http://cities.expressindia.com/fullstory.php?newsid=161061

Colour coordinated

Adman and lyricist Prasoon Joshi in an exclusive listening session of
AR Rahman's just-released score of Rang De Basanti
Lalitha Suhasini

Lucknow, December 11: The face of McCann Erickson, India, says he is
completely in awe of AR Rahman. ``Rahman doesn't really speak Hindi
but he understands the sound of words. Sometimes we don't say a word
but know exactly what we want from each other,'' says the lyricist.
Rakyesh Mehra's Rang De Basanti is his first project with the south
Indian composer.

As he slides his copy of the earliest recorded CDs of the soundtrack
into the player, the head rush is palpable. The title track sung by
bhangra hellraiser Daler Mehndi, screams UK Asian underground, which
ironically is no longer underground and is more the flavour of the
London club scene all-year-round. ``I initially wanted to call the
song Recipe but was told that it's too esoteric a title,'' says Joshi,
``The song describes the method to prepare basanti ka rang.'' Thodi si
dhool...thodi si khushboo, read the lyrics. As Chitra joins in Daler,
you know this one is undeniably a hit.

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Can't say the same of Paatshaala—a campus-friendly number. The sound
is a Fanaah hangover from Yuva, though Joshi's Hinglish wordplay is
fresh—`Chehron ki kitabe hain...mobile library.'

In spite of Kisna's title track, Rahman's been taking quite a few
knocks from Bollywood. But there's more than one song in this album
that will ensure it goes places. Take Rubaroo sung by Naresh Iyer, his
new find from Super Singers. The acoustic guitar-heavy, happy song
should easily hit No 1 and stay there for a while. We have never heard
one like this from Rahman before.

Next on, there's a duet by Iyer again with Madhushree. The subdued
violins work well, and Iyer just might turn out to be the most sought
after voice for ghazals and romantic numbers. A south Indian
Mumbai-bred teenager, there's thankfully no trace of the Tamilian
accent in Iyer's rendition.

Rahman gets behind the mike for Khalbali, a Bedouin frenzy of
percussion instruments, including the chenda, the classical drum that
accompanies a Kathakali performance. ``I had to come up with a word
that sounded Arabic enough and yet portrayed the turbulence in the
song,'' says Joshi of the funky, techno number.

And there's the much-talked about Lata-Rahman duet. It's a fairly long
score running into seven minutes, and Lata sounds remarkably light.
Rahman has also understood her form well—there are no lines that
stretch or strain her voice to an unbearable length and pitch. ``It's
set at the time of a son's funeral, and his mother is reminiscing of
old times,'' reveals Joshi, who draws a parallel between the soul and
a soaring kite in this one. But the song is far from a dirge. When the
tabla and flute accompany the vocals, it might as well be a lullaby.

Surprise, surprise. Joshi who's worked with Indi band Silk Route in
the past (on the album Pehchaan) has roped in vocalist Mohit Chauhan
in the eerie, minimalistic Khoon Chala. This is a track that is
tailor-made for Lucky Ali, we tell him, but Joshi feels otherwise.

One of the biggest challenges, sums up Joshi, has been reinventing
Sarfaroshi Ki Tamanna, originally written by Ram Prasad Bismil, in
Lalkaar. ``It would be foolish to even attempt writing better than a
revolutionary poet. But I can say I've done justice to it,'' he says.
The album is a riot of sounds, and a must add to your Rahman collection.







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