When Na Jis Din Teri Meri Baat Hoti Hai begins, it sounds almost like a sequel to Yehi Zindagi due to the way it is composed, arranged and sung. The only place where it differs is its genre as it is a love song. While Yehi Zindagi may appeal to a select segment of audience, Na Jis Din is pure mediocre as Kunal Ganjawala and Yogita Pathak just go through the motions and sing along to an extremely average and beaten to death tune.

There is a repeat version of the song too with veteran singer Bhupinder Singh at the helm but still there is not much to look forward in the song. It won't be wrong to say that Na Jis Din belongs to an instant skip variety as the only area where it succeeds is creating boredom.

Madhur Bhandarkar would have certainly known the way his album had shaped up so far and that could be the reason why his much publicized 'lavani' song makes an appearance next. While Bhavika brings an authentic rustic feel to Aai Ga with a brief appearance in the song's start, middle and the end, Vaishali Sawant is the major contributor as she sings with a kind of spirited approach as required by the song.


The right accent, cheers, pauses and much required 'desi' instruments are all in place to make Aai Ga a 'masala' number that has good chances to do well in the Maharashtra belt, though beyond that it looks difficult to be grabbed with both hands by the music lovers. Nevertheless, it should be good fun to watch in the film's situation. Later D J Amelon and Salil Amrute come together to create a western remix version of Aai Ga which could have been made keeping the pub/disc hopping crowds in mind.

Title song Signal Pe comes in the end which is an ensemble piece with Vinod Rathod, Baba Sehgal, Neerja Pandit, Raj Pandit and Navin Prabhakar coming together behind the mike. While Vinod and Baba are the two singers who dominate the proceedings, other singers add on to the signal feel by giving voices for 'taporis', eunuchs, street kids etc. who play an integral part of the film. Narrating the proceedings of what goes on at signals, it is a situational track that should be appearing at number of points in the film. Expect Madhur's direction stamp in full form when this song is on.

Rest of the album is made of bonus songs in the form of Kailash Kher's 'Dilruba' and 'Albela Saajan' [Kailasa], Jagjit Singh & Gulzar's 'Haath Chhute Bhi To Rishtey Nahi Chhuta Karte' and 'Din Kuch Aise Guzarta Hai', Nusrat Fateh Ali Khan's 'Tere Bin Nahin Lagda' and Ustad Sultan Khan & Chitra's 'Piya Basanti'. No doubt, a good addition to the album, especially for those who like their music to be non-filmy and semi-classical.

If one looks back at the songs of Traffic Signal, one doesn't quite take much back home. With an exception of Aai Ga that may do well selectively, there is not much about the film's soundtrack that remains with a music follower. In the end, what works is the situational feel to the music [at most places, thought not all!] that should keep up the pace with the film.