Main bhi janoon tu bhi jaane jaan-e-jaana/ Phir bhi kyon na maane jaan-e-jaana.... This could be a plea to apply our brakes to all cynical readings of this have-fun-will-sing album. As in Priyadarshan`s earlier film Hera Pheri, the songs are more situational than conventional.

Good to see Anand-Milind back after ages. The last time we saw them back in a big way was for Jaanwar, where they gave us a sampling of their usual titillatingly tuneful treacle.

Yeh Teraa Ghar is more sloppy than slurpy. There are a good number of singers, in combinations and in isolation, trying to whip up a frenzy of excitement within a working-class milieu. Sonu Nigam`s title song that opens the album is the only truly invigorating track. It moves on an unpredictable course and Sonu simply moves along with unstrained charm.

Shaan and KK have been doing a lot of young singing these days. The two leading pop voices of playback singing should have come together for something more inspired than Mil jaaye khazana, which is a note-by-note copy of Abba`s Nina pretty ballerina. Just because the keyword is changed from Nina to Jeena, doesn`t mean it comes clear.

The combination of an underused lyricist and a moribund composer should have worked as an antidote to the excesses of the overbusy Anu and Sameer of playback music. Too bad, neither Anand-Milind nor Ibrahim Ashq give us reason to hope that they can restore glory-gone to our film music.

Abhijeet and Alka Yagnik`s duet Hasaate ho rulaate ho sounds like R D Burman`s Apne pyaar ke sapne from Barsaat Ki Ek Raat. Looks like it drizzles derivations from Anand-Milind`s part of the world. We don`t mind borrowed ditties as long as they don`t sound like od-ditties. But whether it is Babul Supriyo and Alka doing the very clumsily composed tamasha number Govinda or Adnan Sami`s Kuch pyaar bhi kar, we sense a feeling of functionality bordering on boredom throughout the album. We can`t even say, better luck time. Anand and Milind have already gone through that.