EXPECTATIONS The moment name Aamir Khan is seen in the credits, the word 'quality' comes naturally. Such has been the brand value Aamir has made around him that everything else, whether it is the director, composer or the co-star, comes secondary. Of course with names like Rajkumar Hirani, Kareena Kapoor and Vidhu Vinod Chopra involved, one can't discount the overall package affair that 3 Idiots turns out to be. Still, when it comes to the music of the film, one can't really claim to have huge expectations. Reason being that the composer at the helm of affairs is Shantanu Moitra who hasn't had a single commercially successful album other than Parineeta. Yes, he has been critically acclaimed but due to the kind of music he has created and the genre he has explored, mass acceptance has still eluded him. Even a Lage Raho Munnabhai showed some good sales once the movie turned out to be hugely successful at the box office. This is the reason why one plays 3 Idiots (that has lyrics by Swanand Kirkire) with reasonable, rather than extraordinary, expectations in place - Aamir Khan notwithstanding. MUSIC It's a gradual beginning to 'Aal Izz Well' that gives a clear indication of what the film is all about. Arriving with the theme of 'care-a-damn' attitude, 'Aal Izz Well' is completely different from dozens of campus tracks that have been heard over the years. Swanand Kirkire's lyrics make an instant impression while Shantanu's rhythmic treatment ensures that the song would be played in many a campus festivals and student get togethers from here on. Catching the pulse of youth, whether from today, yesterday or tomorrow, this Sonu Nigam and Shaan sung track, which also appears in a deserving 'remix version', belongs to chartbuster variety. One wonders though that why did Shanatanu have to croon like Anu Malik for an interspersing piece? Only song in the album featuring a female voice comes in the form of 'Zoobi Doobi'. The chosen one here is the obvious name without whom not a single A-list album gets completed today - Shreya Ghoshal. A song-n-dance affair that almost spoofs the conventional rain tracks that have been heard and seen in Bollywood over the decades, 'Zoobi Doobi' combines melody with rhythm with Sonu Nigam joining the show. Belonging to the 50s and 60s variety in the way it has been composed, 'Zoobi Doobi' (which too has a 'remix version' for itself) is good though its longevity would depend upon the way it has been choreographed and the extent to which the film succeeds. From this point on, the album takes a situational turn, as visible in 'Behti Hawa Sa Tha Woh' which comes next. Starting on a pensive note, the number is about a couple of friends (Madhavan and Sharman Joshi) who are searching for their lost partner (Aamir Khan). The number has a distinct Bengali music touch to it, whether in terms of the way it has been orchestrated, arranged and even sung. With minimal instruments in the background, this number sung by Shaan and Shantanu Moitra describes the character played by Aamir and how he carried a carefree and lively persona. With a hint of sadness to it, 'Behti Hawa' is primarily for the screen. Just like it's predecessor, 'Give Me Some Sunshine' too has a slow beginning with Sharman Joshi narrating a line about youth being allowed to live life the way they want. Soon after Suraj Jagan starts singing this track about how kids are deprived of their innocence in the world of education that dictates what they should be doing rather than them making a choice. Meanwhile, Sharman keeps interspersing the song with anecdotes from the childhood (experimenting with chemistry, forced to get 99% marks etc...). Yet another campus track, though softer in mode and tone this time around, the song has its high point every time the line 'Give Me Some Sunshine' comes on the forefront. The finale is interesting with Sonu Nigam coming up with one of his best renditions in recent times. He changes the pitch of his voice extraordinarily well in 'Jaane Nahin Denge Tujhe' which again appears to be the set in a mood where the friends are rooting for each other and making sure that they don't fail in their pursuit for a better life ahead. After singing two popular tracks 'Shukran Allah' [Kurbaan] and 'Don't Say Alvida' [Main Aurr Mrs Khanna], this is yet another quality outing for Sonu Nigam who hits just the right notes. Special mention to Swanand for his words that should make a definite impact in the film's narrative. OVERALL 3 Idiots is a good quality album that has two super strong tracks - 'Aal Izz Well' and 'Jaane Nahin Denge Tujhe'. Both are poles apart though because while former is for mass audiences, latter should find a perfect placement in the film's narrative. 'Zoobi Doobi' is nice while 'Behti Hawa' and 'Give Me Some Sunshine' would be known more after the film's release. Immense curiosity value around '3 Idiots' would ensure that in the initial days, the album disappears quite quickly from the music stands. After that, it would be the strength of the film and its run at the box office that would do the talking for the album as well. OUR PICK(S) 'Aal Izz Well', 'Jaane Nahin Denge Tujhe', 'Zoobi Doobi' [Play Songs]

EXPECTATIONS De Dana Dan is an out and out comic entertainer due to which one doesn't quite expect a musical here. Of course Akshay Kumar-Pritam 'jodi' in the past has given chartbuster tracks in comedies like Bhool Bhulaiyaa and Singh Is Kinng earlier. Still, these films had a romantic angle to them which resulted in memorable music not just by means of item numbers but also a few soulful songs. However, when it comes to De Dana Dan, all one expects are some more Hera Pheri moments, courtesy the coming together of Akshay Kumar, Suneil Shetty, Paresh Rawal and Priyadarshan. MUSIC There is a very pleasant surprise in store though at the very beginning of the album with Rahat Fateh Ali Khan coming up with an extremely likeable 'Rishte Naate'. A beautiful love song which is set in a mould similar to that of 'Teri Ore' [Singh Is Kinng], 'Rishte Naate' is also elevated further due to some very good writing by Sayeed Quadri. The combination works perfectly well with English rendition by Suzanne Demello being an icing on the cake. The song's remix makes for a good club outing as well with Kunal Ganjawala replacing Rahat Fateh Ali Khan for this version and still giving a good account of himself. It is surprising that such a beautiful sounding track is being released so late in the day when the film is a mere 20 days away from release. Mood of the album changes soon after with some groovy beats making 'Paisa' a number to jive along. This is the kind of track that doesn't necessarily make a huge impression in the very first outing but grows on you tremendously after it has been played for a few times. The way RDB writes, composes and sings this track with Manak-E and Selina has a 'desi' feel to it as well that makes it stand out in the crowd. This is the kind of track which has Punjabi folk fusion written all over it and can be heard in the North India belt. A theme song about money being the driving force behind all the acts, 'Paisa Paisa', which also has a supporting 'Club Mix' version, can be a hugely popular track provided it is bombarded on music channels 24X7. From a romantic number and a situational outing, De Dana Dan turns on the heat with a seductive 'Gale Lag Ja'. A sensual rain track featuring Katrina Kaif along with Akshay, it has newcomer Banjyotsna coming up with the kind of rendition that reminds of Alisha Chenoy. Written by Ashish Pandit, this slow moving number with Javed Ali behind the mike is easy on ears even though it doesn't carry that chartbuster appeal to it. Hear this one (which also has a second version with Domonique Cerejo also joining the show) for some soothing times and move on to the next one in the offering. For fourth song in a row, there is a different lyricist roped in. This time around it is Irshaad Kamil who writes a celebration track 'Baamulaiza'. Even though Mika Singh is at the helm of affairs, one really misses Neeraj Sreedhar here who would have made a difference to the final outcome. A rhythmic track that has Style Bhai coming up with his rap-n-reggae, 'Baamulaiza' (which too has a 'remix version' in the offering) makes for a fine hearing though not necessarily belonging to the hit variety. It's nice to see though that Dominique Cerejo, an erstwhile background vocalist, gets yet another number as a playback singer to her credit. The trend of a separate lyricist for each of the songs continues with Neeraj Sreedhar writing 'Hotty Naughty' which reminds one of lesser heard 'Aage Aage Dekhe Ja' [Life Partner] in its beginning portions. An obvious item number that has been crooned by Sunidhi Chauhan and is picturised on Neha Dhupia, 'Hotty Naughty' is more fun than sensual which ensures that the proceedings do not become risqué. A passable peppy track that should look good on screen with some eye catchy picturisation, it falls under the bracket of being time pass and that's about it. Kalpana Patwari sings the 'remix version' but frankly, one would prefer Sunidhi's rendition here. Finally comes the title track 'De Dana Dan', a Sameer written number which is sung and composed by Ad Boys. Just like 'Paisa', this one too has a chartbuster appeal to it and sees a good blend of Punjabi music with contemporary Bollywood music. Boasting of the kind of beats and energy that seldom fails; De Dana Dan is quite spirited and should make for a riotous outing on screen. The track brings a good end to the album which mostly boasts of an inherent fun element. OVERALL In the recent times, there have been quite some quality musical scores like Kurbaan, Tum Mile, Ajab Prem Ki Ghazab Kahani and Radio that have managed to make an impact. Most of these have a classy feel to it. In comparison, De Dana Dan has a massy feel to it with numbers like 'Paisa' and title song making a good impression. 'Baamulaiza' and 'Hotty Naughty' don't have a much future though beyond the film's run in theatres. However, if there is a track that would be remembered at least for a few more months to come, it would be 'Rishte Naate'. OUR PICK(S) 'Rishte Naate', 'Paisa', 'De Dana Dan'

EXPECTATIONS Since Aao Wish Karein gives the perception of a romantic entertainer; one does expect music to play a reasonably important role in the film. Also, since composers Ankur Tewari and Xulfi had come up with a couple of tracks worth humming in Ek Chalis Ki Last Local, one expects a certain quality from their soundtrack of Aao Wish Karein. MUSIC Beginning of Aao Wish Karein is surprising though with 'Sabse Peeche Hum Khade' kick starting the proceedings. This is the same song that Mohit Chauhan had sung and had featured in the film Let's Enjoy. This time around it is Kunal Ganjawala who comes behind the mike for this melodious track that has an old world charm to it. Since the song has been heard over all these years, there is an instant recall value and it doesn't take much time to hum this Ankur Tewari written and composed number all over again. Later, Kunal Ganjawala comes up with a much slower 'reprise version'. Sunidhi Chauhan brings on the spunk with a livelier version titled 'Sabse Peeche Kyon Khade'. Lyrics are different this time around and are told from the female protagonist's point of view where she gets into a conversational mode with the guy. Xulfi begins 'Reh Jaane Do' with the trademark sound of guitar strings. A soft sounding pop track that has a sad connotation to it, 'Reh Jaane Do' moves at a very slow pace with focus on lyrics and rendition rather than any beats that could have otherwise diluted the overall impact. The song may not be the pick of the current season since it's not the kind that could be sung around the streets. However, hear it in the context of the film's narrative and it could make for a good background score. Also, after a promising beginning, its 'antara' doesn't quite manage to hold one's attention. In the similar mode comes 'Tum Mere Ho' which is a romantic duet by Kunal Ganjawala and Sunidhi Chauhan. By now, the mood of the album is pretty much established as each of the songs so far has followed the same theme without getting into any tangents. The focus is not on creating a chartbuster song that would rock the dance floors or be played on highways. Instead, emphasis is on coming up with the kind of soundtrack that goes well with the soft and simple mood of the film, an atmosphere that composers Ankur Tewari and Mikey Mccleary manage to create in 'Tum Mere Ho'. Xulfi comes up with the best track of the album in the form of 'Kuch Aisa' (which comes in both the upbeat and 'sad version'). If there is a song that deserves to be heavily promoted as of this very moment, it is 'Kuch Aisa'. Unfortunately, since there is a very small window between the music and the film release, it seems like quite a difficult task for this romantic melodious number to reach out to its target audience in a big way. It's the kind of song that most film makers would have loved to incorporate in their films as Xulfi has done quite well in playing the triple role of singer, composer and lyricist (with Danish Khan). The last song of the album, 'Sab Yahaan Hain', though doesn't quite lead to similar sentiments. Set as a celebration song in a 50's mode, this Kunal Ganjawala sung track aims at getting into a carnival mode. However, it's playing time would be relegated to the screen time that it gets on the big screen since it is a hardcore situational song. A number about the wish coming true for the lead protagonist in the film (played by Aftab Shivdasani), 'Sab Yahaan Hain' is written and composed by Ankur Tewari with Mikey Mccleary joining in. OVERALL As stated earlier, it is apparent that the makers of Aao Wish Karein didn't quite have a chartbuster musical in mind when they came together to make music for the film. This is why the mood of the album remains situational for most part of it. Though none of the songs are bad per se, there isn't a hit quality to them either that would make the album sell like hot cakes. Hear it for some soulful moments in 'Kuch Aisa' and 'Sabse Peeche Hum Khade'. OUR PICK(S) 'Kuch Aisa', 'Sabse Peeche Hum Khade' [Play Songs]

EXPECTATIONS There are good, though not huge expectations from the music of Kurbaan. Good, because there are names like Karan Johar, Saif Ali Khan and Kareena Kapoor associated with the film. Not huge, because the film doesn't belong to a quintessential romantic genre in the true sense, something which could possibly lend a 'safe' feel to the soundtrack. With the film having a background of terrorism to it, there is a certain restriction that happens to the commercial viability of the music. This is why composers Salim-Sulaiman and lyricist Prasoon Joshi had quite some task in hand when entrusted with the responsibility of creating soundtrack for Kurbaan. No wonder, one eagerly plays it on. MUSIC It's a tremendous start to the album, what with Salim Merchant coming behind the mike to open 'Shukran Allah' in a manner similar to that of Kailash Kher crooning of 'Subhan Allah' [Fanaa]. Within seconds, Sonu Nigam takes over and you instantly know why he is simply the best that we have today when it comes to crooning melodious romantic tracks. His trademark silky voice is at play once again in this beautifully composed number which easily finds a place at the top of romantic numbers composed by Salim-Sulaiman. If the 'mukhda' is impressive then watch out for the 'antara' - it proves once again why Indian melody can never ever be out of vogue. Shreya Ghoshal joins the scene three and a half minutes into 'Shukran Allah' and makes an instant impact. This is one song that would be played for a long-long time and is easily one of the best that we have heard this year. It's the sound of guitar that lends a modern day feel to 'Dua Hai'. Though the English portion by Marianne D'Cruz has a distinct (and oft repeated sound by Salim-Sulaiman), it's the coming together of Sukhwinder Singh and Kailash Kher which brings in a different dimension to 'Dua Hai'. A fusion 'qawalli' that sees a mix of 'sufi', 'rock' and 'pop' coming together, it's the hook of 'Dua Hai' that keeps the ball rolling for song. While Kailash Kher brings in his own rustic touch to the track, it is usual energy that Sukhwinder Singh brings to the proceedings which make 'Dua Hai' special. Hear it for a couple of times and you would be hooked on for sure. Salim Merchant gifts himself an entire song as a singer in the form of 'Ali Maula'. A situational track that should play as a part of the film's background, it has the kind of lyrics that may not be comprehendible to the common man. However, in the context of the film, one can well imagine it to be making a huge impact. Rendering a pensive feel to the proceedings with the protagonist kneeling before God to lend enough courage for him to accomplish the impossible, 'Ali Maula' carries trademark Salim-Sulaiman sound. In addition, the 'remix version' is well done too and makes one hit for a couch in the lounge! Remember the impact that songs like 'Naina' and 'Laakad' had made after they were seen and heard in Omkara? Similar dark, haunting yet romantic touch is pretty apparent in 'Rasiya' which sees a fusion of Indian and Western classical music. Excellently crooned by Shruti Pathak who keeps her voice low for this sensual, romantic and poetic track, 'Naina' is yet another quality song by the young singer who has earlier rendered one of the best tracks ever by Salim and Sulaiman - 'Mar Jaava' [Fashion]. The composers certainly know how to pitch her voice and in what situation. No wonder, 'Rasiya' is pretty much a testimony to this fact. Soon after this slow moving number comes a highly energetic title song 'Kurbaan Hua' which proves once again that Vishal Dadlani is seriously taking his stint behind the mike. Singing quite regularly now for the compositions created by him along with Shekhar, Shankar-Ehsaan-Loy and also Salim-Sulaiman, Vishal rocks the show, literally, with 'Kurbaan Hua'. This is a kind of number which evokes instant reactions and immediate appreciation. 'Kurbaan Hua' is a rock track that completely goes with the action packed theme of the film, hence making one look forward to it's placement in the narrative. Other than 'Shukran Allah', this clearly is the pick of the lot in Kurbaan. OVERALL Kurbaan is a quality album all the way and clearly the best that Salim & Sulaiman have offered since Fashion. A difficult album to compose considering the kind of theme that the film comes with, Kurbaan boasts of the kind of sound that is consistent throughout. While quite a few tracks would be noticed more after the release of the film, there are songs like 'Shukran Allah' and 'Kurbaan Hua' that would make sure that Kurbaan makes a good head start at the music stands. OUR PICK(S) 'Shukran Allah', 'Kurbaan Hua', 'Dua Hai'

EXPECTATIONS Nil. Main reason being that the title by itself is such inconsequential and doesn't give any hint whatsoever of what the film is all about. The same holds true for the music (composed by Sangeet Haldipur and Siddharth Haldipur with lyrics by Saajan Aggarwal) as well that has silently arrived on the stands. MUSIC 'Heeriye', 'jaaniye' and stuff alike is heard in 'bhangra' track 'Bhangda Paale - Moovam 2 Da Groovam' which as inconsequential as the title of the film. Seemingly created in one day flat with no novelty whatsoever, 'Bhangda Paale' is crooned by newcomer Neeti Muhan who does try to bring in some spunk into this heard-before track that doesn't quite make you jump with joy and land on the dance floors. Composers Sangeet Haldipur and Siddharth Haldipur also come behind the mike but the song primarily belongs to Neeti. The 'remix version', which actually is quite an odd hear, also sees Mahua joining Neeti behind the mike. The title song comes next and the beginning is akin to the kind of portions that one hears as a part of Salim-Sulaiman background score. However, the moment Kailash Kher begins singing 'Fruit & Nut - Chabaieley', the entire arrangement of beats is completely out of synch. In fact one wonders if the composers (who also sing the chorus part) had even bothered to hear the final track since the utter lack of coordination between the voice and beats is simply so obvious. Even otherwise, the song doesn't have any life outside the film's narrative. The 'remix version' though is comparatively more energetic, courtesy an out and out Western treatment that it gets. Boman Irani's introduction song, 'Khabardar', comes in next. Incidentally this jazz track has him as singer as well as gets into an Austin Powers mode with self parody taking centre stage. A song about a man who has high degree of confidence around him and knows that he has in him to take over the world, the song is completely situational. Also, considering the genre of the song that allowed Boman to be just himself without worrying too much about 'sur' and lyrics, he does a fair job. In a movie supposed to be a comedy, it is surprising to see a slow, painful and a sad track coming up next. Titled 'Andhera Hain', this song crooned by Sangeet Haldipur, Mani Mahadevan and Siddharth Haldipur narrates the mental state of the lead protagonist who has been left alone and doesn't have anywhere to go. Yet another hardcore situational track that doesn't quite make you go and play the album all over again even as the song sees a 'reprise version' (a Sangeet Haldipur solo) for itself. OVERALL Fruit and Nut is a forgettable album that doesn't have anything in it that would make you recommend friends to go and pick it up from the stores. Also the situational feel of the songs further restrict their shelf life. There is not even a single song that has in it to go an extra distance. OUR PICK(S) None