There are tremendous expectations from Jannat 2 music but a divergent thought suddenly clicks me – that of Raaz 2 and Murder 2. Both were great standalone albums but suffered due to comparison with their predecessor’s stellar music. Due to this, I lowered my expectations a bit to judge it from less comparative manner – only a bit because it’s a Bhatt-Pritam-Emraan combo after all.
Next, there are 3 things that hit me when I read the tracks names and singers.
- There’s no female singer on the whole album – making me pretty apprehensive for Esha Gupta and her being strictly eye-candy material.
- NO remixes. Coming from Pritam, I’m pleasantly dumb-founded. I’m trying to figure out when such an occurrence happened in fact.
- What a mouth-watery combination of talented singers! Their names along sky-rockets the album to dizzy inquisitiveness.
So let’s find out who are they and what the album has in store:
The album kick-starts with what Emraan described as the “soul of the movie” – “Tu Hi Mera.” In all sincerity, it’s a great song but you do feel a certain lack of novelty in it. It’s very reminiscent of some of Emraan’s recent hits; namely Pee Loon, Ishq Sufiyana and Haal-E-Dil. However, it’s a song that’ll grows on you after some hearings – courtesy of Shafqat Amanat Ali’s vocals and Emraan’s aura in the video which was released days before the album’s release. Sayeed Qadri’s lyrics are average though. Pritam’s music is more gratifying though – especially the use of tablas in this song. In fact, the tabla is the grave-saving instrument in this composition; providing the required freshness.
A qawalli-esque outing with the master Rahat Fateh Ali Khan! “Tera Deedar Hua” is a song where the protagonist lavishes praises on his beloved but unfortunately, Sayeed Qadri’s lyrics are again average – in fact, more disappointing than “Tu Hi Mera”. The clichéd qawalli chants and chorus lacks freshness. I said it, time and time again though, that Rahat Fateh Ali Khan and his soulful vocals can make the most lustreless song turn brilliant. And he indeed makes this song good but how I wished that a soft female voice accompanied him and his overpowering vocals to make this outing sparkling. Luckily, Pritam makes a save in the last antara by integrating some rock melody; followed by a softer tune. This equilibrates more the vocals of RFAK but that’s about it. It’s a song that’s good only thanks to RFAK and the last antara. Hopefully, Emraan can be a 3rd USP to his song.
Let’s take 2 glasses of ‘tarap’ and ‘dard’ away from masala-love songs. First to come is “Tujhe Sochta Hoon” crooned by the man who perhaps give the most melodious hits to Emraan Hashmi – K.K. And arguably, this one is the best song of Jannat 2. Pritam’s music haunts you to no end while K.K’s vocals amplify the proceeding to dazzling ecstasy with his vocals. Acoustic guitar riffs with delicate strums & haunting chorus are both brilliant but it’s that piano which makes this song what it is. Coincidentally, the lyrics are great finally. Another brilliant KK rendition that’ll go in the annals of Pritam-Bhatt-Emraan hit combo.
By now, Emraan already fulfilled his casual hits template – one hit in the making, one decent song and one melodious to the core. But will Pritam gift one more? Well, Ask, and it will be given to you – in the form of “Rab Ka Shukrana”. The deftly piano is summoned once more by Pritam and the musical proceeding gets only better with the violin. But, it’s Mohit Chauhan’s show from start to finish. His talent and his vocals, nothing else! After being a major part in last year’s best Soundtrack, he smoothly delivers a soul-stirring sad outing. Sayeed Quadri’s lyrics keep the ascending path of the previous song and deliver some tresurable lines.
The following song disappoints though. “Jannatein Kahan” starts with police cars alarms and trickling guns sounds; then comes the now-legendary ‘Wooooo hhhhooo ooohhhh hooo…’ of Jannat. You cherish the thought of re-living another masterful rendition but the song fall flat as it moves on. There are lots of guitar bass, loud rock flavors and even some techno-rap but unfortunately, the amalgamation fails to click. The biggest problem is that the song tries too hard to move from the rock proceedings to the “Zara Sa” platform. This cuts the flow of the song and K.K’s wonderful vocals can’t change that. By the time, the last antara arrive, it’s almost irritating. Pritam may be gifted to copy others’ tunes and gives its new colors but when it came to re-deliver with one of his own songs, he failed in the task. The lyrics are okay. The shoes of ‘Zara Sa” were too large to fill but this song will have worked better; had it know to stay true to either the new or old setting. This “Jannatein Kahan” took the essence of ‘Zara Sa’ but left the soul wandering jaanein kahan…
The next song is “Sang Hoon Tere” – a reprise of the exceptional “Tujhe Sochta Hoon”. Firstly, kudos to Pritam for changing almost all the musical settings especially after the haunting appeal of the original version. It’s a lauding risk as a Lounge feel along with some soft rock takes place. It’s Nikhil D’Souza who delivers this reprise pretty skillfully and along, with some wonderful English lines chorus, this one hits the mark. Perhaps not like K.K’s version but if K.K’s version wasn’t here, this version would still have been a chartbuster
I play on to “Jannatein Kahaan – Power Ballad” apprehensively after my previous disappointment and I’m pleasantly surprised. Pritam experiments a lot with this song in terms of musical instruments; with the guitar portions giving a real edge to this song. This one has what the other version lacked – a soul and a flow. It stays true to the new musical setting and the integration of ‘Zara Sa’ is much more swiftly done by Pritam. Nikhil D’Souza also surprises us with his singing. This time, he thumps K.K hands down. This Power Ballad is full of guts and power and fully justifies and enhances the cult status of ‘Zara Sa’.
“Tera Deedar Hua (From the Heart)” is another reprise and it seems indeed from the heart. Though, the musical setting stays mostly the same, the song moves from the qawalli feel into a romantic sufi zone. This change is thanks to the softer vocals of Javed Ali which proves his immense potential with ease yet again. His vocals are amongst the most pleasant one of Bollywood’s playbacks singers. Without any disrespect towards Ustad Rahat Fateh Ali Khan, this was this alternative version is – a more enjoyable and easy-on-ears song.
“Rab Ka Shukrana (Reprise)” ends this album and it’s a graceful melodic end. The wonderful lyrics do not change while the notes in the piano are altered; bringing some novelty in the musical proceedings. Anupam Amod delivers the songs with more delicacy and has the merits to imprint his mark despite the previou