Few seconds into ‘Hangover’, and I had to check my earphones, owing to what felt like a distorted sound in the prelude of the song, the kind that is normally created by bad connectivity with the music system. It turns out that everything was fine with the system, but it’s just so that the auto-tuned voice in that portion was so shrill that it felt unnatural. The unnaturalness is an issue with the entire song, which has Salman Khan singing. Khan’s vocals are so computerised that it sounds less authentic than the other playback voices he usually opts for. The song isn’t so bad itself, but Bhai’s presence here, unlike his movies, doesn’t help at all.
It is all taken care by Jumme ki raat, the next song of the album, and clearly the best of the lot. Designed with all the quintessential “Bhai” elements, including a smartly written hook, the song is a livewire. It’s hard not to tap your feet to the sheer catchiness of the “cheap” keyboards and the killer rhythm. Tu hi tu, inspite of its clichés, has a nice melody. Mohd Irfan’s rendition is fresh and breezy which helps the song, but the arrangement, as with most of the songs of this album, is a letdown.
Say what you want about Honey Singh but the rapper manages to deliver what he is brought in for. His The Devil song: Yaar naa mile te, co-written with California-based Indian R&B artiste Jasmine Sandlas, is the catchiest song after Jumme ki raat. The hook is infectious, and Sandlas’ voice has a hypnotic quality. There are two more songs “sung” by Khan, the reprise versions of Jumme ki raat and Tu hi tu, which has nothing to offer musically, but since it’s sung by the star, is bound to emerge as sure hits. Kick is actually better than last few film albums of Khan, its two dance numbers being its highpoint.