Once
upon
a
time
there
was
a
man
called
Ismail
Darbar
who
stormed
into
the
Bollywood
music
scene
with
Hum
Dil
De
Chuke
Sanam.
He
followed
it
up
with
another
Bhansali
flick
Devdas
and
it
seemed
that
Darbar
would
be
heard
a
lot
more
in
years
to
come.
Unfortunately,
that
was
not
the
case
to
be
as
films
like
Shakti
-
The
Power,
Deewangee
and
Baaz
followed
with
none
of
them
making
much
of
a
mark
musically.
Yes,
there
was
a
one
off
Kisna
too
but
Darbar
had
to
share
credits
with
Rahman
there.
Now
years
after
being
heard
last
as
a
composer
and
mainly
seen
as
a
talent
show
judge,
Darbar
returns
with
an
album
-
Mehbooba.
Well,
even
this
too
is
not
a
comeback
in
true
terms
since
Mehbooba
is
a
film
which
has
been
a
decade
long
in
the
making
and
is
finally
seeing
the
light
of
the
day.
An
interesting
factor
though
are
the
lyrics
by
Late
Anand
Bakshi
saab,
which
makes
Mehbooba
as
perhaps
lyricist's
last
work.
Well,
Bakshi
saab
would
have
been
happy
if
the
album
would
have
released
when
he
was
alive
since
Ismail
Darbar
doesn't
let
him
down.
Ok,
let's
have
a
disclaimer
here
right
at
the
beginning.
We
know
that
the
music
was
composed
ages
back
and
hence
the
sensibilities
have
to
belong
to
the
time
gone
by.
Late
90s
was
the
time
when
a
particular
style
of
melody
ruled
(remember
the
compositions
by
Nadeem
Shravan,
Jatin
Lalit,
Anu
Malik
and
the
likes)
and
Mehbooba
is
expected
to
be
no
different.
Same
is
the
case
with
the
title
song
'Tu
Meri
Mehbooba
Maine
Tera'
which
actually
turns
out
to
be
a
mix
of
what
Nadeem
Shravan
and
Anu
Malik
would
have
composed
if
brought
together.
Surprisingly,
there
isn't
much
of
Ismail
Darbar
in
this
song
of
love
and
seduction
but
overall
turns
out
to
be
a
cliched
yet
decent
Udit
Narayan
solo.
There
is
certain
grandeur
in
the
way
'Khwabo
Ki
Rani
Hai'
begins.
Well,
the
opulent
feel
dies
stay
on
but
a
surprise
is
in
store
as
one
finds
within
first
two
minutes
of
the
song
that
it
is
a
straight
rip
off
of
Laxmikant
Pyarelal's
'Aane
Se
Uske
Aaye
Bahar'
from
the
film
'Jeene
Ki
Raah'.
In
case
of
'Khwabo
Ki
Rani
Hai'
it
is
just
a
little
slower
but
the
overall
'mukhda'
portion
remains
just
the
same
with
even
the
punch
words
'Meri
Mehbooba'
staying
intact.
Anyways,
since
it
is
an
evergreen
melody
on
which
Darbar
bases
his
song,
overall
it
turns
out
to
be
a
pleasant
song
rendered
by
Udit
Narayan.
A
kind
of
fast
paced
rhythm
based
love
song
which
held
prominence
in
the
90s,
'Dilruba
Teri
Aankhe
Palkhe'
fits
in
well
with
the
era
gone
by.
Third
Udit
Narayan
number
in
a
row,
'Dilruba'
is
yet
another
song
with
a
Laxmikant-Pyaarelal
stamp
to
it.
Overall
the
song
turns
out
to
be
a
decent
hear
though
strictly
for
the
purpose
of
being
played
as
a
part
of
the
narrative.
Don't
expect
the
youth
of
today
to
play
it
on
in
their
car
stereos
and
have
it
on
full
volume
while
on
a
drive.
For
the
first
time
ever
a
female
voice
is
heard
in
Mehbooba,
courtesy
'Yaar
Tera
Shukriya
Pyar
Tera
Shukriya',
which
has
Alka
Yagnik
teaming
up
with
Udit
Narayan.
By
this
time
you
know
that
producer-director
Afzal
Khan
and
composer
Ismail
Darbar
certainly
had
Laxmikant-Pyarelal
as
the
reference
point
while
closing
on
the
final
list
of
songs
for
Mehbooba.
Let's
give
it
to
the
song
here
-
'Yaar
Tera
Shukriya'
is
indeed
the
best
of
the
enterprise
so
far
and
if
only
the
album
would
have
released
in
the
time
when
it
was
made,
this
track
would
have
gone
down
well
with
the
masses.
Not
a
bad
song
at
all
considering
the
mood
and
flavor
of
a
movie
which
started
it's
shoot
in
the
late
90s,
'Yaar
Tera
Shukriya'
is
for
those
looking
for
Udit-Alka
nostalgia
from
the
past!
Just
when
it
seemed
like
a
Laxmikant-Pyaarelal
show
all
the
way,
Ismail
Darbar
announces
his
presence
in
the
soundtrack
with
'Babuji
Bahut
Dukhta
Hai'
which
takes
off
from
where
'Nimbooda'
[Hum
Dil
De
Chuke
Sanam]
left.
An
item
song
which
seems
to
have
been
picturised
on
a
nautch
girl,
it
comes
with
lyrics
like
'Halka
Halka
Meetha
Meetha
Pyaara
Pyaara,
Jab
Dard
Jiya
Mein
Uthta
Hai;
Babuji
Bahaut
Dukhta
Hai'.
Well,
the
song
could
have
easily
breached
into
the
territory
of
being
vulgar
but
Anand
Bakshi
saab
did
a
right
job
in
drawing
a
fine
line
with
Alka
Yagnik
too
giving
a
certain
grace
to
the
proceedings.
But
what
was
that
line
or
two
by
drunken
sounding
Sanjay
Dutt
and
Ajay
Devgan
for
a
couple
of
occasions
in
the
song?
Plain
irritating!
And
by
the
way,
after
an
initial
originality
that
Darbar
brought
at
the
song's
beginning,
it
is
back
to
LP
territory
here;
something
which
hardly
surprises
any
more.
From
Udit
Narayan,
Ismail
Darbar
moves
to
Sonu
Nigam
who
renders
three
straight
songs
in
a
row.
First
to
come
is
'Kuch
Kar
Lo
Kuch'
which
yet
again
has
an
opulent
feel
to
it
and
can
be
expected
to
be
supported
by
a
grand
choreography.
A
song
revolving
around
the
theme
of
'love
can
happen
anytime,
anywhere
and
with
anyone',
'Kuch
Kar
Lo'
is
yet
another
number
that
makes
for
a
decent
hearing.
It
has
been
ages
since
one
last
heard
Kavita
Subramanyam!
She
is
heard
in
the
21st
century
too,
courtesy
film's
delay,
in
'Kuch
Kar
Lo
Kuch'
which
comes
in
two
more
versions.
While
first
has
Shankar
Mahadevan
teaming
up
with
her,
the
third
entirely
belongs
to
her
as
she
goes
solo.
In
fact,
this
solo
version
turns
out
to
be
the
best
of
the
three
versions,
courtesy
Darbar's
150
seconds
of
sheer
orchestra
which
dominates
the
proceedings
for
quite
some
time
before
Kavita
joins
the
fray.
Quite
grand!
Now
this
one
has
to
be
the
'inspiration'
of
the
decade!
One
would
have
never
expected
Ismail
Darbar
to
go
all
the
way
back
into
1982
to
find
a
base
theme
for
a
composition
of
his.
This
time
it
is
a
lesser
known
number
'Ae
Meri
Aawaaz
Ke'
which
was
composed
by
Pancham
da
for
Mithun
Chakraborty
starrer
Aamne
Saamne.
In
fact
if
only
Darbar
would
have
stuck
entirely
to
the
song
which
was
created
more
than
25
years
back,
'Achcha
To
Ab
Main
Chalta
Hoon'
by
Sonu
Nigam
may
have
turned
out
to
be
a
better
outing.
The
song
turns
out
to
be
just
about
fine
after
a
good
beginning
and
ultimately
settles
down
to
be
pure
average.
It's
the
sound
of
harmonium
which
begins
the
Qawalli
-
'Deewana
Maine
To
Deewana'.
It
is
Aslam
Sabri
who
begins
the
proceedings
with
a
long
prelude
before
Sukhwinder
Singh
and
Sonu
Nigam
take
over.
While
Aslam
Sabri
continues
to
support
them
throughout,
it
overall
stays
as
a
number
where
they
sing
for
Sanjay
Dutt
and
Ajay
Devgan
who
get
into
a
conversational
mode
while
talking
about
their
respective
Mehbooba.
No
prizes
for
guessing
that
they
are
talking
about
the
same
woman
-
Manisha
Koirala,
just
like
Vinod
Khanna
and
Rishi
Kapoor
did
in
'Tu
Mujhe
Suna
Main
Tujhe
Sunaoon
Apni
Prem
Kahaani'
[Chandni]!
In
the
soundtrack
of
Mehbooba,
what
impresses
most
is
the
sheer
grandeur
in
terms
of
arrangements
and
orchestra
which
promises
something
big
on
the
silver
screen.
The
songs
may
not
have
the
kind
of
club
sound
with
rhythm
galore,
something
which
dominates
the
soundtracks
today,
but
does
carry
an
old
world
nostalgic
quotient
which
brings
Laxmikant-Pyaarelal
closer
home.
Mehbooba
is
grand,
no
doubt
about
that.
Also,
there
is
no
doubt
about
the
fact
that
if
released
8-10
years
back,
it
would
have
been
a
certain
hit.