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DILBAR MERA: "Dilbar Mera" is a semi classical soundtrack that shows pathos, agony and pain of a singer as his remorse can be felt throughout it. Pankaj Awasthi sings and composes this number with the strong influence of classical Indian instruments in the backdrop of the song. Shyam Ravindran's lyrics are too poetic and idealistic and have a feel of lover's grief over his misfortune. In spite of this the song has classy touch but still it sounds pretty ordinary with less impact.

TOSE NAINA LAGAY: The fusion of lounge music and Indian classical music coagulates well in scintillating ways to create magical delight in "Tose Naina Lagay". The song reminds of "Lagi Tumse Man Ki Lagan" (Pooja Bhatt's 'Paap') and has classy feel of "Piya Bawri". Mithoon comes with two new singing talents -- Shilpa Rao and Kshitij -- in this romantic number. Shilpa Rao and Kshitij show their musical intellect by delivering "alaap", "antaras" and "mukharas" in classy style. Singers may lack the authenticity of conventional Bollywood singer but deliver the soundtrack with class appeal. The song is about the striking chemistry between the lovers arising out of their eyes and finally culminating into real love. Hassan Kamal's lyrics are a listening delight with folksy touch that can be mesmerized in impressive vocals and penetrative music. Mithoon shows his promising aspect after "Maula Mere Maula" in this lovable number and for its high musical content it should work well on screen.

BANGLA KHULA: "Bangla Khula" sounds whimsical but has intrinsic folksy touch with awkward lyrics and deglamorized voice. Folk singer Megha Sriram sings in the traditional UP-Bihar folk style where it gives a "nautanki" touch. It might be front bencher's delight but will sound unfavorable to multiplex audiences for its rural raunchy flavors. Dharam Sarthi's folk touch lyrics have colors of "item song" where a girl performs at a village's "nautanki". Guest composer Ghungroo creates rural festive flavors similar to "Ishq Kameena" ('Shakti-the power') with deafening vocals and bawdy lyrics to support.

"Bangla Khula (Dance Mix)" is an apology of remix by Vishvajeet that won't find many takers on dance floors. Once again it is tailor made more for front benchers than anything special and complete disappointment after soulful ballad "Maula Mere Maula".

ANWAR'S DREAM (A SYMPHONY IN BLUE): Pankaj Awasthi makes soulfully refined instrumental "Anwar's Dream (A Symphony in Blue)" with fine usage of flute, saxophone and clarinet. Its concept and presentation work well as background musical in the film where protagonist "Anwar" dreams big. The number has been perfectly blended with quality musical work that should work in a promising way in the film.

INTO THE BLACK: Instrumental delight returns but with a different musical feel in another instrumental soundtrack "Into the Black". Pankaj Awasthi delivers mild keyboard musical work followed by classical "alaap" in the concluding part of the number. It has class appeal but will have restricted takers.

JO MAINE AAS LAGAYI: Pankaj Awasthi comes vocal this time and to class audience's delight; he turns full throttle in romantic soundtrack "Jo Maine Aas Lagayi". It's brief rendition of excruciating pain of a lover who hopes to reunite with his beloved.

MELA (SHADOW OF LIGHT): The folksy musical zest continues with "Mela (Shadow of Light)" where Pankaj Awasthi pitches high. It has "Awadhi" rural folk lyrics emoted in loud and boisterous voice by Pankaj Awasthi. The number is a situational soundtrack that should deliver the needful in the film.

'Anwar' has moments of triumph with soundtracks "Maula Mere Maula" and "Tose Naina Lagay" from upcoming music composer Mithoon. Pankaj Awasthi delivers fine packaging of folk music that sounds situational but metaphors with the sentiments of the film. Due to low promotion and face value, it has grim chances of survival but will make mark for "Maula Mere Maula".

HEAR IT FOR "MAULA MERE MAULA"!!!