“LPNY is an album created with the freedom to experiment and create a fresh-sounding compilation… [with] music that sounds more international because the film has an international setting. It’s targeted towards the youth. Every song is different… yet connected.” - Ali Zafar.

… so went a Twitter conversation with Ali Zafar, hours before I began reviewing the music for London, Paris, New York, his debut as composer and lyricist in Bollywood [for a full-fledged album] - and third acting stint after the back-to-back hits that were Tere Bin Laden and Mere Brother Ki Dulhan. Directed by Anu Menon, the film also stars Aditi Rao Hydari of Delhi 6, Yeh Saali Zindagi & Rockstar fame.

The film, from its promos, feels like Before Sunrise-goes-Bollywood [it’s like the synopsis on their Wiki page reads: ‘the film follows the journey of … two different individuals drawn to each other… as they meet for a night in each city’] or alternatively, When Harry Met Sally in three different zip-codes. The premise might seem a tad formulaic, but romantic comedies are all about the chemistry [which, from the film’s theatrical trailer, seems pretty convincing], script, execution, and in Bollywood’s case, the soundtrack.

So how fares our 21st century Kishore Kumar in the making?

Instep presents a track-by-track review of the album:

‘London, Paris, New York’ - Perfect ‘pick-me-up’ start to the album [this rom-com just got that instant-coffee kick!] - with echoes of The Temper Trap’s ‘Sweet Disposition’ right at the onset, and opening lyrics that bring to mind Alicia Keys’ chorus from ‘Empire State of Mind’ [only the amped up version of] - featuring a foot-tapping melody with an infectious chorus. Sunidhi Chauhan’s restrained vocals prove a perfect foil to Ali Zafar’s energetic rendition. Favorite bit: 2:35 - 3:05. Download? Yes, please!

‘Voh Dekhnay Mein’ - a relatively minimalistic mid-tempo song [not that we’re complaining; the piano arrangement is delightful] featuring Kishore Kumar - I mean Ali Zafar as he waxes poetic[?] on his paramour… the lyrics aren’t exactly Gulzar, but their playful, ‘Hinglish’ nature gels quite well with the feel of the track. Despite a running time of 4:33, the song passes you by like a breeze. Whimsical, lighthearted… and buoyed by Zafar’s trademark vocals, this track belongs with the best of Karan Johar-produced coming-of-age rom-coms; the melody is lilting… and unhurried. Oh, and Aditi Rao Hydari’s acoustic version is easy on the ears, not to mention endearing - but personally, I found the let’s-mess-up-the-melody-and-have-a-laugh [and then another, and then another] bit right at the end a tad forced. Download? The original, yes. Aditi’s version will perhaps be best enjoyed when it’s played on the big screen.

‘Ting Rang’ - perhaps the most ‘commercial’ song on the album [read: Ali Zafar plays it to the gallery]; with familiar dhol arrangements and a flavor-of-the-moment melody that’s aimed at mehndis, this Punjabi-pop number plays it safe, in my opinion. However, Ali’s spirited vocals keep the otherwise 4-minute Punjabi dancefloor déjà-vu interesting. Perhaps the track will be further elevated with energetic Vaibhavi Merchant/Mudassar Khan [I mean, look what the latter did with ‘Desi Beat’!] styled choreography. Download? If you’ve had enough of bhangra tracks like ‘Aaja Nachle’ [Bally Sagoo], ‘Gal Sun’, ‘Tere Lak Da Hulara’ and the like.

‘Thehree Si Zindagi’ - ‘tis wonderful to hear both leading actors behind the mic [tracks like this and ZNMD’s ‘Senorita’ showcase an evolution in the Bollywood ‘musical’]… and while Ali Zafar aces both composition and vocals, Aditi Rao is the true revelation. Her honeyed, raw-Shreya Ghoshal-esque voice gives texture to this soft-rock track. The only minus: the chorus gets a tad repetitive, excessively so towards the end. Download? Yes.

‘Oo Lala’ - Sanam Marvi, Hadiqa Kiani, Ali Zafar and The Limitless in a techno-trance number that plays like a modern-day ‘Voulez Vous’ [re: chorus]? Sign me up, please. The transition from trance to Eastern-classical to club-friendly beats… and that exceptional aalap right at the end… in a nutshell, this track has ‘chartbuster’ written all over it. Ladies and gentlemen: 2012’s first official dancefloor anthem! [eat your heart out, ‘Aunty Ji’! - Ek Main Aur Ekk Tu] Download? Hell, yes.

‘Aaja’ - Where ‘Voh Dekhnay Mein’ and ‘Oo Lala’ remain the tours de force of LPNY… this minimalistic melancholy strain turned psychedelic-Sufi-rock track [using Bulleh Shah’s kalaam in an interpretation that’s poles apart from Khuda Kay Liye’s ‘Bandeya Ho’] is frenetic, operatic and perhaps intended as a backdrop for the film’s climatic moments. 1:35 onwards, this is sheer gold - but might not be suited to everyone’s tastes. Download? If this kind of music’s your thing, you’ll find yourself playing ‘Aaja’ on repeat.

“When I’m writing for my own album, I just have my artistic observation to cater to. But when you’re assigned to write for a film, the intent changes. Your creative thought or outburst is led by the requirements of the character, the situation… the director and producer. But [with LPNY] I was in a sweet spot. Because I was living the character, I could assert those minute impulses in the musical nuances too.” - Ali Zafar, on working on a Bollywood album, versus his own independent music.

Having gone through the entire album [and having played the title track, ‘Voh Dekhnay Mein’ and ‘Oo Lala’ on repeat], one feels that not only has Ali kept his artistic integrity and experimental style intact, but he’s made a confident debut as composer, presenting diverse musical genres in one neat ‘Bollywood’ packaging. For romantics searching for that quirky-yet-quintessential Valentine’s dedication, there’s ‘Voh Dekhnay Mein’; those searching for dance music to add to their mehndi/party set-list will find two solid numbers in ‘Ting Rang’ and ‘Oo Lala’; ‘Thehree Si Zindagi’ and ‘Aaja’ add variety for music aficionados and the title track - currently the composer’s favorite as well - is the sunny side of music; a feel-good, foot-tapping melody if there ever was one.

As for the man himself, Ali Zafar promises lots more music where that came from [in addition to his upcoming role in the David Dhawan-directed ‘Chashme Buddoor’ remake]. If the music of ‘London, Paris, New York’ is anything to go by, one can’t wait to see what the quadruple-threat [actor, singer, composer and songwriter] comes up with next.