M.M. Kreem’s songs have been touching hearts for over two decades. His compositions like “Tu Mile Dil Khile” from ‘Criminal’ (1994), “Gali Mein Chand” from ‘Zakhm’ (1998), “Kabhi Shaam Dhale” from ‘Sur’ (2002), “Awaarapan Banjarapan” from ‘Jism’ (2003), “Tere Is Jahan Mein” from ‘Rog’ (2005) and “Laaga Re Jal Laaga” from ‘Paheli’ (2005) continue to evoke emotions in listeners to this day.
Kreem has a close association with the Bhatts’ production house and has delivered some of his best work for them. He has a knack for catering to their musical needs, sometimes with perfection.
Pooja Bhatt, who has helmed her third venture ‘Dhokha’ (2007), has a special ear for experimental, soulful and fresh music. She is credited with opening the big doors for Pakistani artists to Bollywood with her film ‘Paap’ (2004). In her previous film, ‘Holiday’ (2006), she gave Ranjit Barot a chance to prove himself as a music director.
An accelerated prelude with crisp guitar sounds, a female chorus and bits and pieces of funky music start “Anjana”, which in no time, KK injects life and transforms it straightaway into an immensely likeable number. Surprisingly, the four minute track does not take long to be appreciated due to its rather short mukhda which KK handles with great ease. M.M Kreem seems very sure of the tune and arranges the number with a range of instruments like the rock guitar while the male and female chorus are used aptly in the prelude and interludes. Lyrics by Shakeel Azmi are worth a mention because of its fresh nature.
The second version comes in the voice of M.M Kreem. A slight change in the prelude is brought while more guitar acoustics are heard in the interludes. The best part is that it is accompanied by a wider range of instruments like the violin and the piano which further beautify the track. Definitely, the mood of the song takes a romantic turn with Kreem’s romantic voice blending with the melodious music.
“Kab Tujhe” is a romantic song, which is packaged as a quasi South Indian track with familiar preludes from the South. Rendered by KK and Shreya Ghoshal, the music director emphasises much on the use of the violins and the female chorus for this ballad. “Kab Tujhe” has a trademark Kreem’s stamp all over in the arrangements but fails in the middle with predictable music and singing of the ’90s. Both singers sound mechanical in the ‘antaras’ but since the ‘mukhda’ is repeated again, it saves the number from collapsing. The interludes include rock guitar pieces, violin bits, whistling and saxophone pieces. And justice is not done to the lyrics of Sayeed Quadri, which sounds stale due to its treatment.
The title track “Dhokha” is more of a reflective piece, with a strong rock background music, about deceit. Rafaquat Ali Khan sings in various octaves and goes high pitch after the first interlude. Both the male and female chorus are used to repeat “Dhokha” in the background while a lot of vocal effects are used throughout the track. However, a few notes of the piano do not gel well with the vocals in the first Antara. Lyrics by Khusbir Singh Shaad and Bharat Bhushan Pant are thoughtful. The remixed version by DJ Suketu is passable.
“Roya Re” is a pleasing and peppy number, even if it contains a sad title. The freshness in the voice of Shiraz Uppal is the plus point. He makes good use of the acoustic guitars and the female chorus. Lyrics are by Sayeed Quadri who delivers rather simple lines but which do make a good listen. In fact, the track could have easily been called Tanha Dil. The remixed version by DJ Suketu is average.
The whole music album of ‘Dhokha’ is a mixture of emotions. Although they are not catchy or addictive, the songs are ear pleasing. “Anjana” is perhaps the only song which will really click. In a nutshell, the collaboration between M.M. Kreem and Pooja Bhatt have yielded a memorable soundtrack, which will be appreciated.
