EXPECTATIONS There are bound to be very good expectations from London Dreams. After all, it is a film which has a musical background to it, has composers Shankar-Ehsaan-Loy at the helm of affairs and brings them together with Prasoon Joshi from whom one expects poetic lyrics. Add to that, the fact that each of the earlier films of Vipul Shah [Singh Is Kinng, Namaste London, Waqt - Race Against Time and Aankhen] has boasted of immensely successful music and one can't help but expect London Dreams to present some chartbuster tracks as well. MUSIC Now this one is a full on 'rock on' track in the offering. Pun intended. After all 'Barson Yaaron ' completely and truly belongs to the rock genre. With a stage setting to it, it has some elaborate music arrangements that get the right ambience on to make it a track which befits a big screen presentation. Of course, in the first few listening it seems to be just a carry forward from Rock On. However, as one listens to 'Barson Yaaron' a few times over, you do realize that it has a setting to it which is just so relevant to the theme of London Dreams. With an unconventional pairing of Vishal Dadlani and Roop Kumar Rathod behind the mike, 'Barson Yaaron is also special as it ends with the rock version of 'Hanuman Chalisa'. Definitely a first and something which is bound to create frenzy in theaters for Salman Khan fans. 'Man Ko Ati Bhavey' follows next and your immediate reaction is - 'Now what's that?' Then you allow yourself a complete listening at least because you realize that everything is possible in Salman Khan's world. Reason being that 'Man Ko Ati Bhavey' has a true 'Bhojpuri' feel to it with Shankar Mahadevan too going unabashed in his rustic rendition that never once slips away from the song's mood, setting and genre. The rhythm starts working for the listener after a while and a couple of listening later; you also start to grasp the lyrics. Just like 'Barson Yaaron', this one too grows you on after a while and once that happens, it is impossible not to find yourself humming it around even when the music is not playing. A sure shot chartbuster which finds a deserving 'remix version' for itself! It's time for some Punjabi music to make its way into the album and this happens through 'Tapkey Masti'. A point to be noted though is that this one is not a conventional 'bhangra' track that gets into a regular 'aahun aahun shaava shaava' mode. Instead, it takes a slightly different route and even though there is a slight rock background to this one as well, 'Tapkey Masti' (which is also heard in the 'remix version') continues to give the feel of the rustic world that it belongs to. Singer Feroz Khan too sticks to the song's genre and delivers as required. New entrant Mohan is given the responsibility of singing the title song of London Dreams which is interestingly titled 'Khanabadosh'. He does quite well in this yet another unconventional tune that brings back rock into the album. If the initial parts of the song are good, its 100 seconds down the line when 'Khanabadosh' really comes on its own. There are multiple layers along with various twists and turns in the song, something that makes one listen 'Khanabadosh' quite carefully. Some truly unconventional and difficult-to-hum-around lyrics only make this song the kind that starts becoming more and more familiar only after a few listening. That's the reason why one doesn't quite mind the 'remix version' that arrives at the latter stages of the album. For those who were missing the kind of trademark compositions that Shankar-Ehsaan-Loy are known for, there is 'Khwab Jo'. A serene track that gets into the dynamics of a 'khwab' and how, when, why and where is it actually a 'khwab' and not a 'haqeeqat', 'Khwab Jo' by Rahat Fateh Ali Khan and Shankar Mahadevan is an out and out poetic track by Prasoon Joshi. One wonders the kind of pain that Shankar-Ehsaan-Loy must have gone through in order to spin a tune around the lyrics. A smooth moving number that has a melodic base to it, 'Khwab Jo' sees the fusion of Indian classical with soft rock that becomes more and more apparent as one reaches the song's end. The opening of 'Yaari Bina' followed by the music that follows instantly reminds one of 'Hum Tumhe Chahte Hai' [Qurbaani] . However, the similarity ends as quickly as it appeared for this 'qawalli' which again reaches its peak 100 seconds down the line. Coming together of Roop Kumar Rathod and Milind makes for another unconventional outing behind the mike. A song that pays homage to friendship and terms one's life as truly useless without a friend on your side, 'Yaari Bina' appears situational and the kind that would aid the dramatic outing for the film's main leads. Abhijeet Ghoshal gets a solo for himself in the form of 'Jashn Hai Jeet Ka'. A rock song with an Indian base to it, especially when it comes to rendition by Abhijeet, 'Jashn Hai Jeet Ka' appears to be a passionate outing for the actor on whom the song would be picturised. A song about moving ahead in life all by yourself sans any support, 'Jashn Hai Jeet Ka' is quite 70s musically though it is presented in a contemporary manner. One waits to see how the song turns out to be on screen. In the world of solo numbers, Zubeen Garg gets one for himself too in the form of 'Shola Shola'. Starting off on a relatively slower note, it shows a slight jump one minute down the line. 'Shola Shola' too reminds one of the music of the 70s, especially with the coming together of chorus during the key words 'Shola Shola'. However, it's the contemporary setting that helps the song to a fair degree in terms of being presented to today's youth. Just like 'Jashn Hai.... ' this one too falls under the 'wait and watch' category. OVERALL First things first - The music of London Dreams requires not one, not two, not three but at least five odd listening before it starts growing on you. At first instance the music seems to be going all over, especially due to the fact that most of the tunes are plain unconventional and nothing that one has heard in a mainstream Bollywood film before. By the second instance one starts wondering if the expectations were really worth it as you aspire for something more comfortable and easy on ears in terms of recollection value. By the third and the fourth instance, you actually start warming up to some of the songs from the album and give them a keen hear. And once you are into the album the fifth time over, you realize that London Dreams does carry some good stuff to make heads turn. The album won't necessarily take a thunderous beginning at the music stands. However, the songs are bound to find much better acceptance if the film succeeds at the box office. OUR PICK(S 'Man Ko Ati Bhavey', 'Barson Yaaron', 'Khanabadosh' [Play Songs]

EXPECTATIONS Hasn't it become all so predictable when one begins the review of any music coming from the house of Bhatts that has a Pritam and Emraan Hashmi association to it? So many times has a statement being made that 'Good music is pretty much on the cards when forces like Mukesh Bhatt, Mahesh Bhatt, Pritam, Emraan Hashmi and lyricist Sayeed Quadri come together.' After all, their track record over the years has been a testimony to this fact. Hence bowing down to sheer predictability of listening to some real good music once again, one plays on Tum Mile which also has another lyricist Kumaar, who has now become a regular with Pritam, as an added contributor for writing the title song. MUSIC With Neeraj Sridhar at the helm of affairs, what does one expect? Another 'Hari Krishna Hare Ram'? Or a 'Aahun Aahun'? Or a 'Chor Bazari'? Well, get set for some surprise as both Pritam and Neeraj make a conscious effort to do something completely different with the title song of 'Tum Mile'. This time around it's the feeling of innocent and pure love that takes centre-stage as Neeraj gets into the shoes of a lovelorn youngster who is plain and simple glad to have found the love of his life. A rhythmic tune that has a much better 'antra' when compared with 'mukhda', 'Tum Mile' has an elaborate setting to it in it's opening version. However, to one's pleasant surprise, even better versions follow after a while with Javed Ali and Shafqat Amanat Ali getting their own solo versions of the same song. Frankly, the two singers do well in stealing the show this time around. Even though it's the original version which is currently on air due to ingredients that give it a popular appeal , the ones that should turn out to be 'lambi race ka ghoda' are the 'Love Reprise version' by Javed Ali and 'rock version' by Shafqat Amanat Ali. Javed Ali takes huge strides with his soft rendition in this melodious outing which stays away from excessive musical instruments. On the other hand Shafqat Amanat Ali, who hails from Pakistan, gets another fabulous song under his belt after 'Mitwa' [Kabhi Alvidaa Naa Kehna] with this soft rock version of the title song. All in all, this is a song that grows on you and once the tune is set in mind, there is no stopping. However, one is always greedy for more when it's a Bhatt-Pritam-Emraan combination and this is where the trump card is out in the form of 'Dil Ibaadat'. If one thought that Tum Mile was fabulous then one listening of 'Dil Ibadat' will quickly make you change loyalties. In this love song, K.K. has a number in hand which could well be an award winning outing if aided by good picturisation. If presented in a highly passionate and dramatic manner, something which goes with the genre of the song, 'Dil Ibadat' could well be the 'Khuda Jaane' [Bachna Ae Haseeno] moment for Pritam. Special mention is reserved for the oriental touch to the arrangements which gives that added edge to 'Dil Ibadat' that also sees a 'rock version' as the album progresses. This is where one begins to draw comparisons with Pritam's soundtrack of Life In A Metro since that too belonged to a similar space. The signature tune that is currently being heard along with the promos of Tum Mile kick starts 'Tu Hi Haqeeqat', which is yet another solo, this time Javed Ali at the helm of affairs. By this time, one realizes that the album is made of all-male singers. In fact this could well be the first ever instance for the music of a film with romance as it's strong point not to be featuring any female voice at all. Coming back to 'Tu Hi Haqeeqat', it is not as strong as the title song or 'Dil Ibaadat' but that's purely on a comparative scale. Rendered by Javed Ali, this one has a core Indian feel to it and is the easiest tune to grasp. Perhaps this is the very reason one looks forward to the songs that follow since in Tum Mile one doesn't expect Pritam to churn out a conventional Bollywood tune. It's a journey into the 'youngistan' world with Mohit Chauhan taking listeners right into a campus through 'Iss Jahaan Mein'. A lively number with fast paced arrangements and a definite rhythm to it, 'Iss Jahan Mein' still manages to get a melodic base to it. Also, one has heard Mohit Chauhan in quite a few slow moving tracks earlier, most of which are quite sober in appeal. However, this time around he also lets his hair down and with an innocent appeal to it; 'Iss Jahan Mein' does carry enough potential to be yet another 'Junoon' [New York]. K.K. returns to the scene with 'O Meri Jaan' and makes sure that he gets to croon some of the best tracks in the album. This time around it's a sad outing for the entire team which makes sure that the song turns out to be an emotionally charged affair, whether in terms of composition, writing or singing. This one is again straight out of the kind of genre that Life In A Metro had established a few years back. If you had liked the songs back then, there is no reason why they won't work now in the context of Tum Mile. Finally comes 'Soul Of Tum Mile' and as expected, this four minutes piece begins with the sound of a thunderstorm. There is a slow and steady movement in this instrumental piece which shows an escalation coming in at just the right junctures. Boasting of an international appeal, this piece become more intriguing 100 seconds down the line, hence ensuring that it would add on to the dramatic quotient as a part of the film's background during some intense dramatic moments in the film. OVERALL 2009 is clearly Pritam's year. If he has enjoyed the biggest musical success in the form of Love Aaj Kal then he has also seen a steady success run of New York. If at the beginning of the year he gave multiple item hits in Billu then he has also got some pure and fresh music in place for Tum Mile. In between he has found some good tunes rolling for All The Best and Dil Bole Hadippa too, which re-establishes the fact that he is clearly THE most prolific hit-maker that we have in Bollywood today. This is what he proves yet again with Tum Mile where he gives Bhatts their very own Life In A Metro to be preserved and relished for years to come.

EXPECTATIONS One doesn't quite comment upon expectations when a product gets together forces like A.R. Rahman and Akshay Kumar in a project which is touted to be one of the costliest ever to have come out of Bollywood. One just plain and simple puts on the album and waits with bated breath to check the kind of variety in store from the seven songs to follow (with thankfully no remixes thrust in). MUSIC The most awaited song of the year, 'Chiggy Wiggy', marks the beginning of the album. Why most awaited? Because it not only has Kylie Minogue singing a song for a Bollywood film but has her making a dance appearance while shaking a leg with Akshay Kumar. During the shooting of the song there was quite some frenzy created about her arrival in Mumbai. No wonder one expects nothing but outstanding in Abbas Tyrewala written 'Chiggy Wiggy'. What one gets to hear is a song which is a departure from a Rahman composition. That's because while the first half of the song, where Kylie is heard in her pop avtar, 'Chiggy Wiggy' appears to be a Pritam tune with all the peppy effects thrown in. This is not all as the moment Sonu Nigam jumps into the fray; well literally, it suddenly turns into the kind of tune that one associates with Sajid-Wajid or Anand Raj Anand. 'Bhangra' mood takes over and while the final result is indeed massy and ensures a 'seeti-maar' outing, one waits to hear what Rahman has to offer in songs to follow. It isn't a long wait as Sukhwinder Singh gives a subtle kick start to 'Aaj Dil', a love song set on a beach. Just like dozens of Rahman songs heard in the past, this one takes its own time to register with the listener. Not at all an easy song to have been composed, written and sung, one can well imagine the kind of effort that lyricist Mayur Puri and singers Sukhwinder Singh and Shreya Ghoshal would have put in this song that has a slight Western touch to it. In the first few hearing 'Aaj Dil' appears to be a late 90s style composition by Rahman but after a dozen odd hearing, the song just sits pretty much in your head and it is impossible to get rid of this addictive tune. The song that carries a chartbuster appeal to it though is 'Fiqrana'. An amazing composition that has a terrific 'mukhda' followed by an equally effective 'antara', 'Fiqrana' has Vijay Prakash at the helm of affairs who makes most of the opportunity provided to him. He has sung quite a few songs in the past but this one is going to be his ticket to fame for sure. This is also a loss of opportunity for Farhan Akhtar who was the first choice as a singer for the song. An urban contemporary number that boasts of a catchy tune that takes just a couple of listening to be registered, 'Fiqrana' is all set to be a hit up the sleeves of Akshay Kumar on whom the song is picturised. Watch out for the song once it arrives on screen. Rashid Ali, the man who made a terrific impression with his song 'Kabhi Kabhi Aditi' [Jaane Tu Ya Jaane Na] last year, gets another solo for himself in the form of 'Bhoola Tujhe'. One would have expected the music of a thriller like Blue to be all fun and frolic but 'Bhoola Tujhe' surprisingly turns out to be a slow and sad number about the protagonist who is wondering aloud about things that went wrong in his life. A core situational song with a Western base to it which can't be expected to go beyond the narrative of the film. It's a lot of metal and rap and reggae with the arrival of 'Blue Theme'. Written by Raqeeb Aalam and Sukhwinder Singh, this one is a quintessential Rahman number that can't be expected to be replicated by any other composer. There are quite a few variations in this theme track that boasts of number of unconventional voices like Blaaze, Raqeeb Aalam, Sonu Kakkar, Jaspreet Singh, Neha Kakkar and Dilshad. Together, this ensemble gathering ensures that the track has good enough spunk and energy to play during multiple points in the film. After a vociferous 'Blue Theme' comes a soft and sober outing in the form of 'Rehnuma' which has it's start reminding of 'Khuda Hafiz' [Yuva]. However, the similarity ends soon after with the background suddenly coming close to that of the Bond theme. Nevertheless, this Abbas Tyrewala written song doesn't see any shift in momentum and the mood continues with Sonu Nigam joining Shreya Ghoshal. This is yet another track that requires quite a few listening for the tune to be finally grasped by the listener. In terms of production values though, there is definite sophistication that 'Rehnuma' carries. There is a complete departure though in 'Yaar Mila Tha' that is an out and out fun-n-naughty number. In fact one wonders why did the song have to arrive so late in the day since it carried enough potential to be there at the top of the album. It is refreshing to hear Udit Narayan in this number that has Madhushree sounding so close to Alka Yagnik that one is tempted to check the credit details on the album cover. A fun outing between a married couple, 'Yaar Mila Tha', which is written by Abbas Tyrewala, has a complete Indian appeal to it and just like 'Chiggy Wiggy' which kick started the album, this one too hardly sounds like a Rahman composition even though the background vocalists follow his school of composition. OVERALL Blue is a good album and has all in it to make a good impression at the music stands. In a way, the album comes at just the right time when there is quite some variety in store this Diwali. While All The Best has a rock base to it and Main Aur Mrs. Khanna boasts of a melodic outing, Blue practically mixes up genres and ensures at least four popular songs in 'Fiqrana', 'Chiggy Wiggy', 'Yaar Mila Tha' and 'Aaj Dil'. OUR PICK(S) 'Fiqrana', 'Chiggy Wiggy', 'Yaar Mila Tha', 'Aaj Dil' [Play Songs]

EXPECTATIONS Ek Second... Jo Zindagi Badal De is one of those albums where it isn't the case of no expectations. In fact here one expects some real bad music. And guess what, in this aspect, the album completely meets the expectations! MUSIC There are no surprises when the album begins with an awful sounding title track ' Hota Hai Har Faisala Ek Second Mein'. Even though the man behind the mike is Adnan Sami, the collective efforts of composer Sawan Kumar, lyricist Pradeep Chaudhary and the helpless singer ensure that the song fails in first 30 seconds itself. The number tries to be a 60s style melodramatic number about a single second turning out to be a life changing moment and fails in its endeavor to be a Rajendra Kumar style 'getting behind the piano in a party' outing. A poor composition all the way, this really sad number (pun intended) also appears in a completely unwanted 'remix version'. The same composer-lyricist 'jodi' get together for ' Kyon Maang Yeh Khali Hai' which has its 'mukhda' being an out and out lift of Himesh Reshammiya's title track from ' Kya Dil Ne Kaha'. However, this time around the arrangements have poverty written all over and the result is a downright 90s style 'flirting around the trees' number. Even though Shaan and Alka Yagnik get together for this supposedly love song, they can do little to save ' Kyon Maang....' which is as outdated as it gets. One doubly checks the credit details of ' Dil Tukade Tukade Ho Gaya' to confirm if the singer roped in for the song is Richa Sharma indeed. She is completely out of tune in this sad song around 'dard-e-judaai' where she is supposed to be crying buckets during a weepy rendition. Her partner in loss, Arvinder Singh, too gets into 'rabba ve' brand of 'duhaai' saga written by Dr. Devendra Kaffir and in the end one can just stare in amazement that a number like this, which has been composed by Arvinder himself, was actually approved by the makers. Were you missing someone by this time? Especially after a title song, a love song and a sad song? Well yes, there is an (you guessed it right) item number that follows next. The lady in question? Of course who else but Sunidhi Chauhan. ' Fasale Bahara Hoon Main' (yes, these are actually the lyrics) is one of those songs that she could well have recorded while driving in her car from one studio to another, especially with lyrics like ' jalta angaara hoon main', 'mere aaghosh mein hai narmiyaan', 'meri madhoshiyon mein garmiyan' etc. etc. etc. The men who makes her mouth these words? Lyricist Pradeep Chaudhary and composer Sawan Kumar. The misery continues with ' Main Hoon Yaar Gulabi Roza' that has such an off beat tune that one continues to search for the beats for the first 30 seconds of the song. With a down market production further adding fuel to fire, this number tries to fuse Indian and Western style of music and doesn't go anywhere eventually. For this outdated number, the composer who makes a guest appearance is Anand Raj Anand who also gives a voiceover with Alisha Chinoy leading the show. The terrible experience finally ends with ' Chalti Hai Ghadi Gin Gin Ke Ek Second' which one can't actually tolerate beyond 30 seconds. Arvinder Singh's singing is so poor here that one totally forgives him for his bad effort as a composer. A Pradeep Chaudhary written song, it would be hard to believe that even the makers of ' Chalti Hai Ghadi Gin Gin Ke' would have bothered to after canning it's master copy. OVERALL Want to know how a really bad album sounds like? Then don't miss giving Ek Second... Jo Zindagi Badal De a hear.

EXPECTATIONS From certain albums you have zilch expectations. Especially so, when the music as well as movie come virtually unannounced, there isn't a single known name amongst the cast and crew, promos are difficult to catch by and the title is hardly flattering. Aamras wins hands down in each of these categories and no wonder; one reluctantly plays on the album that has music by Shamir Tandon and Tabun Sutradhar with lyrics by Virag Mishra, Subrat Sinha and Ravii. However, to one's pleasant surprise, Aamras turns out to be a fairly enjoyable album with the kind of songs that justify that chic-flick mood of the film. MUSIC It's a truly chick beginning for the album that kick starts with 'Jabse Hum Hue Jawaan'. Even though Virag Mishra's lyrics are poetic, composer Shamir Tandon's treatment makes it sound really contemporary, cool and urban. Sumedha Karmahe and Sumitra Iyer come together for this rock track which is pretty much a 'coming of age' song for the young female protagonists in the film who are shown to be exploring life as they move ahead in their teenage years. Boasting of good energy, 'Jabse Hum Hue Jawaan' immediately gets you interested in the album and the songs to follow. Ok, so Virag Mishra's title lyrics for 'We are the Teen Queens' may not be the most original that one would have come across. However, going by the subject and the genre of the film, these are just the apt lyrics for this number that has 'Viva' girls Anushka Manchanda, Pratichee Mohapatra and Mahua Kamat coming together. This one follows from where 'Jabse Hum Hue Jawaan' left and Shamir Tandon gets a perfect club outing in place (followed by a 'rock version') with this number that sets the mood and the setting right for the album which now starts looking more and more promising. Boasting of a mix of English and Hindi lyrics, this one too, is an out and out fun song and would be pretty much identified by the youngsters. From this point on, the combination of composer Tabun Sutradhar and lyricist Subrat Sinha take over the proceedings for the songs to follow. First to come is 'Choten Choten Pairon Ke Tale' and as is the case with most songs rendered by Kailash Kher, this one too follows an advertisement jingle approach. Nevertheless, one doesn't mind this soothing song much since it questions the very fundamentals problem of the issues/challenges that kids face when they would rather be living their 'bachpan'. The good part though is that even though the number has a sermonizing theme to it, it doesn't turn boring and should do well if their is a good montage supporting it in the film's narrative. Shweta Pandit, who has been making her presence felt in last few months especially, gets a solo song titled 'Sambhali Hai Kitne Dino Se' for herself. A feel good number that moves at a rapid pace, this song is an ode to friendship. There is a certain feel of innocence in this melodic outing which has an extra special going for it due to Shweta's spirited song. This one should do well again for the film's situation. The song is followed by Vasundhara Das rendered 'Koi Kuch Bhi Soche' which doesn't harm the flow of the album at all and in fact only adds further value to it. The very factor of 'spirited singing' is the underlining force of 'Koi Kuch Bhi Soche' as well with Vasundhara Das doing her job quite well. In fact, by this time, one very much begins appreciating the fact that in spite of not much known about the cast, crew and banner of the film, the singers have given their best in making the songs worth a play. Last to come is a solo by Jojo who gets behind the mike for a soft rock track 'Tere Bin Soona Soona Hai Jahan'. Written by Ravii, this one has a sad theme to it but still never becomes boring or tedious. Instead, it's the sound created by Tabun Sutradhar that makes 'Tere Bin...' an urban contemporary track that goes well with the youthful mood of the film. Yet another number that helps in adding on to the all around good impact that Aamras creates. OVERALL Aamras is a good album and it's a pity that there is absolutely no promotion, awareness, buzz or hype around it. Yes, a genre like this still has a limited market for itself due to it's rock/pop setting and there is only one Rock On a year, that goes on to make a huge impact. Still, Aamras does deserve a chance at least to travel some distance at least, if not go the whole hog. OUR PICK(S) 'We are the Teen Queens', 'Jabse Hum Hue Jawaan', 'Koi Kuch Bhi Soche