SOUND BYTE

A simple piano hook opens Piyu Bole, a slow duet by Sonu Nigam and Shreya Ghoshal, that breaks into throaty choruses, with subtle guitar riffs and short flute interludes. While both singers have yet to do a number that surpasses this one, lyrics like Maine poocha ek ghata se, itrake chal di kahan, pyaas ki badi zameen hai, barson bhi tarsaon na bring back the romance of the ’60s.

Kasto Mazza (Nepali for ‘lot of fun’) is not your regular bouncy train song. Sonu’s voice lends a spirit of abandon to this slow, hummable number, which has been shot in the hills of Darjeeling.

Your wait to hear the voice that did a great job of Baavra Mann in Hazaaron… comes to an end with Raat Hamari Toh. Kirkire has a brief but strong opening in the track. South Indian singer Chitra also makes a striking impact—there’s not a trace of her accent and the shrillness has vanished too.

The track, though slow-paced like the other compositions, is the most melancholic.

When Sunidhi Chauhan makes her bar room entry with Kaisi Paheli Zindgani (Rekha’s item song), the drinks flow smooth and easy, reminding you of the Navketan era. The clever plucking and trumpet bursts work well, but you’re also wondering who could have crooned this one better. Usha Uthup at her sensuous best, or Baby Doll, who’s been on a roll lately?

While we’re on the subject of comparisons, Soona Man Ka Aangan—another lazy duet by Sonu and Shreya about longing and separation—could have easily been a Euphoria track. Is Palash Sen tuning in?

Rita Ganguly, bubbling through Dhinak Dhinak Da, a typical wedding number, comes as a surprise. The thumri legend and disciple of Begum Akhtar takes us through a childlike narration of a courtship ritual, supported by a flourishing chorus.