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Like "Dil Mein Baje Guitar" ('Apna Sapna Money Money'), Mika Singh gets another major opportunity to deliver another significant soundtrack of his career in its second version with almost similar lyrical work and musical arrangements. Mika's nasal twang has racy Punjabi "bhangra" impact but proves insufficient as compared to Sohail-Soham's combination. Labh Januja, a fast upcoming singing prodigy in Bollywood and favorite of Pritam's last few albums, makes sporty presence in hi-voltage and fast paced remix version of this title track. Like all previous Labh Januja-Pritam tracks, this one goes special for party animals and its animated disco flavors give full impulsive foot-thumping "bhangra" feel on the floors. This remix version goes special in the promotion of the film and can be catalyzed to perfection in the promos, teaser, and trailer or end titles of the film.

All Night Long : Earlier this year, Usha Uthup, the first among pop icons in Bollywood, made her significant presence in Pritam's composed "Wicket Bacha" ('Hattrick') with average success and now she tries hard to create commotion of hip-shaking craze on floors in the soundtrack "All Night Long". The song has typical 80's disco feel culture where loud and shrieking vocals along with jarring drumming and thumping sums up the proceedings. It's by far too stale in present context as Gen X rocks to the beats and thumps of hip-hop, rap and rock music with support of impressive vocals. Besides its unimposing musical flair, it's too obsolete and unimpressive in its composition and arrangements and will be counted as big disappointment for both singer and composer. This time Pritam has failed to materialize the disco sensation of 80's into his style of work and the results are not only dismal but disappointing by all standards.

Bheega Aasman: Shaan's youthful flair of singing clubbed in infectious disco culture binge gives some moments to cherish in moderately paced and pitched soundtrack "Bheega Aasman". Lately, there was "Miss You Everyday" ('Kya Love Story Hai') from Shaan that created some ripples and this too ends up as average offering for its contemporary high impact racy flow. Shaan's energetically voluble skills have the buzz to provide some delightful light moments but the musical impulse is too unimposing to thrill. The unnecessary addition of "Gregorian Chants" in preludes and interludes proves too unsatisfying while Vijay Yesudas joining in later stages of the track hardly adds any substance to its harmonic quotient.

Dil Liya Dil Liya: After boys' singing and dancing, the mood turns feminine and this time its all about their dream, desires and passion with full buzz in fusion mode of "pop-qawaali" soundtrack "Dil Liya Dil Liya". Its ordinary vocals, lethargically contemporary lyrical work and jarring orchestration fails to pump youthful passion and the song ends up as situational mediocre number. Shreya Ghoshal, the finest among female singers, comes with one of her most ordinary performance where she screams, yells and finally shrills out with ear-deafening arrangements. It will go out as big disappointment for all Shreya Ghoshal fans and probably weak link in her prospering career and album sales prospects.

Haadsa: After Shreya's unimpressive show, its time for another disappointment as reliable Sunidhi Chauhan along with Akriti Kakkar comes with below average results in another messy feminine soundtrack "Haadsa". This outdated 80's style number recalls the intimidating appeal of contemporary Bollywood action thriller where one predicts hit and run chase or engrossing finale in the film. The loud voices of lead singers get the outlandish coordination of extra jarring arrangements and the predictable intense or petrifying feel of action pot boiler is completely missing.

Namakool: After impressive "Garam Masala", "Kiss Me Baby" and "Ada" ('Garam Masala'), one can expect better results from Pritam in youthful boy's number but the disappointment continues in another mediocre soundtrack "Namakool". This mass friendly track tries to rhyme and rhythm "Namakool" with the word "cool" but the hilarity in its funky verbose phrases that can add to comical quotient have gone astray. Shaan and Kunal Ganjawala's voices race fast along with high-pitched orchestration but fail to heighten up the hip-shaking pub feel in its thriving flow. It's one of those uninspiring youthful numbers that decimates listener's interest and retards the narrative flow of the film.

Pritam seems to have muddled up proceeding in 'Dhol' with all loud noises and sounds colliding together in massy ways and this misfiring can be due to his over-burdened schedule or lack of innovation. This youthful album was presumed to be fun-filled fare for its youth-oriented massy subject but has ended up as big disappointment. The saving grace proves to be title track "O Yaara Dhol Baajake" while the rest of the numbers fare between average to poor in their rendition. 'Dhol' scores lowest among Pritam-Priyardashan's combination as all their earlier works were creative, productive and entertaining with promising results. After 'Raqeeb-rivals in love', this one come as a rare disappointment from hot "n" happening Pritam and discouraging aspect in the film's box office success.