ZAH-E-NASEEB

Big Music, Rs.175 (CD)If you think this price is too high for a ghazal album, think again. For, after a long time, a really fine female singer Anita Singhvi has appeared on the ghazal firmament. That the legendary music director Khayyam has composed music for this album enhances its credibility.

The album with seven ghazals and nazms by Ahmad Wasi, Indira Verma, Daagh Dehlvi and Naqsh Layalpuri grows on you slowly. Singhvi’s voice is nostalgic enough to remind us of Begum Akhtar. Incidentally, Khayyam also heard Begum Akhtar’s ghazals that she sang, after which he agreed to score music for her album.

The album begins with Khayyam’s introduction of Anita and how this album came about. After the title ghazal, “Mere Khwabon Ke Musafir, Mera Naam Zuban-e-Urdu Hai” keeps the fan in you satisfied. “Humse Poocho”, “Aise Kisi Ki Yaad Main” have those right notes we have always looked for in today’s music compositions of ghazals. The nazms and ghazals have been carefully chosen. They are simple, with no heavyweight Urdu words so that they connect with the masses too. Go for it. It’s worth a buy.

MOBY, Last Night Mute, Rs.350 (CD) In Last Night, American songwriter and musician Moby returns to his disco roots. In the CD jacket, Moby writes about the album, “It’s me trying to take 25 years of going out in NYC and condensing it into a 65 minute record.” The album reflects the changing moods of the night, from the energy of the dance floor to the moments of silence and rest.

Moby resurrects his deejay talents, which had been softened in previous albums like Play. The songs reflect the dips, the highs and the lulls of a night in the town.

If “Everyday it’s 1989”, is about the frenzy of dancing, “Live for tomorrow” is less hurried and more meaningful. It is for those moments of lull, when quietness is welcomed.

“Hyenas” with its French whispers is for the creatures of the night, who prowl the lanes rather than the dance floors. “Degenerates” is more reminiscent of his earlier work, with a haunting melody. The best number on the album is certainly “Mothers of the night”, with its echoing tunes punctuated by drum beats.

The album reflects Moby’s philosophy that day is nice but night is better.

U, ME AUR HUM Eros MusicFirst things first. Ajay Devgan’s much publicised second outing as a director can’t survive on music alone. The music doesn’t have the standalone quality. However, Vishal Bhardwaj is known for situational music and one hopes Ajay has not let him down. The album opens with the racy “Jee Le” rendered by Adnan Sami, in his now highly imitable style, and Shreya Ghoshal, who continues to sound fresh.

Nevertheless, the song is lively, has a Latino feel and above all, a lasting quality. The title track sung in two parts by Shreya and Vishal, is just above average with unconventional lyrics. “Saiyaan” by Sunidhi Chauhan is highly situational and goes with the mood of the film, which is already out courtesy the hyper publicity. “Phatte” is the Punjabi number, which is becoming a staple dose in every film. “Dil Dhakda Hai”, again by Adnan and Shreya, is forgettable. Adnan should be used as a surprise packet, but here Vishal has given him the entire album. Try it after watching the film. It might work.

(COMPILED BY R.S., N.N. AND A.K.)

More In: METRO PLUS | FEATURES