 Sajid-Wajid are best remembered for their rambunctious Salman Khan hit ‘Mujhse Shaadi Karoge’. They haven’t been heard for some time now except for a single song in Khan’s ‘Saawan-The Season of Love’. ‘Killer’ is their comeback vehicle. So, do they deliver the goods? ‘Teri Yaadon Mein’ is first rate. Both the original as well as the remix is amazing. But apart from that, the album lacks consistency and is very predictable. Is it worth your Rs 145/ - I would say no. Relish ‘Teri Yaad Mein’, ‘Abhi Toh Main Jawaan Hoon’ on the FM radio instead.
Kay Kay suits Emraan Hashmi’s persona very well. ‘Tu Hi Meri Shab Hai’ was their last chartbuster. The duo are back again with ‘Teri Yaadon Mein’. A soothing, melodious song in the trademark Bhatt Camp mould, it grows on you gradually. Lyrics by Jalees Sherwani fuses well with this gem of a composition by Sajid-Wajid. The high pitched scatting by KK, electric guitar piece in the middle, neat drum programming and the images of a haunting loneliness makes this song a pleasure. Shreya Ghoshal is hardly there during the course of the song. And that’s a disappointment considering her immense talent.
 Mukesh Bhatt revolutionized the field of remixing of Film songs with the super ‘Woh Lamhe’ that outdid the original by miles. They’ve never looked back. The remix of ‘Teri Yaadon Mein’ is a treat for the lounge music lovers. It shall also make you happy on the dance floor. There’s a keyboard melody line that meshes with the fast paced rhythm loop making this remix a delight. I feel like listening to it again and again, but then others songs have to be written about. Isn’t it!
‘O Sanam’ is a regular song. It is likable, but there’s nothing outstanding in it. It reminded me of the typical Nadeem-Shravan sound of late eighties and early nineties. The electric guitar piece, the similar fillers and music arrangements were reminiscent of the music that was popular a decade ago. A Portuguese intro and KK’s voice are the only saving grace of this otherwise average song. I think Shreya Ghoshal is one of the best singers we have. Unfortunately she sounds uninspired. There’s another version with a KK solo. It is a pointless exercise to repeat a song if you are not presenting it differently. That’s the pitfall that ‘O Sanam’ part two falls into. A waste is all that one can say.
‘Hibbaki’ has middle eastern flavour to it from the word go. The rhythm arrangements are catchy and so are Suzanne’s uninhibited vocals. I mistook her voice initially for that of Alisha Chinai’s magic, but then I had to have a re-look at the credit list. So, you can imagine that she carries the punch in her powerful singing style. Hamza and Earl punctuate the song with their usual rap. The rhythm sequencing on the whole suits the context of the song. A feel good number for the dance floor. The remix has been packed with an upbeat tempo and a vocoder effect on Suzanne’s fantastic vocals to make it sound modern and unconventional. The musical fillers are catchy and the mixing ensures that you shall have a great time on a thunderous woofer music system. Dance your blues away people.
So, we finally have Alisha Chinai. And the lady rocks yet again. Sajid-Wajid finally enters into their familiar territory. A song high on traditional rhythm. That’s what ‘Abhi Toh Main Jawaan Hoon’ symbolizes. A bar dancer’s delight, Nisha Kothari has spiced up the heat wave with her riotous moves. Even though the hook line is borrowed from an earlier old hit song, the connotations are totally different. It’s an ide
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