By Satyajit, Bollywood Trade News Network

Vishal-Shekhar, the imminent musical prodigal duo seems to be losing their ways in recent times as none of their recent work has matched with the quality work of their contemporaries. Unfortunately their musical voyage with giants “Yash Raj” banner hasn’t been nostalgic or groundbreaking and the music made itself popular after the film’s success. TA RA RUM PUM falls prey to mediocrity again and once again fails to create any ripple either with foot thumping track or with syrupy love songs. This album brings out the contemporary fervor and ardor of contemporary “Yash Raj” Films with its music being inspirational lifts from films like SALAAM NAMASTE, DHOOM 2, DUS and to some extent EK AJNABEE.

Kindergarten’s chirpy and engrossing comic book tale about four playful bears (“Ta”, “Ra”, “Ma” and “Pa”) promises playfully motivated sentiments of kid’s fun and frolic adventures with enthusiastic voices in the colorfully bizarre “Ta Ra Rum Pum”. After HUM TUM, it’s another visual spectacle about animation’s techno-wizardry with vocal flamboyance of Shaan and Mahalaxmi Iyer. Vishal-Shekhar’s frolicking and zealous musical display may not be extravagantly flashy but caters to the situational needs. Hear it for innocent shrill “n” soft vocal display of “little champs” singing prodigies Master Shravan Suresh and Sneha Suresh with tantalizing melodic work that might be reminiscent to our childhood antics.

The nostalgia of romantic redolence freshens up senses with smoothening “n” subtle harmonious exhibit of impressive vocals with expressively penetrative lyrical work in the romantically vibrant “Hey Shona”. It’s ever impressive Shaan at the vocals with his “bright as sunshine” vocal ebullience radiating out gleaming romanticism with delight. Sunidhi Chauhan’s soft “n” silky voice catalyzes the over-sappy feel mood and mellows effectively with Shaan’s promising work. The compositions, tunes and beats may sound repetitive (similar to “Tu Jahan” and “My Dil Goes Mmmm” (SALAAM NAMASTE) but overall it creates an ambience of sheer romanticism that stays in senses. Vishal-Shekhar’s scores pure gold this time in churning out a brilliant mushy soundtrack after the impressive “Halke Halke” (HONEYMOON TRAVELS PVT LTD) and should prove to be winning equation for the album.

Loud, gaudy and intrinsically pompous flavors of “bhangra” delights come with a typical Chopra’s-Johar’s musical tonality in the highly animated “Nachle Ve”. It speaks highly about Chopra’s inclination towards Punjabi folksy musical tang with shades of “Chak De” (HUM TUM) and “Lodi” (VEER ZAARA). Sonu Nigam’s enthused vocals deliver the festive emotions with ecstatic delight with elated Somya Raoh joining the show in tandem. Vishal-Shekhar’s has not been popular with “bhangra” numbers so far and even this sounds too situational than anything “earth-shattering” to the ears.

The aura of “sixties” romanticism makes schmaltzy vows with synchronized piano notes as a prelude with Shreya Ghoshal’s vocal brilliance in the expressively penetrative number “Ta Ra Ra Ra Rum Tararumpum”. Javed Akhtar’s poetic genius brightens gloomy hope of survival with a strong feel of grit and determination in lines like “Zindagi mein koi bhi kami ho, Palkon pe jo zara bhi nami ho, Asun na bahana tum, Dukh na uthana tum, Har na jana duniya se…” In terms of rhythm pattern it strikes close similarities with the title track of KABHI KHUSHI KABHI GUM with a contemporary touch of “feel good” factor. Shreya Ghoshal’s somber “n” solemn vocals narrate the strong-willed emotions of “never say die” spirit through the sentimental healing touches of distressed mother to her lovable kids. Its situational and unconventional feel might restrict its acceptance but still it proves the mettle of the singer and composers in big way.

Mix “n” match of Afro-American hip-hop with impulse of funky Latino base music rules the floors in hip-shaking soundtrack “Ab to Forever”. It’s an above average score where the composer duo rehashes their previous work (“Mama Told Me” (EK AJNABEE)) with the intimidating loud impact of “Dil Laga Na” and “Touch Me” (DHOOM 2). KK delivers another swell performance in a “rock-star” singing mode but the music isn’t “yuppie” nor catchy to attract eyeballs. Shreya Ghoshal’s supple voice adds femininity to the number with predictable lyrics about boy wooing a girl.

Vishal Dadlani tries to match the musical preeminence and commercial triumph of “Mitwa” (KABHI ALVIDA NA KEHNA) with disappointing results as he pelts out in a contemporary Sufi rock mode in a situational soundtrack “Saiyaan”. After “Dhoom Again” (DHOOM 2), the composer turn vocalist irritates with his unimpressive voice matched with jarring and ear-splitting musical display. In the end, it props up as contemporary “banjara” (gypsy) number with modest impact and adds itself to the number of unnoticed soundtracks.

Vishal-Shekhar’s above average musical work fails to live up to the high standards of “Yash Raj” banner but still satisfies listeners with couple of lively and enthralling tracks. It has moments of cheers, laughter and sorrow in tracks like “Hey Shona” and “Ta Ra Rum Pum” but overall it has nothing spectacular to offer. Like DHOOM 2, the highlight will be on its visual spectacle feel (breathtaking car racing thrill and enthralling animation) than on its musical flamboyance with the merits of bankable stars (Saif Ali Khan and Rani Mukherjee) on its credits.