And also the 'Paani' news :D
--- In arrahmanfans@yahoogroups.com, "Thulasi Ram" <[EMAIL PROTECTED]> wrote: > > 743 is due to "Gomzy effect" :D > > On Fri, Jun 27, 2008 at 8:21 PM, Gopal Srinivasan <[EMAIL PROTECTED]> > wrote: > > > http://www.aspisdrift.com/2008/06/music-of-jaane-tu-ya-jaane- na.html > > > > The Music of Jaane Tu Ya Jaane Na On Jaane Tu Ya Jaane Na, A. R. Rahman > > tries meticulously to reconstruct his reputation as a mainstream music > > composer. He continues to reach for the stars but ends up walking on > > clouds here. Yet he leaves us with a densely interesting soundtrack. > > > > Rahman > > eschews youthful exuberance here, instead putting together a vibe of > > laid back young romance. He picks singers with thinner voices that can > > convey youth, gives them simple melodies but makes them work hard. And > > to be fair, he works just as hard with them. > > > > Rahman gives Kabhi Kabhi Aditi to Rashid Ali, > > a singer with a fluid voice that can hold most of its sweetness at high > > notes. But it comes at a price - Rashid has a tendency to go nasal and > > jiggle his notes ever so slightly. > > > > Fortunately Rashid is good with the guitar - creating a delightful > > little tune with pulled string notes to power the song. Probably > > because Hindi isn't Rashid or Rahman's first language, they have a > > funky way of breaking up a phrase or compressing words. And this allows > > them to give the tune an exoticness - the song sounds peppy and different. > > > > Rashid's voice is clear enough that Rahman wisely uses only an amped > > down scattered bass line in the song. Around the second verse, he > > throws in a gorgeous flute - it instantly transforms the song and gives > > it a wistful mojo. > > > > Rahman unveils another singer - Runa Rizvi - on Jaane Tu Mera Kya Hai, > > a song where he mixes the melancholy of a strummed mandolin with the > > restlessness of repeated triplets on a keyboard to give the song a > > nifty unease. Like Rashid before her, Rahman makes Runa's lungs work > > hard (despite the benefit of a couple of takes). Runa's voice has a > > relaxed stillness that plays well in this track. > > > > Her > > song has a companion piece - where the male lead now works out his > > feelings for his friend. Rahman hires one of his old favorites Sukhwinder > > Singh, fast becoming one of India's leading vocal lights. Its the third > > outstanding composition of the CD and Rahman blends a thick flute with > > keyboards against a > > backdrop of stabbing violins to start the song. He knows he's on to > > something special because he takes his time - Sukhwinder doesn't open > > his mouth until nearly a minute and a half have gone by. > > > > Both Rahman and Sukhwinder exercise notable restraint. Rahman creates > > underwhelming, winding, operatic tunes to propel the song and > > Sukhwinder carefully holds his voice back and lets it simmer. > > > > There is more fun stuff on the album if you care to explore. In the song > > marred by a rather foolish controversy, Pappu Can't Dance, > > Rahman employs a host of singers to create the only truly uptempo track > > on the CD. There's a nonsense Hindi rhyme, an island rap and all kinds > > of sonic bells and whistles thrown into this track. Rahman uses his > > singers in interesting ways - its worth listening to if you thought > > Rahman couldn't be silly and have some fun. > > > > There are two larger observations I would like to share. > > > > Thoughtful as Rahman is about his compositions and careful as he is to not > > buckle under his own musical weight, I get the feeling he often plays it too > > safe. On the Rat Pack influenced, you me are chalk and cheese rumination, Tu > > Bole Main Boloon, > > Rahman (who assumes vocal duties) uses a piano, cello and trumpets. But > > in a musical genre ripe with fusion possibilities, its a tragedy Rahman > > doesn't throw in a sitar or a shehnai or something else that might have > > sounded good to him. > > > > Second, lyrics for these kind of songs are hard to write because the > > situations are so rote. There's the falling in love song, the > > discovering love song and the crazy in love song. But Abbas Tyrewala > > (Munnabhai, Main Hoon Na) > > does a fine job arranging well worn phrases in interesting ways. He > > shrewdly inserts the words in the movie's title in multiple songs. He's > > positively terrific on Kahin To which is reflective of what he's trying to > > do here - write for a character rather than a situation. > > > > > > >
