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Review |  10 May 2008 00:00 |  By ShabanaAli

Hastey Hastey

Music Director: Anu Malik

Lyrics: Sameer

Our Rating: 2/ 5

Once again, Sameer and Anu Malik come together to create music for the Indian audience. But this time Malik's score fails badly and Sameer's lyrics are just a series of catchy words.

One thing worth noticing is the length of the songs. Most of the songs in the album are more than six minutes long. Not a great album, but Bheegi Bheegi sung by Kunal Ganjawala is worth applauding.

Almadad chere khuda is the first song on the list sung by Zubin.
The song starts with a techno music beat, increasing expectations of an offbeat sufi track. But in vain, as the song does not succeed in creating any impact on the listeners - neither as a disco number nor as a romantic number. Zubin's voice is undoubtedly worth a hear, but the lyrics need some more attention. The lyric is a mixture of Urdu and Punjabi words.

If anything, Bheegi Bheegi sung by Kunal Ganjawala is the reason you should go for the album. All those romantic people out there would definitely love this song and soft music given to the song. Without doubt, no other singer would have justified the song as Kunal has.

If not a chartbuster, this song is sure to be on the hot list of late night and early morning radio listeners. The sound of the base guitar in the start and the Assamese traditional beats give the song a very soft feeling. The mixed sound of the bagpiper, drums and flute makes the music worth humming. The lyrics could have been better but the music and vocals cover up very well. The repetition of the words is always a lucky trick for Anu Malik and it works this time too.

The title track Haste haste is already on TV, sung by Shiv Ram Kumar and Sunidhi Chauhan. Follow your heart is the tagline of the movie, but the music of this track leaves just a hollow feeling. The song lacks innovativeness and freshness. Not very impressing in terms of lyric nor the music. The song reaches nowhere, probably not even the radio stations.

The title track also has a slower, sadder version sung by Sunidhi and Shiv Ram Kumar. The two line song is supposed to be sentimental, but before the listeners realise that, it's over.

Hum hein tum ho is probably an item number or a disco track in the movie. With seductive words and fast music, Anuji has tried to create something new but listeners would not be mistaken if they find the tunes monotonous. The music is just like any other item number with a mixture of techno sound and fast beats. Sunidhi's vocals have not been able to create any magic for the song. And as a brain teaser, do try to seek the drum beat Anuji used in 'Tumse milke dil ka' the famous kawali of Main Hoon na in the background.

New age Mantra is the fifth song of the album. The song has two more versions of the same, New age mantra 1 and new age Mantra 2. The original version is a duet sung by Sunidhi and Kunal Ganjawala. The other two are sung solo by the two artists. Anu Malik's music again lacks freshness and new beats. Listeners will not be mistaken if they find the music old and rusty. Sameer is surely running out of words.

Finally, the last song Rock the world which also has three versions. The first one sung in duet by Shaan and Sunidhi and the later sung in solo by the two singers. It won't be a surprise if the listeners cannot differentiate between New age Mantra and Rock the world. Once again, it's a combination of poor lyrics and poor music. The vocals are not very clear and the listeners have to keep guessing the words in the chorus. There are a few lines in English in the song, but they are neither clear nor understandable.

It's high time composers and lyricists realize that the Indian audience wants something more than the same old techno and fast beats. Sameer too has followed the same old style of introducing new words that have no synchronization with the mood and feel of song.

The album would be just like any other album that could sink without trace except the song 'Bheegi bheegi'. Go for it just for this Kunal Ganjawala track.

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