But here again, check out the slow-burn pace. Unlike Aahun Aahun, which explodes with typical Punjabi joie de vivre up next. Kay Kay brings in a lot of feel and style to Main Kya Hun, which is a decent song in itself, but perhaps the weakest link. It is also easy to fall for the folksy guitar and vocal hooks, which give this song that edge. Somehow Chor Bzaari conjures visions of a young Dev Anand and Mumtaz playing peekaboo in Kathmandu's heritage chowk. What makes this an instant pick-me-up is the deliciously languid pace and the way Pritam has laid out the rhythm section. Ye Dooriyan has all the emotional appeal of a road song, Bollywood style.Ī hop-skip-and jump-away is Chor Bazari. Particularly liked the use of pauses between the verses and Irshad Kamil's felicity with words. A bittersweet song by Mohit Chauhan (who's best in these rum-soaked numbers), it is signature Pritam in its haunting melody, a smart string section and soaring flute interludes. Glide to Ye Dooriyan, which will remind you of Jab We Met.
It's kitsch cool with bhangra, rap and some wicked vocal effects.
Twist, which gives a contemporary spin to the most popular 'snake-music' ever in history (yes, that been melody which makes all Bollywood snakes go weak at the knees.er.sorry tails?), is infused with the right amount of pep by Neeraj Shridhar. More importantly, the music is fun, young and endearing. The strength of Love Aaj Kal, lies in the unhurried pace and the variety in the choice of genres, arrangement, treatment. And that's really unfortunate, considering that he does have his 'flashes of brilliance.' And before some band or composer cries foul over Love Aaj Kal, let's quickly doff our hats to the guy for a score that could be his best in a really, really long time.
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