A scintillating tune starts ‘ O Mere Khuda’ which soon turns into a full on action mood with its captivating signature tune, which is quite understood considering the genre of the movie. Atif Aslam is at the helms along with some backing vocals by Garima Jhingon who is there only for the line Aa bhi jaa sanam, while Atif controls the rest of the part. The dance track is high on energy, but Atif seems a big misfit here with some usual pet words penned by Sameer. The major flaw, whether deliberate or mistake comes at the second stanza where the alaap is so clearly taken off from a different loop altogether and fitted into the end of the first stanza that it actually sounds weird. Anyhow, the song would be hot among the masses anyway.
‘O Mere Khuda’ is also heard in a ’Dance Mix’ which actually sounds impressive and better than the original. The track is a blend of the originals of O mere khuda as well as Aa Bhi Jaa Sanam and makes up for a better hearing. The beats are quite good rather than being heavy on action mood like the original.
The best of the lot actually comes up from an unusual duet pair of Atif and Shreya Ghoshal who team up for ‘Tere Liye’ which is a romantic with some western touch. The tune used for the initial lines is strikingly similar to that of Ho jaata hai kaise pyaar from the movie Yalgaar, but the mood gets hooked once the crescendo is finally built to the T and the title line arrives. While Atif dominates here as well, Shreya deserves a special mention. She sounds so much like a seductress here (which is required of her for this song) that u can’t help but fall in love with her voice.
Such is the confidence of the producers and the composer in ‘Tere Liye’ that they arrive up with as many as three more versions.
The first one is a dance mix, which begins quite a decent manner, but as the track progresses, the interest lose down and the beats at the arrival of the punch line, are just spoilsports.
Next arrives the Hip Hop mix, which takes quite a slow route and surprisingly gets into the midst of some beautiful Indian instrumentals coming up with an Indian feel to it unlike the original which maintained a western one. However, despite this, it fails to impress. A miss for sure.
Last of Tere Liye is seen with ‘Tere Liye (Unplugged)’ rendered by the composer, Sachin Gupta. This one relies on minimal instruments and dwelves into a more romantic mood, as Sachin takes some shelf under the technical vocal aspect. The track did have in it to click big time, but somewhere loses on the over – effort and change brought into the track. To add to it, it has one of the worst endings ever a track could have. Nonetheless, the track should find some audience for itself.
Atif stays on, this time for a solo ‘Kaun Hoon Main’ which has a rock setting to
it. A track based on the lost identity of the protagonist, one thing going against the track is too much of usual Atif alaaps in the track being used, which acts a turn off. Otherwise, the track does spur some good moments, though not fully to its potential.
Surprisingly, ‘Kaun Hoon Main’ is saved for a Dance Mix as well, which sounds awful from the moment it begins. The makers could have skipped it a big deal.
You heard the lines Aa Bhi Jaa Sanam in ‘O Mere Khuda’, now it returns as a full fledged track based on the same tune as O Mere Khuda. A sad outing that it is, ‘Aa Bhi Jaa Sanam’ once again brings back Atif for this western free feel track. Though Atif is quite popular for his slow numbers, he is at his all time low here as he strains to much at certain portions like ‘Aa’ of Aa Bhi Jaa and ‘Mitenge’ of Mar mitenge hum.
Record of remixes seem to be on the mind of the producers, that Aa Bhi Jaa Sanam too is presented in a Dance Mix. Thankfully in a short and speedy version, though this one is not weird as other remixes, it does make up for some bit for remix lovers, though it actually falls below the original.
Atif is given a break and some female dominance steps in with Alisha crooning the out n out seducing number ‘ Jiyara Jiyara’ along with some English rap by Hard Kaur. Lyrics by Sameer are something that he has been doing since ages, but this one is set for a visual treat than its audio, which is at best an above average track.
No prizes for guessing, this too appears in a remix version but in a Bhangra Mix, which as understood is fusion but a horribly went wrong one. It marks off well, but the moment the bhangra part is brought in, the track goes haywire. Nothing worth mentioning there onwards.
Seduction stays on, with Monali Thakur (who sang the ever famous seductive Zara Zara touch me), who croons in ‘Ishq mein’ which should have probably titled as ‘Teri Baahon mein’ as it lays more emphasis on these lines. The musical arrangements of the track are wonderful but unfortunately the composition fails to support it any good worth it. Worth mentioning if anything is, it is the line ‘Teri Baahon Mein’ which actually hooks onto you. One just wishes the same could have been said for the whole track. Surprisingly, this one is not in a remix version.
Prince till now had been high on energy, which all comes packed in one mega mix titled as ‘Prince Mega Mix’. It hardly keeps you entertained to itself, and though it has some very few moments for enjoying it, makes for a painful journey of seven minutes.
‘Prince Theme’ marks off this romantic action filled album, which as it is supposed to be is a background score. Comprising of the same signature tune used in ‘O Mere Khuda’ it is not anything different, though one doesn’t mind it anyway.
Overall, Prince is a high on extravaganza album with the western romantic action mood being its basic flavor. Though a highly energetic album that it is, Prince could have been better in terms of audio. Yet it is not a thorough disappointment. It has something for everyone.