After those pagaal-pans by Raju Singh, it is Aadesh Shrivastava`s turn to unleash some deewana-pans on us. This time, we don`t really mind the pan. In fact, Aadesh Shrivastava`s homage to A R Rahman`s style of composition is quite interesting in parts.

The pan is largely intended. Listen to the way the track by Anuradha Sriram coils and uncoils through a choral refrain that sounds like bees droning in a mating game. Doesn`t it remind you of Rahman`s Main albeli in Zubeidaa? Then, there is the robustly arranged Kamli kamli, where Sukhwinder Singh and the underrated Richa Sharma are heard walking Taal.

A more direct descendent of Rahman`s style is the title song, Haan meradeewaanapan, where Shaan and Sunidhi Chauhan have been briefed to sound "young."

Good brief! Fortunately, Shrivastava seems to know the difference between young and jejune. Except for the corny campus song Doston naam karna hai (Papa kehte hain bada numb karega) where the singers behave like Riverdale gone amok, the compositions are remarkably restrained in their young aspirations.

Shaan is gradually growing into the voice of the new millennium. He can be heard in five of the eight tracks including the solo Main ek deewana ladka. But KK, who definitely has a wider range and a far broader emotional canvas to his voice, isn`t used properly in the album. He is there to give company to Shaan and Hema Sardesai in Hum deewane (a "mad"-for-screech-other track, where love is a fugitive on the run.)

And last but, alas, not the leash! Adnan Sami returns for his third film song in two months. Naach naach naach doesn`t notch up any points for the singer. Maybe he should go slow, especially when he is bhangra palle-ing with the likes of Sukhwinder Singh and Falguni Pathak. The long has-behen bidaai song has Sukhwinder breaking into the plaintive "Heer" tune mid-way. That`s when the album suddenly groans to a halt.

On the whole, though, there is enough dope in this sloping soundtrack to make us think kindly about Aadesh`s ability to hold a score together.