Sajid-Wajid score an appealing “Chal Maar,” composed by Irfan Kamal and sung by Wajid. Their “Suku” (Shivranjani Singh) is, in any case, not attractive. The verses (Danish Sabri) are really mixed up as well, example “mohalle mein rubaab hai mera/Bada hello naazuk dil sa shabab hai mera/taaron mein pyara udta sitara/maaro dekh maar ke taali bajaale suku/Dance like suku/aayi suku/Shake like suku” — wow!
Vishal Mishra’s Pranav Vatsa-composed “Ranga Re” demonstrates Shreya Ghoshal’s ability more than whatever else. In spite of the fact that resonant regardless of being unmistakably motivated by two or three more established tracks, the verses don’t have any diagram. However, Ghoshal demonstrates that she can tread Sunidhi Chauhan territory easily in parts of the tune, and her solid vocals at the end of the day set up a solid case for playback artists as opposed to crooners in movies.
Mishra’s Arijit Singh number “Chalte” neglects to enlist not at all like its trademark prior namesakes (in tunes) from “Pakeezah” and the 1976 “Chalte.” Singh, best case scenario, is unexceptional and routine here.
Whatever remains of the tunes are simply useful, with required Punjabi blending with purported trendy beats. Of these, “Rail Gaadi” (sung by Navraj Hans, Swati Sharrma and Lil Golu; scored by Gurinder Seagal; and composed by Shabbir Ahmed) is endurable — just.
“Tutak Tutiya” (Malkit Singh, Kanika Kapoor, Sonu Sood) resemble a re-production of the old hit, and is composed by Ahmed and created by Raaj Ashoo, while “Love the Way You Dance” is sung by Jazzy B and Millind Gaba with Sonu Sood. It is “composed” and “made” by somebody called Music MG, and we comprehend why this individual wishes to shroud his character!