Rockstar Music Review
Come to think of it, Saadda Haq-Aithe Rakhs three-pronged syllabic outburst is a music equivalent of demanding ones right, Saadda Haq - what the f*ck
. Thereupon, if you amp up the volume, shake your head, picture-play an electric guitar jangling on your shoulder; youll take stage with A R Rahmans movie induced gen-anthem of our often star-struck and sometimes self-glorifying youngsters.
The choral refrain of Saadda Haq Aithe Rakh and at one point Mohit Chauhans acrimonious tone, parsing the words rakh saala, at victory delayed gives this high octane song an early bird entry into Bollywoods nascent school of rock. What enigmatic god-fingers on the guitar, this woman Rahman credits for the guitar Orianthi, as oblique sounding as Slash, and hopefully her inspiration.
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Even more outr if I offered to compound Kun Faaya Kun with Bhaag Dk Bose both are chants, one repeats phrase, Kun Faaya Kun, one channels angst Bhaag Dk Bose. The difference is in tempo. If you put Bhaag Dk Bose on a slow spin, it would acquire the nobility of a Sufi melody, much as Kun Faaya Kun could be a head-banger if the refrain was cranked to accelerate.
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The iridescent beauty of Kun Faaya Kun is that Rahman remains faithful to the organic sounds of a dargah recital, even when sneakily introducing the very modern instrument of the guitar into a mofussil atmosphere soaked in spiritual seance half into the song, claps heartily welcome the guitar, as in the narrative, the characters acceptance into the realm of this kind of roohani mausiqi.
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When has Rahman erred in his tributes- Piya Haji Ali (Fiza) for Mumbai, Khwaja Mere Khwaja (Jodhaa-Akbar) for Ajmers Moinuddin Chisti, and now Kun Faaya Kun for Delhis Nizamuddin Aulia, once again after Arziyaan (Delhi 6s Jama Masjid) in these places of worship, Rahman is our conscience keeper, our prayers bestow him.
Mohit Chauhan accomplishes with this film soundtrack a vocal range he himself has not had the opportunity to display through his non-film work. In Phir Se Ud Chala the low pitch ululation he takes, downward dip, against the grain of the song, which is about soaring up, gives it a good natured reverie of a low flying bird not quite lost but not looking for a destination yet.
Jo bhi main kehna chahoon, barbaad kare alfaaz mere is a prophetic line Mohit chews on, uttering gibberish after, inducing a fantastic chorus to mimic his ya ya ya a rockstar ardently worshipped for his on-stage histrionics a fact this beautiful and sparsely worded song strings through guitar and drums (Ranjit Barot).
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The one time the soundtrack humours the cockles of your heart is with the ting-a-ling spirit of Katiya Karoon. Harshdeep Kaur is in crackling form here, a terra-firma in Punjab-di-saundhi saundhi khusboo. The inclusion of puppetry style folk elements lends it a foot-tapping rhythm and bounce a whole new invention of r&b music.
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Sheher Mein is for laughs, a spoof on formulaic tunes. Its interesting to note how Mohit steers the song from blas to blaze. A song to be seen, not heard. The last time something like this was envisioned was in Aamir Khans irritation with his composers in Akele Hum Akele Tum.
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Hava Hava is mercurial in the way Behke Behke (Aisha) and Udi (Guzaarish) stoke your gypsy heart a chirrupy chorus chiming hava hava to drums, guitars, violin, mandolin and dulcimer retelling a Czech folk tale. Theres no waiting when this plays, immediate dance floor fat burner.
Aur Hos ache in Mohits voice mirrors the whiplash once felt in Mera Yaar Mila De (Saathiya). The song spirals up and surges in a smoky finish.
His Naandaan Parindey has Sivamani on drums, accompanied by acoustic and electric guitar work, and Rahman pitching along, the absolutely heart-wrenching naandaan parindey ghar aaja refrain has surely progressed from the corn-fed wholesomeness of DDLJs ghar aaja pardesi tera des bulaye re to something more visceral.
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Kavita Subramaniam ne Kavita Krishnamurthy resurfaces in Tum Ko, sounding alarmingly nasal. The sarangi and tabla sound better. Why does it sound like a tired scratch of Tu Hi Toh Meri Dost Hai (Yuvvraaj)? Tum Ho, sung by Mohit, no less nasal, though not as punctuated, suffers from the same predilection for piano, flutes, ooh-aah motifs. Skip. I yawned. Twice.
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The instrumental tracks Tango For Taj where the piano and the accordion play footsie and am going to side-step and ponder if at one section where the violins sweep in, is a nod to Rahmans guru Ilaiyaraaja or a throwback to his own Carnatic soul. The Dichotomy of Fames shehnai is testament to why Swadess Yeh Jo Des Hai shehnai by Bismillah Khan is legend, and sorely missed outside of a marriage hall, in our film music. Coupled with the guitar, this piece is a true symphony of sounds, respect in each others over-lapping territory. This is what it means to make music together.
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If youve ever wondered whether the word ruminating takes after Rumi, the poet, the last track, The Meeting Place narrated by Ranbir Kapoor is a fitting address, when Rumis poem is hushed, Pata haiyahan se bahut doorgalat aur sahi ke paar, ek maidan haimain wahan miloonga tujhe. Thereby, completing a full circle of metaphysical music of here and beyond, just as enigmatic as Rahman.
by: Madhu
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