Director : Priyadarshan
Music : Sajid-Wajid
Lyrics : Jalees Sherwani and Shabbir Ahmed
Starring : Anil Kapoor, Ajay Devgn, Kangna Ranaut, Zayed Khan, Boman Irani and Mohanlal

Slick, stylish and racy...Indian cinema has chartered new terrains of success in the genre of internationally stylized action packed films (DHOOM, DUS, DHOOM 2, RACE, DON, DON 2), and this fast-paced race to success continues in Priyadarshan's TEZZ (meaning "fast"). Packed with an array of A-listers and backed up by a generously high production value, TEZZ promises an "edge-of-the-seat" thrilling experience, packed with likable scores that will surely be accelerating the adrenaline rush.

Sajid-Wajid, a composer duo, known to be specialists for Salman Khan's action flicks (VEER, DABANGG and WANTED) get a major opportunity to deliver the needful. Pritam Chakraborty (DHOOM, DHOOM 2, and RACE), Shankar Ehsaan Loy (DON, DON 2) and Vishal-Shekhar (DUS, CASH) have done it so far in musical arena...will Sajid-Wajid be the next one to make their mark in this genre? Let's check out!

Going with upbeat trend of "Sufiyana rock-qawalli" musical format, Sajid-Wajid play to the masses request in the introductory track "Tere Bina", a quintessentially sentimental Sufi number in the likable voice of Rahat Fateh Ali Khan. The composer duo has thought this composition to be "extra-special" this time by bringing it out in as much as five versions. As far as the arrangements and classically pitched orchestrations are concerned, the soundtrack proves to be simply above-average and comes out to be another audible feature by the renowned vocalists, but still carries sufficient package of quality entertainment in it. In the first version, Rahat's classically synchronized voice gets a mellowed westernized orchestrations, where electric guitar riffs are mixed well with table loops and synth-beats to deliver out a mushy multiplex-friendly romantic track. It has those lovey-dovey chorals that are interspersed perfectly in the arrangements of the track, and works well in ushering out a delectable feel of romanticism. The suppleness of traditional Indian classical instrumental enlightens senses in the "Tere Bina (Indian version)", another likable feature of the album. It abstains from the techno-improvisations and relies heavily on quality vocals and the rhythmical musical structure of the composition solely, and still it works. In the "sad version" Rahat sings out in a morose and melancholic tones in almost "unplugged" version, a musical work that can well be worked out as effective narrative background score for this stylish action-packed thriller. To add feminine sensuality and grace, this well-etched composition comes out in slender Shreya Ghoshal's sweetly tuned vocals as she shines brightly in the "female version" of the track. It sounds almost synonymous to Rahat's original version where blend of westernized orchestrations are mastered and synchronized to perfection. Shreya's mellifluous poise in varying pitches is the highlight as it surrogates every delectable romantic expression to the track with its vocal flair; a lovable add for all those songstress fans who wish to hear her singing mushy solo tracks. Jalees Sherwani's contemporary lyrical work may not be "out-of-the-world" but are certainly "easy-on-the-ears" that connects with the lighthearted tempo of the track.

What next - a glitzy "club-remix" version of this track? To accentuate commercial viability of the album, the much anticipated "club-remix" version by Kiran Kamath hits the deck with a vengeance and comes like a big surprise. Extremely pompous in thumping beats and haunting electronic fillers, it delivers bountiful of energy to floors and enlightens the mood for party animals. Without a shred of doubt, Sajid-Wajid deliver a "winner" in "Tere Bina" and it will really be interesting to view the desired sweltering love-chemistry emerging out from these set of versions in the flick. Impressive!!!

Pritam did it with panache in "Dhoom Machale" (DHOOM) and "Race Sanson Ki" (RACE) and mastered a genre that was still unexplored. Sajid-Wajid makes their first major splash with the title track "Tezz", a rollicking hot-headed original signature track for this hi-octane action thriller. To be precise, it is inspired largely from the theme signature track of Quentin Tarantino's PULP FICTION (1994) in the prelude and later explodes like any 007 Bond theme track. Sunidhi Chauhan's extra grueling tones in higher octaves tries to match loud decorum of the track to evocate out a stylishly packed theme track for the flick. In this genre of tracks, this may sound like an average outing but should be finding huge acceptance among teenyboppers and Bond flick lovers. Sajid-Wajid maintain an ostentatiously higher ambience throughout the track, and that comes out as the major spotlight. Shaan's boyishly booming voice leads the musical bandwagon in the "male version". Presumed to be a slick background score in the challenging situations of the flick, it enthralls and empowers with its bombastic splurge that domineers.

Like any bombastically loud "club-remix" version, the remix version of this track works and adds more packs of energy to the floor; overall a decently (if not outstanding) composed racy theme track for the flick that should catalyst the proceeding in the thrilling moments of the flick.

After nostalgia ("Tere Bin") and enthralling racy experiences ("Tezz"), it's time to hit high on "melody quotient" as now things gets really mushier in album's most enchanting track "Main Hoon Shab". In terms of Sufiyana soft rock ballads arrangements, it suffers from "heard-before" syndrome ("Tum Jo Aaye" (ONCE UPON A TIME IN MUMBAAI), "Jeene De" (TERE NAAL LOVE HO GAYA), and recently heard "Tu hi Mera" (JANNAT 2)) but strikes senses and enchants with its soft groovy musical feel. Mohit Chauhan's sonorously crooned voice is at the helm of affairs and maintains his "Rockstar" success standards in lovable vocal throws. It triggers off well in adorable piano drills, and later amalgamates well with Sufi-qawalli chorals, harmonica tunes, light-hearted strings that are tuned to perfection with Mohit's remarkable vocals. On repetitive hearings, the soundtrack sounds more relaxing and lovable and is certainly "easy-on-the-ears" in those lucid sounding Shabbir Ahmed wordings. Lovable!!!

No massy album is ever completed without the "tadka" of a spicy "item-song", and as predicted it arrives in gruffly toned voice of Sunidhi Chauhan in "Laila". When it comes to lasciviously packed "item-song" with glitzy backdrop, the seductress Mallika Sherawat has so far been unlucky as all her previous "item-songs" have fared from mediocre to below average, and have hardly added to the glam-quotient. Hard luck continues with this flashy number too as "Laila" too suffers from outmoded "dhin-chak" arrangements and predictable lyrical works, lacking spice in both wordings and funkier dancing appeal. Even Sunidhi's ever appealing voice fails to create the magic of "Chikni Chameli" (AGNEEPATH) or "Sheila ki Jawani" (TEES MAAR KHAN), and the soundtrack comes more like a desired sweltering "n" seductive filler in this stylishly conceived action potboiler.

"Laila (remix)" aggravates the raunchier feel in highly energized DJ beat-juggles and claps and makes the mood merrier for party freaks. It's a slightly better outing than the original soundtrack and should find itself in DJ's collection in weeks to come.

TEZZ fails to be a path-breaking musical success, as one might have expected from its lavish opulence, stylish action and hi-profile face value. Sajid-Wajid have delivered a reasonably good album this time with lovable soundtracks in the form of "Tere Bina" and "Main Hoon Shab" while the rest of the tracks accommodate the desired situational score for the flick. For any hi-profile and big budgeted action film, music has never been a frontrunner, and so this time too music works in bits and pieces.

Rating - 3/5