http://www.planetbollywood.com/displayReview.php?id=m091009030449
Reviewed by: Ankit Ojha - Rating: 9.0 / 10
There are some musicians who turn out to be one-time wonders. There are
some who have a fluctuating career graph – all the time. There are
some, who, after getting the required fame, forget how to compose. And
there are some who have a never-say-die-attitude, and always compose
with passion and hard work, something that strikes gold and pays rich
dividends every time their album releases. Unfortunately, composers in
the fourth and last group are rare to find in the music industry.
Fortunately though, A.R. Rahman is included in that list.
And the results are there for us to see – right from Roja to the Oscars for the
best soundtrack of Slumdog Millionaire,
his career graph has always shown an upward trend, what with a few dips
here and there, but that doesn’t matter anymore. With the only Rahman
release in 2009 being Delhi-6, one eagerly awaits the soundtrack of Blue with
bated breath. Expectations break the sky-high limit due to the
Oscar tag associated with A.R. Rahman, as also the wonderful
soundtracks he has given his fans in 2008 (a bumper year for both him
and his fans, what with six albums releasing back to back every three
months – Jodhaa Akbar, Jaane Tu… Ya Jaane Na, Ada, Yuvvraaj, Slumdog
Millionaire, and Ghajini). So does one get what he expects from this album?
Read on to find out.
Sensuous cooing, backed by the right pads and synth loops
strikes all the right notes to addict the listener right from the word
‘Go’ for the bumper opener of this soundtrack, Chiggy Wiggy,
which turns out to be an experiment (albeit highly successful) from the
composer’s side, presented to us. Australian pop sensation Kylie
Minogue turns out to be a powerhouse performer for the first half of
the song which is backed by the right set of beats that will make the
listener groove to the track from the opening beats. Categorised under
the Pop/R&B category, the first half of the song turns out to be a
winner hands down, while the second half takes a sudden Bhangra twist,
bringing in Sonu Nigam into the picture.
The latter manages to give the right impact to the song, which
suddenly morphs from Western to Indian, though it still doesn’t lose on
the addictiveness factor. In fact, it’s the second half which might
turn out to have some detractors from the urban audience, even it would
grow over them after sometime. In fact, it can be a vice-versa
situation for the rural crowd in India.
Suzanne provides ample backing vocals to this song, however her
efforts might go in vain, as people would tend to think that it is
Kylie who is singing. Lyrics by Abbas Tyrewala turn out to be
innovative; nobody would really do something as pitching in semi-Urdu
lyrics into a subtle Bhangra beat - which he manages brialliantly to do
with this song.
Overall, this one turns out to be a seriously mind-blowing
number, and for some, might require a few hearings for the song to
completely envelope them into addictiveness. In the end, the song will
manage to conquer the hearts of all; it is just a matter of time.
Speaking about conquering hearts, it is Shreya Ghoshal who does exactly that
(and some more) for the song Aaj Dil Gustakh Hai,
which has the composer’s stamp all over it. It shows; be it the melody
or the beat, or the synthesizer or the pads even for once you don’t
feel that Rahman has deviated from his version of “the
lighthearted-cum-intense romantic track”, which is a good news, as it
is this very style of his that really captures the imaginations of
millions of fans around the world. Coming back to Shreya and her new
sensuous vocal avatar, her voice totally floors you.
Sukhwinder Singh doesn’t disappoint either, he delivers yet
another hit with the composer (who has inadvertently used Singh in many
of his successful soundtracks). Lyrics by Mayur Puri (who probably
makes a first-time collaboration with the renowned composer) are
contemporary and simple enough to understand – which is exactly what is
required to connect with the youth of today. Ghoshal’s crooning leaves
you open-mouthed and out of breath, and makes a nice vocal duo with
Singh. The intense feel of the song hasn’t been compensated,
considering its lighthearted feel. All that the listeners have to do to
feel the song is to sit in a dark room, close their eyes and let the
music play its magic on their ears. This turns out to be yet another
winner from Rahman after ‘Chiggy Wiggy’.
After his fantastic classical outing in ‘Manmohini Morey’ from Yuvvraaj, Vijay
Prakash is back in yet another Rahman song, Fiqrana,
which is a fun song, that hooks you right from the auto-cut guitar pads
that open the song before Prakash’s vocals surround the ears of the
listener. And the moment the beats start, you know you are helplessly
drawn to the song and can’t let go of it – or is it the other way
round? Is the song drawing you to it and won’t let go of you?
Complexity aside, this one is yet another sensational
revelation from the musical genius, that completely sweeps you off your
feet. Shreya Ghoshal’s supporting vocals strike the right chord and
make the listener want more from the song. Lyrics of the song by Rajat
Arora (‘Tere Naina’ from Chandni Chowk To China) accentuate its fun feel.
Unfortunately, even the whopping 5 minutes and 24 seconds isn’t enough!
Prakash sings clearly without stumbles, and shows that his
talent isn’t just restricted to classical music, though there are
slight inclinations that are present in the song. Another aspect of the
song that makes it superior is its effects – which are not really
overdone and used at the right places. The sonic-sound effect given to
Prakash at some places, compiled with other effects like the flanging
and echo gives just the right pumped-up feel to the song – something
that takes the song to another level altogether. This one turns out to
be another ace in the whole pack of seven cards – or songs.
The trademark “Rahman” orchestration is back in this unexpectedly soft number
titled Bhoola Tujhe that makes us reminiscent of ‘Meherbaan’ from Ada and
'Kahin Toh' from Jaane Tu… Ya Jaane Na,
though this song is completely dissimilar from the aforementioned
songs. In fact, this one is a standout number and has all the emotional
prowess that one can pack in a song. Credit should go to Rashid Ali for
singing his heart out, pouring out all the emotions into the listener’s
ear, elevating the latter as a result. A.R. Rahman returns to basics:
which he won many hearts and fans – soft and melodious songs, with
heart-rending lyrics by Tyrewala.
Opening with “the” orchestration, which sets the mood of the
song, subtle beats get into the picture, with Rashid Ali’s sensitive
vocals. Seeped into melancholy, the lyrics totally give new meaning to
the song (Bhoola Tujhe Kaise Kahaa, Hua Tujhse Kab Judaa, Yaa Khuda… Yehi Hai
jo Malik Teri Raza, Teri Aazmaaish hai Yaa Sazaa…),
and the end result is there for all of us to hear. The ‘feel’ and
‘emotion’ of the song is so powerful that it might make the listener
shed a tear or two. Rahman does it yet again – this one makes for four
spellbinding tracks in the album so far. This one has all the potential
to make the Rahman’s fans excited, and music lovers in particular go
ga-ga about the song. In one word – magical!
The 'Khallballi' from Rang De Basanti feel is back with this power-packed Blue
Theme.
Though not one bit like ‘Khalballi’, this one turns out to be a winner
right from the start for the fantastic arrangements the song has in
store for the listener. The eclectic group of six singers – Blaaze,
Sonu Kakkar, Raqueeb Alam, Dilshad, Neha Kakkar, and Jaspreet Singh –
provides amply power-packed vocals required for a song such as this
one.
And the surprise revelation comes in the form of Blaaze
singing! The best part of the song is its constantly energetic feel,
which resonates in your whole body for the time you listen to the song
(and after as well). By the end, the tempo increases a few notches
above normal and reaches its peak at the very end, when the songs
starts to fade. At last, when you hear the shout of Blue on
reverb, you know you’re going to listen to it again. Yet another
exceptional ditty in Rahman’s kitty! Did I actually rhyme the two? Wow!
Melody and the “trademark Rahman” feel is back with Rehnuma,
this one featuring Shreya Ghoshal, who gets to eat more three-fourths
of the cake; which means that she gets to sing in most part of the
song. And rest assured, when she sings, your hair starts to stand, and
once she starts crooning ‘Qaatil Adaa’ in her seductive avatar.
The song relies more or less on the heavy orchestration that
Rahman constantly uses for such songs – a recipe that guarantees
complete success for the song. Sonu Nigam is relegated to the backseat
(this is completely Shreya’s song). Tyrewala comes back for the lyrics
of this one, which are fresh and innovative (Oh Fida… Khatam, Fanaa… Meri
Chaahat Mein Tuu…). Starting with Jazz and Blues, it moves forward into the
'Dil Ka Rishta' from Yuvvraaj mode with similar arrangements. And though one
might find some
similarity between the two songs, they end up being completely
different, because the song from the Subhash Ghai’s movie had an
auditorium ambience, whereas this one in particular has that intense
feel, but takes out the stage equation from it. This turns out to be
another novel track which will probably be in the minds of the fans and
music lovers for a long time to come.
Just like the opener, the album closes with yet another bang titled Yaar Mila
Tha.
And with experienced singers like Udit Narayan and Sujata Bhattacharya
(also known as Madhushree to the world) coming together for a song,
expectations rise sky-high. But guess what? This one delivers, and how!
At the start, one starts to wonder if the track is going to be any
good, but as the song starts progressing, second-by-second, and the
beats start, you will be completely blown away by the feel of the song.
The arrangements (yet again) are something to talk about – watch out
for the synthesized Shehnai, and the delicate piano in the background.
The beats are eclectic and electrifying, and, coupled with the
percussions, make for just the right sound and that rare experiment
which clicks, and keeps growing over you after each listen.
Abbas Tyrewala is back, and has written up some really
interesting lyrics, that keep up with its upbeat feel. Udit Narayan’s
vocals are a treat to hear, and the enhanced sonic-sound effect given
to the vocals enhance the overall playful, upbeat attire. Madhushree is
a talent to watch out for. She has a simply scintillating voice that
really attracts the listener into hearing her even more. Right from the
time she has started singing, she has always been choosy with her
assignments, and whatsoever song she has picked till date has always
been a magical treat for her fans to hear. Overall, this song is the
perfect end to an album that, one wishes, should have gone on and on.
Keeping in consideration the theme of the movie, Rahman has
managed to create and give a power-packed feel to the soundtrack, but
that doesn’t mean he’s left out on the quality factor; with songs like
‘Bhoola Tujhe’ and ‘Rehnuma’, Rahman also gives his fans what they
really want. And it is refreshing to hear some catchy, energetic tunes
that are not synonymous with Bhangra and Soft rock, which have become
stalemate now, what with every composer wanting to do a ‘Rock On!' or a
‘Mauja Hi Mauja’ these days. A must buy!
Reviewer’s tip: Don’t judge the album by the first listen; some songs take time
to grow on the listener.
Rahman fever
His Music ~ My Mother Tongue
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