heres the music review from indiafm
Veer-Zaara
By Gaurav Malani, Sep 17th, 2004 - 1800 hrs IST
Yash Chopra’s Veer-Zaara is the latest and the biggest talk of the tinsel town currently. From its title, theme and cast to its completion, the film has been an object of constant media speculation. Getting straight to the music of the film, which essentially is one of the prime reasons why the film has been under constant conjecture, it’s now a known fact that the film has music composed by yesteryear maestro – the late Madan Mohan.
The prolific composer had scored some of the best and the biggest hits from the early 50’s to the late 70’s. To refresh memories some of his golden compositions include songs like Aap Ki Nazron Ne Samjha (Anpadh), Kaun aaya mere man ke dware (Dekh Kabira Roya), Woh bhooli dastan lo phir yaad aa gayee (Sanjog), Naina barse rim jhim (Woh Kaun Thi?), Ab tumhare hawale watan saathiyon (Haqeeqat), Milo na tum to, Yeh duniya yeh mehfil (Heer Ranjha), Dil Dhoondta Hai Phir Wahi (Mausam) . Others may identify him as the original composer of current remix tunes like Jhumka Gira Re (Mera Saaya) and Kya Soorat Hai (Man Mauji) .
The music legend who unfortunately passed away at a young age had composed a bank of tunes while he was still going great as a musician. Yash Chopra specially selected those tunes from this unused collection that went in perfect sync with his movie theme. These 30-year-old eternal tunes were recreated by Madan Mohan’s son – Sanjeev Kohli and recorded in voice of contemporary singers. Incidentally though both Yash Chopra and Madan Mohan were from the same era, they never worked together before this album. (An example of a musician’s tunes being used after he passed away is in case of 1942 – A love Story where RD Burman’s memorable compositions were recreated by his erstwhile assistant Babloo Chakrabarthy).
Over to Veer-Zaara…
The album opens with mellow string notes of the track Tere Liye (the interludes of which are currently aired in the promos of the film). In the melodious vocals of Roop Kumar Rathod and the evergreen Lata Mangeshkar, this makes for a slow (but steady) start for the album. This emotional track appears to be the theme song of the Veer-Zaara, interludes of which are usually played in the background at several instances in the film. Lata’s vocals do tend to get somewhat sharp on treble notes but overall the track refrains from getting to high pitch.
After a poignant start, the album takes a peppy turn with Main Yahan Hoon. Udit Narayan vibrates his voice and lends an effervescent feel to his solo number. A typical Shahrukh number, the song has a vivacious feel to it.
Udit Narayan and Lata Mangeshkar get along for Yeh Hum Aa Gaye Hai Kaha. Though the song title may sound like an inversion of a track “Yeh Kaha Aa Gaye Hum” from one of Yash Chopra’s earlier films Silsila, the tune is far from it. Nevertheless it’s a melodious tune catching up instantly. A refreshing romantic duet this may turn out to be the most popular song of the album!
Gurdas Mann opens the fervent Punjabi flavored Aisa Des Hai Mera and Udit Narayan soon takes over the track. An inspiring song in praise of the motherland, Javed Akhtar gets to his usual best with his practical down-to-earth lyrics. In fact rather than admiration of Des (nation), the song is more targeted towards a man’s love for his village/town and its way of life. Thematically it reminds of the song Ghar Aaja Pardesi from Chopra’s earlier film DDLJ. Gurdas returns to add the bhangra touch with interludes of Punjabi folk tunes like Ye Desh Hai Veer Jawano Ka and Reshmi Salwar Kurta Jaali Ka (also used in yesteryear films) interspersed in between. Lata Mangeshkar makes a late appearance in the track and points out how similar is the neighboring country (Pakistan) with this des (India). Small time singer Preetha Mazumdar also gets to croon a few lines in the song and incidentally is the only other female voice (after Lata Mangeshkar) in this album.
Do Pal by Sonu Nigam and Lata Mangeshkar is a touching track and essentially has that touch of 60-70. The light metal percussions (which were an essential element of SD Burman compositions) make that more evident.
Yash Chopra goes beyond the microphone for the first time in Kyun Hawa. But hold on… he isn’t singing but just gives a commentary for the track. Faintly reminiscent of Amitabh Bachchan’s prologue in the song Yeh Kahan Aa Gaye Hum (Silsila), Chopra’s heavy-worded foreword seems to be slightly stretched out by the time Sonu and Lata Mangeshkar take charge of the mike.
he said he just bought the album, which probably means he bought it on the day it came out.
and rani is smartly dressed in a pakistani lawyer outfit.