The Pritam-Priyadarshan team has given audiences some good albums over the last few years, including Billu and Bhool Bhulaiya, to name a few. So it is natural, to see them together again for Priyadarshan’s latest satirical comedy, Khatta Meetha. Khatta Meetha, like most of Priyadarshan’s films, is a remake of his Malayalam film’s, Vellanakalude Nadu. Khatta Meetha stars Akshay Kumar, in his 6th movie with Priyadarshan and Trisha Krishnan, who will be making her eagerly awaited foray into Hindi Cinema. Khatta Meetha hits cinema screen on the 16th of July 2010.
Khatta Meetha also features guest composer, newcomer Shani and remixes by DJ Amyth. The album features the vocal talents of Kunal Ganjawala (‘Bheege Honth Tere ‘- Murder), Sunidhi Chauhan (‘Dhoom Machale ‘- Dhoom), K.K (‘Khuda Jaane’ – Bachna Ae Haseeno) and Daler Mehendi (‘Rang De Basanti’ – Title Track) amongst others.
The album gets off to a great start with Nana Chi Taang (Hindi: Tere Aisi Ki Taisi! English: #@!* You!) rendered with utmost gusto by Kunal Ganjawala. It is high time this amazing artiste gave audiences a chart buster (last time he was heard on a large scale was in Bansali’s Saawariya) and ‘Nana Chi Taang’ just might be it. The song begins with what seems to be Marathi rap by U.R.L following by drums and guitars. The track is essentially a big-band-esque number that takes no more than a few nanoseconds to impress the listener. Once Kunal joins in with that attitude and oomph, one is already dancing to it. Irshad Kamil’s lyrics are impressive for a commercial track. The song’s essentially a warning to other men to stay away from the protagonist’s woman or else. In short, this track is a winner all the way. ‘Nana Chi Taang’ arguably does not need to be remixed, but listeners were given one anyway. The remix strips the song of the things that made it great, like the drums and the guitars that gave it that big-band touch, and one ends up with a empty shell of a song.
Next is Sajde, a desi, romantic duet, with subtle contemporary undertones, sung well by K.K and Sunidhi Chauhan. Both singers sound absolutely magical together and the traditional melodious music just multiplies the magic tenfold. Once again, Irshad pens beautiful lyrics about finding love again after countless wishes and prayers, reflecting the love-track between Akshay and Trisha’s characters who are exes. The song’s beauty is in its simplicity and it is the very thing that will ensure that it makes it’s way into listeners’ hearts in no time. Sajde’s remix version at the end of the album, simply speeds up the song a little bit and replaces the desi music with western sounds. It is not entirely un-listenable, but just doesn’t have the same charm as the original.
Bulls**t is the next track on the list. It is a situational piece that outlines the film’s underlying theme, corruption and bribery in government and politics. It is cleverly written by Shehzad Roy and rendered with equal wit and charm by Roy as well. Shani’s music adds to the comical and arguably topical ride with fast-paced dhols and shehnais. The track essentially promises that Khatta Meetha will be a laugh riot as well as a little thought provoking. While it might not be a track that will end up in your favourites playlist, it may prove to be more viable in the film’s narration.
The last track is Aila Re Aila, an energetic number, with Marathi influences, sung enthusiastically by Daler Mehdi, who is well supported by Kalapana Patowary. It is a loud and festive number, with little to no melody or tune. Its loud nature tends to become noisy at times while Nitin Raikwar’s lyrics leave a lot of be desired. Aila Re Aila’s remix is not so different from the original. DJ Amyth just increases the tempo with a few extra drum-like beats here and there. It is hard to tell the difference, both are, equally unimpressive.
At the end of the day, the verdict is, as the title suggests, sweet and sour, that is, the music of Khatta Meetha is strictly okay. The remixes are downright horrendous and completely unnecessary. ‘Bulls**t’ is a situational number in commercial clothing that might gain popularity once the movie’s released while ‘Aila Re Aila’, though festive and energetic is essentially noisy. That leaves only two tracks that pass muster. Though listenable, ‘Nana Chi Taang ‘and ‘Sajde’ are not works of genius. Audiences have heard such numbers before and will continue hearing the likes of them again. That being said, Priyadarshan movies are hardly musicals, their appeal lies in the witty dialogue and satirical portrayal of socio-economic issues. Therefore, the lack of a strong musical quotient is somewhat irrelevant. Musically speaking, check the album out for ‘Nana Chi Taang’ and ‘Sajde’ and you will not be disappointed. Any expectations beyond that will not guarantee satisfaction.