The story revolves around Ajay Devgan who has a dream to make it big as a music star in London, Asin, the lady he is romantically involved with, and Salman the small town talent he hunts down to add to his band and dreams. From the look of the promos the whole rock band deal in some way seems a shadow to Akhtar's earlier project Rock On. However, Salman provides a different angle. He becomes great friends with Ajay, and later on his competitor in profession and for his lady in a love triangle. Salman on the whole remains the humble sacrificing friend. How it ends, remains to be seen once the movie hits the halls.
ywood rock, its predominantly percussion music, matched in pace by the lyrics sung - by Vishal Dadhlani and Roop Kumar Rathod- this song stands evidence to the theme of the movie, a typical concert number. Complete with interludes of slow beats wherein the play backs dominate, a perfect tempo dip and rise to keep the audience on its feet the song has everything you could ask of a stage performance. And of course an end note on Hanuman Chalisa, which having gone through its share of controversy with the sensor board has finally received a green signal and is now inclusive in the track gives it a perfect finale. Overall, this one is a winner!
Mann Ko Ati Bhaaye: A lighter tune, with lyrics remodeled in a regional distortion of Hindi. The song in several ways becomes reminiscent the prior year Govinda typical numbers, in lyrics, music and styling!
Tapkey Masti: This symphony has a strong Punjabi flavor to its credit. Its likely for this track to be played in depiction of the simpleton enacted by Salman in his rural background. Use of traditional instruments like the dholi beats in combination with some trumpet, violin and keyboard has given a different touch. Although the track when it first begins, holds attention, its seems just midway to have stretched too long and inclines one to switch to another. Overall, an average bargain in testing a new style by Shankar-Ehsaan-Loy into a domain they haven't explored much before.
Khanabadosh: The literal meaning of this song title which happens to be a word of Sufi origin is 'one who carries his house on his shoulder'. Figuratively, it indicates the character sketches of the male protagonists who have resorted to no sense of stability in a nomadic pursuit of the fulfillment of their long term dreams! The song has its share of thought provoking lyrics with a tune that supports the right amount of enthusiasm. In most respects the track is one of the best in the album, also happens to be the title track for London Dreams.
Khwab Jo: As an inspirational track defining a dream in the motivational sense, this tune starts with a lone strumming of a guitar, then one at a time the two male playbacks Shankar Mahadevan and Rahet Fateh Ali Khan join it with the vocals. Once the drums come in, along with the keyboard and stronger strumming, there are overlapped lyrics for impact of last syllables and the track ends in a huge applause, a stage act hence although slower than the other its kind, Barso Yaaron. Overall, a reasonable track, one more in the category where past midway it starts to feel sort of stretched.
Yaari Bina: Its a song dedication to the bonding between thick friends, undoubtedly referring to Salman and Ajay before the differences start creeping in owing to Salman's unexpected, extraordinary stardom. It has a distinct folk music touch to its tune and intruments incorporated, the lyrics are repetitive but in a promoting fashion. There are bits of the tune which evoke a sense of deja vu, but other then that its a friendship track unlike most of its contemporaries in Gen X films.
Jashan Hai Jeet Ka: This one has interludes of Arabic music mingled with definite sense of current western styles. A combination that doesn't sound commonplace. However, the track can be very specific in being accepted or not. Its the kind of distinction which goes down with a listener either the good way or bad, with no in between. Yet another trial of a uniquoe style by the trio in the same album.
Shola Shola: Perhaps this track will seem of greater consequence with respect to its placement in the movie once its released. As a part of the album, one can almost declare it rather redundant. In genre a romantic melody, there is nothing that stands out about this track. Zubeen's voice reminds one of his previous hit 'Ya Ali' and inevitable comparison leads one to conclude in favor of the predecessor. The tune is a usual, nothing exceptionally evoking in its entirety. Even the lyrics, having no edge to offer.
Remix versions have been created for three of the above tracks - Khanabadosh, Mann Ko Ati Bhaave, Tapkey Masti - and common to all three, the originals on the whole have easily outdone their respective remixes. The only use they can be put to are as club music, and even in that sense the album has much more to offer in its faster tracks.
The album, with its experimentation in styles and intermixing international forms of music, some successfully others not as much, rates to a 2.5/5.