The man with two Anands in his name is back to provide some more chart-pleasure. The only thing really Indian about Indian is Anand Bakshi`s lyric-writing, which go on and on about Rab di kasam and Deewana afsaana and all those haan-haan-na-na that we know to be typical of Mr Bakshi.

There is nothing here that does the bade-dinon-ke-bad proud. Anand Raj Anand again generates an undistinguished electricity. Shaan and Alka Yagnik do lyrics like Dhadkanen sun rahi in the opening track Deewana main na tha which sounds like a mad-for-each-other track like Nadeem-Shravan`s title song in Deewana.

Then the album does a perk-up act. Abhijeet and Sadhana Sargam render Jaana tujhe jaana to jaana main yeh log kyon deewane ho jaate hain pyaar mein (why this fixation of with lunacy of love ?) .You kinda warm up to the sugary sentiments. After Pyaar Ishq Aur Mohabbat, Sadhana Sargam again proves that all she needs is a chance to make her vocals dance in romance. And by the way, steady orchestral passages with violins and flutes making their presence felt help Jaana tujhe jaana to acquire a dignity. The other love duet, Rab di kasam too is well-rendered.

The patriotic canvas laid out by Roop Kumar Rathod`s Watan waalon watan na bech dena has a heavy Border influence to it. But pray, why`s Roop made to lose his individualism to sing like Jagjit Singh? Sunidhi Chauhan goes grandly guttural with the proficient throated Richa Sharma in the dance-all-naughty dhoom-chaka-chaka track Yeh pyaar. Why does Sunidhi sound like Usha Uthup in this track? I wonder!

The fun-flirt in Thaat nawabi falls flat when Anand Raaj Anand, doubling up as a singer, sings some awfully awkward lyrics like Maafi maang loonga ghar par/ Raste pe karo na yun kharaabi. Kharaabi? Kya bad hai! Is this really Anand Bakshi? guess so. If he can write the songs in Nayak, Indian seems like kick-walk in comparison.