 Comparisons are inevitable. Khayyam’s music and Shahryar’s lyrics are bound to be the yardstick for Anu Malik and Javed Akhtar. It goes without saying that JP Dutta’s team fails on all counts as compared with Muzaffar Ali’s classic. But still, the efforts that have gone in making the music of ‘Umrao Jaan’ are notable for superlative production values and decent wordplay. My favourites would be Salaam, Ek Toote Hue Dil Ki, Behka Diya Hamein and Jhoota Ilzaam while Pehle Pehel, Main Na Mil Sakun Jo Tumse and Pooch Rahe Hain disappoint. Anu Malik has made a good attempt but he should understand that the success of the original Umrao Jaan lay in detailing like Asha Bhosle’s voice range, choice of Sarangi player like Ustad Sultan Khan and an element of understanding of great poetry which seems to be missing. Alka Yagnik is by far the biggest victory of this album as she sounds brilliant in all the songs. Can you buy it? Yes you can buy Umrao Jaan CD as it is a far better option than all those dhinkchak remixes and rap odes to nothingness.
Ek Toote Hue Dil Ki Awaaz Mujhe Kahiye…Sur Jisme Hai Sab Gham Ke Voh Saaz Mujhe Kahiye…Main Kaun Hoon Aur Kya Hoon…Kiske Liye Zinda Hoon…
 The golden ethnicity of sarangi delves deep in the recess of mind as Alka Yagnik’s austere vocals ask pertinently-abstract-questions in the black hole of an empty night. There’s no better instrument than a broken heart crying in the solace of loneliness. Most beautiful songs are created when they are not ornamented with undue orchestration. Ek Toote Hue Dil Ki is one such plaintive song. Although its two minute duration may be short, yet the effect transgresses all superlatives. Alka at her best.
Ek Toote Hue Dil Ki seems to be a prelude for it is followed by a foreword by lyricist Javed Akhtar who introduces the cultural tradition of Lucknow during the nineteenth century in his poetic voice. Umrao Jaan Ada was the heartbeat of that era who dared to love. In spite of all social norms. But alas no one heard her lament.
 Salaam….Tumhari Mehfil Mein Aa Gaye Hain…To Kyun Na Hum Yeh Bhi Kaam Kar Len…Salaam Karne Ki Arzoo Hai…Idhar Jo Dekho Salaam Kar Len…
It’s a catchy hook line that makes you start humming almost unconsciously. This semi classical mujra is a meritorious composition that has been written well. The tabla beats make you feel like galloping on the horse of fancy to a cloud of romance while the Sitar notes like the buds of innocence tickle the somber Sarangi that’s oozing with the harshness of realism. ‘Salaam’ will be remembered as one of the finest songs rendered by Alka Yagnik. For her voice is a unique mixture of youthful ebullience, evening pathos and practiced artistry. I think she deserves all the awards this year for this one.
Pehle Pehel is an extension of Salaam. Tabla, Sarangi, Sitar and the similar scale of Alka’s voice makes this song predictable. Even the lyrics lack the novelty-value of first two. Production values are high but then you come to expect nothing short of outstanding when you are making ‘Umrao Jaan’. This one doesn’t have a lasting value. Alka’s voice is fine, but what can a singer do if the composition lacks the Appeal-Quotient.
The acoustic guitar solo masquerading as a mix of ektara-sitar sets the tempo for Behka Diya Hamein. When the beginning is so impressive, there had to be something exceptional in this song. Choice of salubrious-vocals of Sonu Nigam serenading the pristine magnificence of Alka Yagnik’s is like the morning dew that makes you smile effortlessly. Use of chimes and Alka’s humming in the
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