Nanhe Jaisalmer Music Review
Decades back Dharmendra starred in Hrishikesh Mukherjee directed Guddi, as himself. The film’s theme revolved around a girl, played by Jaya Bhaduri who was fascinated by the superstar. More than 35 years later, Bobby Deol too enacts a similar role, though this time, the girl is replaced by a young boy, aptly named ‘Nanhe’, who is his die hard fan and lives in a belief that one day he would come face to face with his screen idol.
Samir Karnik the director debuted with ‘Kyon Ho Gaya Na’ a few years back. ‘Nanhe Jaisalmer’ has lyrics by Sameer and music by Himesh Reshammiya. With the film’s setting in Rajasthan, one expects a different kind of soundtrack from Reshammiya which is uncharacteristic of the kind of compositions he has been churning out for over two years now. Well, this doesn’t quite happen as Reshammiya does try to impart the desert flavor in some of the compositions, though with lesser results.
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The first song of the album, ‘Nanhe Yaar’, is one of the best created songs by Himesh Reshammiya and Sameer in recent times; pure, unadulterated and immersed with selfless emotions about friendship between the superstar and the child. ‘Nanhe Yaar’ is a hardcore Indian track that has melody as its strong point. One can’t get tired of hearing the soulful voice of Sonu Nigam in the song which validates Reshammiya’s claims, that the singer is easily the best in the business.
Now that’s the kind of music which one expects Reshammiya to whip up more often since it breaks away from the monotony and gives a listener a beautiful number to hum around. In fact on a closer look, one almost feels that ‘Nanhe Yaar’ is a track composed for a JP Dutta film due to its obvious desert feel, coupled with authentic Indian look and feel.
Well, one can’t keep Himesh Reshammiya, ‘the singer’, out of action for long, isn’t it? This is why the very second song in the album, ‘Ulfat’, has Reshammiya doing a solo. There are shades of ‘Tadap’ [Darling] as well as ‘Mehfuz’ [Apne] in this rock track which is a complete antithesis to the melody of ‘Nanhe Yaar’. Reshammiya sings the song in extreme high pitch to suit the concert settings of the track but the results aren’t endearing enough.
It isn’t a bad composition but still ‘Ulfat’ doesn’t turn out to be the song that you want to keep in your favorites list for long. A song like this warrants a ‘remix version’ and Himesh gives us one later in the album. To give him credit, by the time you have heard the original track a few times and moved on to the remix version, you sort of get a hang of the composition and don’t mind it much, in spite of a sense of deja vu.
Vineet and Jayesh Gandhi, two singers who have repeatedly been given a chance to sing by Himesh Reshammiya, are back in action with ‘Kesariya’. Opening of ‘Kesariya’ by Jayesh Gandhi is based on the popular Rajasthani folk track and while the flavor remains consistent throughout the track, Vineet aided by Sameer’s lyrics gives a different touch to the ‘antaras’. His voice bears an uncanny resemblance to that of Sonu Nigam which makes one wonder if Sonu himself may have been better suited to croon the number.
Nevertheless, Vineet does a decent job while rendering this track, which after ‘Nanhe Yaar’ is soothing yet again; though not with similar long lasting appeal. Towards the second half of the song, Reshammiya even adds a bit of jazz to the proceedings though it is there only for a short while. Overall an average situational track which should appear as a part of film’s background score.
After ‘Ulfat’ there is yet another high-on-rhythm fast paced track which arrives in the form of ‘Ranjhana’. In the very first listening, this Himesh Reshammiya rendered solo, borders on being annoying, courtesy the high bass beats that seem to be the handwork of a small town DJ who could well be applying his skills at marriage processions. The arrangements are poor which act as a turn off to begin with.
Once you have settled down to this fact, the overall composition isn’t too difficult to digest, though one would have expected the final copy of the song to have been more carefully designed. The ‘remix version’ makes an appearance too, but after hearing the original there is hardly any interest that remains towards hearing it with additional beats .
Himesh’s voice continues to blaze on from the music system as he sings yet another track ‘Lamha Lamha’. The sound of ‘dhoom pichaka dhoom dhoom’ is straight out of Anu Malik’s ‘Mere Mehboob Mere Sanam’ [Duplicate] and though one doesn’t mind that much, it is Sunidhi Chauhan who turns out to be the biggest culprit in the song. She tries to sing the track differently in a low husky mode but the final result turns out to be such a drag, that one wonders how the song was accepted in the first place?
Supposedly a love song, ‘Lamha Lamha’ doesn’t quite work in spite of an attempted collaboration of rhythm, melody and shades of Indian classical feel. For the only duet in the album, it is a downer though the ‘remix version’ does promise a decent outing if presented well as a promotional music video.
In the end what remains with the listener after hearing ‘Nanhe Jaisalmer’ is the title song ‘Nanhe Yaar’. This is surprising though since in an album dominated by Himesh Reshammiya sung songs; it is Sonu Nigam who ends up making the most impact. Remaining tracks range from being below average to average which doesn’t quite make ‘Nanhe Jaisalmer’ the kind of album which Reshammiya would wish to flaunt around five years down the line.