Love Aaj Kal Music Review

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The team of director Imtiaz Ali, music director Pritam Chakraborty and lyricist, Irshad Kamil, who regaled us with a fresh as the morning dew music of the heart-warming superhit, JAB WE MET, are back once again.

And this time its under the banner of Illumanti Films, whose producer is none other than our ''Chote Nawab'', Saif Ali Khan, who from his debut film till this date has been associated with some chartbusting songs.

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Naturally expectations assume humongous proportions. Top composer Pritam is once again being accused of plagiarism in Yash Raj's NEW YORK and so has a lot riding on his shoulders.

First of all he has to deliver superhit music like he did with JAB WE MET and secondly to prove all wrong (yet again!) and give an original yet chartbusting score, very much in the league of JWM, which in our opinion was one of the most original (apart from his LIFE…IN A METRO) as well as fresh music from Pritam. So, its time to sit back and enjoy and let the musical offerings of the JAB WE MET team captivate our senses once again.

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Lovely combination of simple guitar strums as well as crunch guitar sounds herald one of the most rhythmic track of the album '' Aahuh Aahun''. Although the start is quite misleading, especially the Ataullah Khan type beginning which gives an impression of a sad love number.

However as the song unfolds and Neeraj Sridhar takes control of proceedings, the absolutely rocking rhythm blows away the listener. He is ably supported in his endeavour by Saleem and Suzanne.

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The background rhythm, although synthesized, is quite nice and the touch of electronic beats an added charm. The combination of simple English and Hindi and Punjabi lyrics is highly entertaining and would be relished by the youth as well as the children. ''Mohabbat mushkil bhari, Badi hi mast bimari, You wanna let it going on, Mohabbat lambi yaari, Bina permit ke jaari.'' The lyrics can't get any more humorous ! Chartbuster!

The ''Aahun Ahun remix is predictable and not much care has been taken to make the song any better, although the original was highly rhythmic and didn't need rearrangements.

Just a few seconds into the 'mukhda' and the all too familiar and popular 'been' notes from the evergreen classic ''Man Dole'' engulfs the listeners and any novice can say that Pritam has another chart cracker of a number up his sleeve in the form of ''Twist''.

Thereafter, the African style rap is the precursor to a great party/celebration number. And once Neeraj Shridhar comes behind the microphone, the song gets all the more groovy, more hip hop and it would not be an over exaggeration to say that the rhythm of the number simply overtakes and just forces the listener to 'twist' (a dance form prevalent in the sixties!).

The chorus girls in the background (as is the norm in most Pritam songs) need a mention as they are superb with their stuff, making the song even more spicier with characteristic style of English singing.

The 'mukhda' as well as the 'antara' is mind blasting. Its a hundred per cent success rate for Neeraj Shridhar and Pritam and must say that their consistency is amazing.

This number will rank right up there after the super success of the title song of BHOOL BHULAAIYA, and surely in times to come there will be no escape from this chartbuster at the parties, marriage ceremonies, pub and discos and also blasting from car speakers, such will be the popularity of ''Twist''.

Upped tempo and beats kick start the remixed version of ''Twist'' and its a nicely done number as there is not much deviation from the original, except the heightened rhythm, which makes it even more dance oriented.

Its Pritam's lucky charm Neeraj Shridhar once again behind the mike in ''Chor Bazari'', a song which is not quite up his ally, but he does well in the company of Sunidhi Cuauhan who sure is in her elements. Neeraj is a bit too nasal here.

An interesting number, the rhythm is quite bouncy, and has its ups and downs, but its the orchestral arrangements, lots of saxophone and bagpipe sounds, more like march past/drill music, along with male chorus in the background that impress.

The song may not be an instant hit but in the context of the movie might serve to enhance the story. The lyrics too are in sync with the situation and quite fresh and at times quite funny.

''Chor Bazari-Remix'' is one of those rare instances where the remix is better than the original. Though the rhythm remains quite bouncy, the upped tempo makes it a better dance track, and the inclusion of the rap makes the song even more humorous.

In both tales, Imtiaz weaves a pattern to display that whatever era you may have been in, Love has a singular momentum and you only love once. Both love stories are unraveled together and as they head to the climax, Imtiaz has you firmly in his grip.

The first half moves fast but you just get the feeling that the second half could have been tighter. It drags and you wonder why Imtiaz is letting his grip off the proceedings.

Deepika comes out shining. Put her in the hands of a good director and she can do wonders. Imtiaz coaxes out a good performance from her. But believe me; this girl can do much, much better. She stands up to the much-experienced Saif Ali Khan in the lighter moments as well as the more intense ones. If she makes the right choices, she will be an actress to watch out for.

Saif Ali Khan makes a smooth transition from actor to producer. He may not have promoted his film with the force of a Ghajini, but he managed to create just the right kind of hype. Maybe, if Team India had to progress further in the recently concluded T-20 World Cup, the hype would have gotten bigger. Saif has shown a sharp business eye looking into every aspect, including the music by Pritam.

Love knows no language. Besides, it cuts through people from all age. Aaj, Kal and what have you. It is neat, clean and full of romance. This one is for ''The mango people. The Aam Junta'', as Saif's Jai says in one of his dialogues. Go for it.

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