If it wasnâ€™t a futuristic love story, the title of this movie could have been â€˜Milo Na Miloâ€™. Anu Malik, Javed Akhtar and Harry Baweja were aware of its rage factor. The word is killing - 'Milo Na Milo' sets the sci-fi mood right from the start. The opening sees the gusto Anu Malik screaming, before Shaan steps in. The trademark guitar prelude of the composer is blended with the kicking sounds from the synthesizers. Electronically filtered vocals are further heard and the interludes are carefully programmed to match the theme. Impressing the most is the second interlude where an array of unknown sounds are played. No doubt that the rhythm is addictive and the flamboyant Shaan adds his touch to the electrifying number. Despite being straightforwardly rocking, â€˜Milo Na Miloâ€™ suffers from disjointed â€˜antarasâ€™!
Among all the brouhaha and promotion surrounding â€˜Milo Na Miloâ€™, itâ€™s in fact Sach Kehna which is the trendiest and catchiest of the two techno influenced track. An addictive rhythm is again introduced by Anu Malik and this further pushes the number into a fresh Kunal Ganjawala track. The trendy opening with the fine guitar acousticsâ€™ sound, developmentally changes direction and is quite impressive. The whooping vocal gymnastics of Ganjawala who tickles with the words â€˜Sach Sach Kehnaâ€™ on several occasions is interesting. Malik throws a pleasant chorus and works harder on the instrumentation â€“ having a quasi-romantic saxophone in the background, while the rock guitar is also introduced at places. The happening beats also enhance the musical ride.
There is energy bursting out in K.Kâ€™s Aa Gaya Hun Main, albeit it loses steam from the first interlude! Terribly sad as the track had the potential to hit the charts, but Anu Malik does not find his way after a trendy beginning and everything progressively falls apart. Choosing a crazy chorus talking about strangers falling in love does not arrange things either. It is interesting to note the superb performance of the talented K.K after the second interlude â€“ a high-pitched show of expressive vocals with a classical backdrop, adding a few more marks to the half-baked track. â€˜Aa Gaya Hun Mainâ€™ is one of those tracks which could have gone a long way but hasnâ€™t been given due treatment.
Bringing back the melodic effervescence of the old days, Meelon Ka Jaisa Tha Fasla (Happy Version) is what one expects when Anu Malik and Javed Akhtar come together. It's a sweet melody which is just about right, in the voices of Shaan and Malik's favorite Alka Yagnik. Moments of stark melodic beauty are apparent in the track, which is also filled with breezy music. After a delicate piano flourishing in the prelude, the remaining proceedings are smooth and cheering. The opening is borrowed from John Barryâ€™s â€˜You Only Live Twiceâ€™ of the popular James Bond series, which was also composed by Leslie Bricusse. It happens that the signature tune is repeated further in the song. With an unknown female voice opening the number, Javed Akhtar lyrics are worth a mention. Sadly, Alka Yagnikâ€™s voice does not seem appropriate in the song and K.K fabulously sails through. A light flute music is interspersed in the background. All concerned with the production of this particular track show a considerable passion â€“ the singing is quite emotional, the lyrics are meaningful and the music is snobbish. â€˜Meelon Ka Jaisa Tha Faslaâ€™ is another wonderful composition from Anu Malik, which should not be overlooked so easily as the track is melodious. Meelon Ka Jaisa Tha Fasla (Sad Version) is slower in pace.
There is a charming factor in Mausam Achanak Ye Badla Kyun â€“ which shows why Alka Yagnikâ€™s vocals are so sweet and smooth. Truly, a harmless duet, true to the composerâ€™s style, is presented to listeners. From the bubbly chorus to Shaanâ€™s passionate vocals and with bits and pieces of the flute, piano and quirky sounds, â€˜Mausam Achanak Ye Badla Kyunâ€™ takes some time to grow. Malik marinates the track with an African-tribesâ€™ interlude, peppy music and other ear-pleasing musical pieces, all resulting into a melodious song. The composerâ€™s stamp is all over till the last note.
Jaane Kaisi Hai Teri Meri Love Story (Happy Version) is more of situational number, which relies on Shaan to carry it forward. The piano music at the start is well in-synch with the overall feel of the track and John Barryâ€™s â€˜You Only Live Twiceâ€™ music is again heard in the interludes. There is a lot of improvisation in the singing and the composition. Even though the arrangements are of high standards, the track lacks a consistent tune and appears frail compared to the other tracks. This results into an average number and only Shaan saves it with his delightful performance. Jaane Kaisi Hai Teri Meri Love Story (Sad Version) is slower and is more emotional.
The magic which Harry Baweja and Anu Malik brought to melody lovers in â€˜Imtihaanâ€™ with songs such as â€˜Choda Ke Damanâ€™, â€˜Chaha To Bahutâ€™, â€˜Dheere Dheere Chori Chori, â€˜Do Baaten Ho Sakti Hainâ€™ and in â€˜Diljaleâ€™, with songs such as â€˜Ho Nahin Saktaâ€™, â€˜Jiske Aane Seâ€™, â€˜Kuch Tum Behekoâ€™ is not exactly revisited in the soundtrack of Love Story 2050. The amazing freshness of Malikâ€™s melody which was present in the mentioned songs, is somehow missing and he serves less generous portions here. â€˜Meelon Ka Jaisa Tha Faslaâ€™ could have been better. Malikâ€™s flirtations with new-wave and techno-futuristic sounds settle on an average score and cannot be termed as ground-breaking. He receives full marks in the orchestration, instrumentation and arrangementsâ€™ department as all the tracks are programmed to the highest standards. Interesting to note is that Harry Baweja has gone the â€˜Diljaleâ€™ days where the soundtrack also had the opening lines of the main stars. Above all, the frenzy â€˜Mila No Miloâ€™ has created is more than enough for the soundtrack and surprisingly, the best songs are in fact â€˜Sach Kehnaâ€™ and â€˜Mausam Achanak Ye Badla Kyunâ€™.