WELCOME Music Review

By Aakash Gandhi :: Reviewer’s Rating: 6/10

Source: AVStv.com

Mr. Nadiadwala is back yet again with another comic-caper that many critics are already saying will be Akshay Kumar’s unprecedented fourth blockbuster this year! WELCOME features Anees Bazmee at the director’s helm, whose 2005 release, No Entry, was a commercial monster. Although the verdict of the film remains somewhat of a mystery at large - its music has arrived, and not with much of a bang either.

The soundtrack features a potpourri of some of today’s most popular MDs, including Anand Raj Anand, Himesh Reshammiya, and Sajid-Wajid - who recently witnessed by far the biggest success of their careers with the soundtrack of PARTNER. Let us take a stroll down the tracks to see if WELCOME has the power to appeal.

Sajid-Wajid get us underway with their sole contribution, Welcome. The early parts of the number actually are quite engrossing - what with the off-beat vocals and symphonic beats mixed with some appropriate horns. Unfortunately, Sajid-Wajid write a rather bland melody for Shaan and Sowmya Rao to render. In addition to the monotonous melody, the rhythmic elements of the piece lack the creative power that is essential in today’s music. Besides a few trumpets and hyper-brass horns there is hardly any instrumental value in the piece. Shabhir Ahmed’s lyrics are…well…forgettable. Verdict: This piece probably got the nod from the makers only because it’ll be used as a screen prop, and nothing more.

When you see that Anand Raj Anand, Shankar Mahadevan, and Shreya Ghoshal are all associated with the same track, you’re almost certain to get an adrenaline-pumping number with rhythmic and vocal class. You do get that to an extent with our next track, Hoth Rasiley. This indo-techno track is definitely high on beat, but also has a fun melody to sing to. ARA and Shankar Mahadevan sing with wild abandon, while Shreya adds her touch of purity to balance the vocal performances. Verdict: From a critic’s ear, the number is far from perfect; however, the aura given off is exciting and foot-tapping. Enjoy yourself with this one!

Just when you start to wonder what Himesh Reshammiya has been doing of late, he screams Insha Allah into your ears. The piece is very typical of HR’s limited abilities as a composer. With a mix of programmed sounds and a little dhol interspersed throughout, Insha Allah boosts of very little when it comes to quality of composition.

Shaan and Akruti Kakkar’s renditions are good, but aren’t enough to save this number. I wonder why HR himself didn’t feature to scream out ‘Insha Allah’ over and over again (as he so comfortably has done in the past) - however he chooses Krishna’s vocals to put us through the misery. Honestly, I was so distracted by the inept music direction on the first listen, much to my disgust, I had to repeat the track just to catch a whiff of the lyrics - which aren’t much better mind you. Verdict: Ouch.

Kola Laka Vellari is HR’s second and final appearance. Thankfully, this outing is a much more bearable one - and at times even a bit enjoyable. Using a semi-rock arrangement style with a splash of acoustic riffs in the background, HR is able to create a steady base for his highlight - the melody. The other thing I liked is that HR throws in some harmonic variation with the sporadic play of the table (very reminiscent of what he did in arguably his most popular track ever, Aashiq Banaya Aapne). Lyrics by Sameer are above-average. Verdict: This is nothing that will make your weekly playlist, but it is slightly enjoyable during its performance at times.

It’s no doubt Anand Raj Anand has been the highlight of the soundtrack so far, and it is he who closes the CD out with the final two songs.

Uncha Lamba Kad is another feather in this talented man’s cap as he composes, sings, and writes this very breezy number. The opening synth is very similar to the one that is instantly identifiable in the 90s hit Makhna (Chote Miyan Bade Miyan). Kudos to ARA for creating an extremely relaxed rhythm, superimposed nicely with his catchy, yet smooth, melody. Verdict: A true hat-trick for ARA, who delivers in every category.

ARA closes things out with another cut-throat number that serves to keep your foot-tapping from start to finish. Kiya Kiya isn’t any special club number, and doesn’t try to be either. The track doesn’t really have any specific highlights, as all elements tend to blend with one another. ARA’s rendition is what will probably catch your ear the quickest, as the title melodic line is quite addictive.

Shweta Pandit brings justice to her role as the back-up vocalist. Anjaan Sagari’s lyrics are ordinarily romantic - loads of clichés. Verdict: Just like Kola Laka Vellari, this probably won’t earn a RRR (rapid repeat request), but it is appeasing in the moment.

To answer the question posed earlier - NO. WELCOME, on the whole, does not have the power to appeal solely based on the quality of its music. The tracks worth your attention would have to be Hoth Rasiley and Uncha Lamba Kad, both courtesy of Anand Raj Anand - an extremely underrated MD in the industry. But we all know that the makers aren’t banking on the soundtrack to help the film’s business…they already have Akshay Kumar to do that. Here’s wishing the entire cast and crew of WELCOME lots of luck.

-Aakash Gandhi 2007 AVS Television Network avstv.com