Aashayein 2010 Music Review

Movie: Aashayein 2010 Music Review

Since Aashayein is not a regular comedy or a boy-meets-girl film, one is at the least sure that the music too won't belong to the regular category. Not that there are hopes of anything extraordinary in the offing, more so because emphasis on music isn't quite high in Nagesh Kukunoor's films. While one is more or less sure that there isn't any chartbuster track that would be put on display in this soundtrack that has songs by Salim-Suleiman, Pritam and Shiraz Uppal, one still plays on 'Aashayein' to hear something striking that may just be round the corner.

It's a soft beginning for 'Mera Jeena Hai Kya' that has Pritam's brother-in-arm Neeraj Shridhar coming behind the mike. The mood is totally different from what one has heard of this combo in the past as the composer-singer 'jodi' gets into a lovey-dovey outing that has a soft rock base to it. Written by Sameer, the song sees an interspersion of English lyrics as well. A song about a protagonist who is looking forward to a better life due to arrival of his loved on, 'Mera Jeena Hai Kya' (which also appears in the 'remix version', just as most of the other songs in the album do) just about manages to be passable.

There is something peppier that comes along in the form of 'Dilkash Dildaar Duniya'. Even though the beginning is a little 90s with hint of Kumar Sanu/Babul Surpiyo tracks from the era gone by, 'Dilkash Dildaar Duniya' settles down to an extent once the song title makes an appearance. Yet another love song with an urban base to it, this one does have good energy that ensures that Aashayein manages to hang on. With Tulsi Kumar as the female voice behind the song, this Kumaar written track (appearing later in the 'remix version) too doesn't turn out to be that one chartbuster which could have helped Aashayein cover some distance.

It was just a few weeks back when a song titled 'Rabba' had arrived as a part of a non-film album. The same song is now heard in 'Aashayein' with Shiraz Uppal singing as well as composing it. The song sticks to the mood of the album and turns out to be one of the better numbers that one has heard so far. Of course this song too doesn't belong to the world of Bollywood and continues the non-filmy flavour of the album. A Shakeel Sohail written track, it makes for a decent hearing but that's about it.

The soft rock flavour continues with composers Salim-Suleiman and lyricist Mir Ali Husain taking over the album from this point on. First of their compositions here is 'Ab Mujhko Jeena' which reminds one of the non-film songs from the 90s. A song about looking up in life, it aims at being spirited and hence reminds of the sound of Iqbal, a film which again had Nagesh Kukunoor at the helm of affairs. As one realises by this point in the album, the songs are mainly meant for adding on to the background score rather than being the kind that would be chartbusters in isolation.

Next to arrive is Shafqat Amanat Ali who sings yet another solo track which goes as 'Shukriya Zindagi'. Just like most of the other numbers in the album, this one too is about thanking life for being beautiful, something which is the core essence of Aashayein. This time around, the song moves at a relatively slower pace and is far more attached to the Indian roots. No, you can't be heard singing around this track or dancing to its 'remix version' but its 'sad version' may just work for those who like their films to over overtly emotional.

The saddest song in the album is 'Pal Mein Mila Jahan' which reminds one of the kind of compositions that were created in the 60s. This song about finding happiness and loosing it subsequently comes in two versions - one by Shankar Mahadevan and another by Shreya Ghoshal. However, yet again the song is only for the film's narrative. Also, its inherent sad appeal means that it would find very few takers and that too only after audience has seen the film.

Last to arrive is Mohit Chauhan's 'Chala Aaya Pyar' which carries on the sad mood that has been created in the album. In fact one realises that while the start of Aashayein was still on a relatively happier note, the latter part takes a pensive route; something that doesn't quite end the album on a happy note.