'London, Paris, New York'; Ali Zafar Crafts Lilting Listens...
2.5/5
By Movie Talkies.com, 20 February 2012
Before he debuted as the ambitious, but scheming reporter in Tere Bin Laden, Ali Zafar was already a sub-continental sensation as Pakistan's leading singing, songwriting pop star. The surprise success of the indie comic satire, and Zafar's second lead in Mere Brother Ki Dulhan, meant that while he's a known face in India too now, few on B'town's shores are really aware of Zafar's musical roots. With his third Bollywood release, though, Anu Menon's London, Paris, New York, he's looking to change all that. Apart from the hero, opposite the pretty Aditi Rao Hydari, Zafar is also playing the film's composer and lyricist this time around, while singing.
London, Paris, New York opens up with the title track of the film, featuring Zafar himself on vocals, accompanied by Sunidhi Chauhan. The electropop number evokes visions of wide cityscapes that justify the film's title, and the quick paced melody make it a perfect opener for the sort of rom-com that London, Paris, New York is looking like. Ali and Sunidhi harmonise perfectly on the refrain and the outro, to make this one an ideal beginning for the soundtrack.
The simple, stark piano opening for voh dekhnay mein makes the track instantly likeable. The straightforward lyrics, delivered beautifully, sans any unnecessary embellishments, just add to the effect on this number, so that when the guitar, bass and the drums come in, by the second verse, you're already tapping your feet and singing along with this sweet little romantic number. The way Zafar comically strains himself in between and during the outro, to touch notes he couldn't otherwise, give the number and its melody a rather casual feel and make it that much more hummable. A playful, giggling Aditi Rao Hydari gets her own situational version of the track in a reprise that strips it down to just the acoustic guitar, though we like Zafar's take better.
Things pick up with ting rang, a full-blooded bhangra pop number, replete with programmed dhols, harmoniums and more. Though Ali Zafar is in full form here on vocals, one does get the feeling that the number could have done with a more boisterous voice on the mic. Still, with the playful lyrics and the dance dance chorus, the track has an infectious groove, and proves to be a real foot-tapper.
Aditi Rao Hydari is on vocals again, with Zafar, on the ascendant thehree si zindagi. This time, Hydari seems more confident and focused in her singing, and her shy, almost lazy voice is perfectly in contrast to Zafar's more controlled vocal work. The track's arrangement is almost orchestral, with the drums, bass and guitar overlays coupled with the 'whoa-oh-oh' refrain that runs through the track. The track has a rather situational feel, and could be used rather interestingly in the film.
Ali brings on fellow Pakistanis Sanam Marvi and Hadiqa Kiani on oo lala. While the latter is a well-known pop songstress, the former has made her name with her Sufi stylings, and that is what this track aims to be as well, a slick mix of pop and Sufiana. However, the overbearing electronic arrangement proves to be its undoing, as Kiani's vocals don't quite seem to fit in with the feel of the track, while Marvi is lost amidst the thumping beats and sounds of this electro club number. Zafar's attempt at emulating Sufiana alaaps towards the end of the track don't quite hit the mark either, and 'oo lala' turns out to be the first really avoidable entry on this soundtrack.
The final track on the album sees Ali Zafar go solo again, in aaja, possibly the most interesting number on this playlist. The number opens up with a hint of melancholy jazz, Zafar almost sounding drunk with the despair that the lyrics betray. While you imagine that the track will segue into an almost inteha ho gayi sort of space, the album kicks into full club rock mode, as Zafar belts out the Sufi-drenched lyrics, quoting Baba Bulleh Shah, at running pace, trying to keep in time with the superb electric guitar and drum lines that keep him company, wrapping the soundtrack in a blast of furious rock.
A couple of missteps aside, London, Paris, New York is quite fair as a Bollywood composing debut for Ali Zafar. Tracks like 'voh dekhnay mein' and the title track come out tops, though ting rang and aaja are interesting listens too. One imagines Zafar could turn out to be quite a hitmaker if he manages to rise above the crowd with a more unique, focused sound, especially since that is what he manages with his independent releases. For now, with some sweet romantic music on it, Ali Zafar manages to turn the London, Paris, New York into fairly interesting fare…