Interestingly i thought this cld be some new review. to my shock, i donno to
whom this review originally belong to. i found this same review almost 4 to 5
sites & also in some blogs & show cased it as their own review. Piracy in all
forms ?? :-)
Gopal Srinivasan <[EMAIL PROTECTED]> wrote:
http://www.bollyvista.com/article/a/31/7427/1/
Music analysis of Water
By Abid ©2007 Bollyvista.com
Rating : 9/10
Credits
Producer/s: David Hamilton
Director: Deepa Mehta
Music: A R Rahman
Lyrics: Sukhwinder Singh & Surjo Bhattacharya
Vocals: Ajay Chakraborty, Kaushiki Chakraborty, Raqeeb Alam, Sadhna Sargam,
Sukhwinder Singh and Surjo Bhattacharya
Label: Sony & BMG
Every cloud has a silver lining. The delay, first in the making of Water,
and then in its shooting venue being shifted to Sri Lanka, resulted in one good
thing and that it is another (perhaps with the exception of Jodha Akabr)
period film album by A.R. Rahman. Music lovers were quite sad when Rahman
announced that Mangal Pandey -The Rising would be the last one in the series.
So, for all those who are fed up with the synthesized, techno music dished
out these days, a warm welcome into the world of pure, unadulterated Hindustani
sounds and music, by none another than the king of period-film music, Allah
Rakha Rahman ( A.R. Rahman).
Pure, serene and celestial are the sounds of the santoor and veena that
commence the enchanting Aayo Re Sakhi. Sukhwinders vocals enthrall the
listeners, as he goes Chanan, chanan. The blending of his vocals to the
mystical Kashmir sounds of the santoor is just magical. A song of pure love and
ecstasy (akin to the love of the lead pair to that of Lord Krishna and Radha)
that heralds the beginning of the monsoon -saawan, the season of love. The
typical, yet much loved and appreciated Rahman crescendo (this time its
musical), followed by some excellent rendition by Sadhna Sargam, till the end
(when she is finally joined by Sukhwinder), the musical arrangements comprising
predominantly of the santoor, veena, dhol, tabla, surbahar, etc., takes this
song to a climax that leaves the listeners zapped.
After the amazing first composition, it is the turn of Piya Ho, a
semi-classical gem. Its a petal soft, slow paced, entirely situational track;
a satirical Bidai number. It boasts of some excellent ghatam and bead
combination, mesmerizing flute notes and traditional Indian percussion
instruments. Then there is the vocal arrival of Sukhwinder on the scene, as he
takes over from the amazing Sadhna Sargam. The female chorus that goes Sun ri
koyalia and Sukhwinders repeated Piya ho, brings the song to a close and
leaves the listener with a lump in ones throat.
Next up is Naina Neer, a pure North Indian composition (in terms of musical
arrangements) and lyrics (mostly Brij-Bhasha and chaste Hindi), by the
versatile Sukhwinder Singh. The lyrics show his depth and range as a writer and
also gives an insight into his spirituality. Vish ka pyala kaam na aaya, Meera
ne pee kar dikhlaya, Prem to hai Gangajal isme, Vish amrit banjaye. Excellent!
As much as we praise the lyricist, another person that deserves a mention is
Sadhna Sargam, who shows what classy singing is all about (through this
number), and we know now why she is such a favourite with A.R. Rahman,
especially when it comes to difficult to render, semi-classical stuff.
Then we have another treat in offering, Shaam Rang Bhar Do, a Holi number
from A.R. Rahman (after his so-so Holi re, number from MP) and this one is
worth its weight in platinum! It is a fast placed, situational track. The Sham
Rang refers to Lord Krishna, who was dark skinned and the Brij Holi (which
rocks even today in Mathura). It symbolizes being drenched in colours of love ,
as Lord Krishna epitomizes love. As this is a folk inspired number. Richa
Sharma has been roped in, and she is good, yet restrained. Raqeeb Alam and
Surjo Bhattacharya compliment Richas base vocals perfectly.
Vaishna Janato, a prayer (prarthana ) that is synonymous with the father
of the nation, Mahatma Gandhi (and marks his introduction in the movie);
snatches of which we hear on T.V and radio (especially during the prayer
services), on the death and birth anniversary of Mahatma. Here is the full
version of the absolutely delightful prayer that the Mahatma stood for: that is
One God For All. We have heard the likes of Lata Mangeshkar rendering this
prayer, which was very dear to the father of the nation, and now we hear Ajay
and Kaushiki Chakraborty, who have rendered this number quite competently. This
composition is capable of elevating the listener to a very high level of
spiritual experience.
The album ends on a more religious mode with another full devotional number
dedicated to Lord Krishna and Radha through Bhangari Marori. Sukhwinder shows
his class once again. The composition depicts vividly the Raas-Lila, a song
cum dance form of ancient India immortalized by Lord Krishna and his gopis.
This album, in a nutshell, pays obeisance to lord Krishna and Radha and will
find favour with lovers of classical and semi-classical music.
For all those hungry for more Rahman, there is a treat in store, in the
form of some super hit numbers by A.R. Rahman, which includes the mesmerizing
Ay Hairathe Dil and the delightful Kosa Hai from the recently released
musical hitGuru , to name a few.
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