Khalifa‘s steady, thrumming techno sound is instantly likeable, as is the simple, hook’y tune. Rahman’s singing, despite the digital additions, is apt for the overall feel, while the disparate rap-style interludes take time to get used to, but do add to the overall song’s charm. In fact, even the opening vocals of Mawali qawwali take time getting used to, but the song builds admirably itself into a pulsating, African’ish world music sound with very-Raghav Mathur’ish percussion and chorus. Maloom is vintage, Rahman slow-burner – a gorgeous tune, arranged really well by Rahman in terms of the head-nodding rhythm and superbly sung by Nakash Aziz, Jonita Gandhi and Hriday Gattani. Hriday also carries the breezy, sing-along’ish tune of Tu shining really well, though Amitabh Bhattacharya’s Hinglish lyrics fit awkwardly in the overall scheme of the song. Ala hada‘s endearingly free-flowing tune is matched by the way Rahman weaves Shiraz’s singing with the guitar, while Nakash and Shweta Pandit have a bloody good time singing the mellow Beqasoor, and Rahman’s complex tune, the idea of overlaying one voice over the other and the sitar interludes… all work beautifully in cohesion! Rahman delivers an easily accessible, youthful soundtrack in Lekar Hum Deewana Dil!
Keywords: Lekar Hum Deewana Dil, A R Rahman, 200, #200
