a
clear
Vishal-Shekhar
edge
to
it.
When
compared
to
the
songs
preceding
it,
it
is
a
step
behind
from
novelty
point
of
view.
Still
the
music
is
of
the
kind
that
it
won't
bore
if
the
song
is
presented
well
on
screen
with
good
choreography
to
support.
An
OK
track
that
won't
be
remembered
much
though
after
the
film
is
off
the
screens.
Javed
Ali,
who
was
the
singing
partner
of
Alisha
Chinoy
and
Shankar
Mahadevan
in
one
of
the
biggest
songs
of
last
year,
'Kajra
Re'
[Bunty
Aur
Babli],
croons
'Reh
Ja
Reh
Jaa
Re'.
This
time
around
he
is
the
prominent
singer
with
Sunidhi
Chauhan
[who
just
appears
briefly
towards
the
end]
as
his
singing
partner.
While
the
song
pretty
much
maintains
the
same
mood
as
the
rest
of
the
album,
it
has
a
certain
peppy
feel
to
it
that
easily
enables
it
a
place
in
one
of
those
quick-to-grasp
time-pass
track.
A
cool
look
with
a
dash
of
Punjabi
flavor
and
an
associated
feel-good
factor
make
'Reh
Ja'
a
nice
boy-calling-girl-to-fall-in-love
number
that
adds
on
to
the
youthful
appeal
of
the
album.
The
remix
with
an
added
'bhangra
beats'
doesn't
do
any
harm
either!
Golmaal
has
already
created
some
curiosity
around
it
due
to
a
youthful
look
and
feel.
Music
by
Vishal
Shekhar
only
consolidate
it
further
by
their
funky
music
that
brings
to
fore
the
genre
and
theme
of
the
film
and
goes
in
accordance
to
that.
It
doesn't
try
to
be
overtly
inventive
and
still
brings
to
fore
a
sound
that
would
be
loved
by
the
young
crowds.