* The Mani Ratnam-AR Rahman-Gulzar trio always works magic (Roja, Bombay, Dil Se, Saathiya, Yuva, Guru), ??* * * *When did Gulzar write for Roja and Bombay * On Sun, Apr 25, 2010 at 1:58 AM, AJ <[email protected]> wrote:
> > > > http://passionforcinema.com/ranjhaa-ranjhaa-kardi-ve-main-raavan-music-review/ > > As is always the case with AR Rahman OSTs, was very eagerly awaiting the > release of Raavan's music, and finally…oh god, finally the moment has > arrived! The Mani Ratnam-AR Rahman-Gulzar trio always works magic (Roja, > Bombay, Dil Se, Saathiya, Yuva, Guru), so was looking forward to what they > had in store for music listeners with their 7th collaboration—Raavan. > > Mustafa Kutoane's tribal vocals at the beginning of Beera (3.15) certainly > do a mighty fine job of grabbing your attention, followed by bongos, AR > Rahman and Vijay Prakash's vocals and more intense, steady percussion > arrangements bringing back memories of Tarzan and The Lion King. Keerthi > Sagathia provides adequate vocal backings for a brief period. If you thought > Yuvvraaj was a fun ride, then you'll sure enjoy Beera! Tribal sounds, the > xylophone, acoustic guitar, rain shaker and percussion arrangements > throughout, this is an upbeat track, with a few interesting lines by > Gulzar—"Beeraa ke dus maathey," "Beeraa ke sau naam," "Janam naa poochaa, > Jaat naa pooche, Poocho jo pehchaan beera kaa, Abhimaan hai." The track gets > a bit softer at 2.57, ending with percussion sounds. > > Behene De (6.04) is my favorite composition from Raavan. The vocals by > Karthik (Behka from Ghajini) and Mohamed Irfan are captivating, the melody > is spell-binding and the lyrics are simply awe-inspiring. String > instruments, African drums and percussions, xylophone, triangle followed by > strings establish a serene environment, quickly transitioning into a serious > mood, the electric guitar building intensity in the background. Gulzar's > lyrics remind me of Satrangi Re (Dil Se)…the mad, boundless, obsessive, > limitless, uncontrollable love— > > Arrey aankh se boond gihraa koi > Chingaari kaa tukdaa jalaa koi > Umeed ko aag lagaa zaraa > Ghan itnaa baras ki galne lagoon > Main paani ke upar tarne lagoon > Behne de mujhe behne de > Behne de ghan ghor ghataa > Behne de paani ki taraah > Sagar mei jaa ghirnaa hai > Behne de nadiyaa ki taraah > Shart lagi marr jaane ki > Jeenaa hai toh pyaar mein > Jaan rakhi hai yaar mein > Pattey se tappakti boond ki aawaaz sunaayi di thi > Nadiyaan mei tapak aur gum ho jaa > Meraa pal pal ang ang bhar diyaa > Tune jaan pe junoon saa kar diyaa > Meraa hai kyaa jo main haar doon? > Jaan teri hai tujh pe vaar doon > Doob gaye jo sunaa hai saare tere dere aate hai > Dil ke chulu mei bechaare dubki yahaan pe khaate hai > Beh jaa, chal todd kinaare ko, > Beh jaa, dhar le majhdhaare ko > Chingaari udaake raakh se > Ek boondh ghiraa ke aankh se > Chalne kaa ishaaraa kar gayaa > > The build up and release of tension throughout the composition leaves you > attentive throughout—at 2.45 the strings portion is soothing, replaced by > the electric guitar again at 3.28. Techno sounds come in at 4.57 along with > operatic, faint vocals. It's nice that AR leaves some room towards the end > without any words from 5.15 to 6.04. > > Thok De Killi(4.58) makes use of Sukhwinder Singh's never-diminishing > energy and Am'nico also provides nice vocal accompaniment. The electric > guitar, Hey's, and pace of the composition give it a motivational type feel > a la Chale Chalo (Lagaan) meets Kaalaa Bandar (Delhi-6). At 4.27 the song > suddenly picks up pace BIG TIME, taking a wild turn leaving you breathless > ki yeh kyaa hogayaa oye?! The lyrics are sung at such a fast pace it's a bit > hart to keep up with, but "thok de killi," "baangadd billi," "mujraa ka > nazaraanaa maange," "udaaye khilli," "kis mein dum hai ki suraj bujhaaye," > are some phrases which did stand out. Bagpipes are a cool addition. The > percussion arrangements and Hey's at 2.30 bear resemblance to Mayya Mayya > (Guru). > > Rekha Bhardwaj, Javed Ali and Anuradha Sriram hilaa ke rakh dete hain with > Ranjha Ranjha (5.54). Anuradha's "Yehnnnn" electronic alaap at the beginning > with the sound of the wind blowing hooks you to the song from the very > start. The electric guitar joins in at .22 followed by Rekha's rustic voice > at .28 into the song, later techno sounds, strings, sitar and a host of > other instruments thrown in to the eclectic mix. Lyrics are meaningful, my > favorite line being, "dil ke sajde mein magar ishq jhuktaa bhi nahin." > > Ranjhaa Ranjhaa kardi ve main aape ranjhaa hoyi > Ranjhaa ranjhaa saddo ni mainu heer naam toh koi > Ho Ranjhaa Ranjhaa naa kar Heereh, jag badnaami hoye > Patti patti jhar jaave par khushboo chup naa hove > > Behgunaah pakkadaa gayaa, yaaro > Ishq mei jakkadaa gayaa, yaaro > Aankh ke dosh mei dil > Bewajaah pakadda gayaa > > Aankh se hati nahi, arrey hati nahi > Sote sote boltaa hoon kabhi bolte bolte sotaa hoon > Ek baar aake dekhe toh woh bhi > > Jal jaa jal jaa ishq mei jal jaa jale saa kundan haaye > Jalti raakh lagaaye maathe lage toh chandan hoye > > Waqt kataa bhi nahi, waqt ruktaa bhi nahi > Dil hai sajde mei magar ishq jhuktaa bhi nahin > > Binaa tere saansein kayi khatm naa ho jaaye > Sabhi teri yaadein kahi bhasm naa ho jaaye > Sulaghte koyle ab bujhnaa mushkil hai > > Reena Bhardwaj—the woman with the soothing, innocent voice in Meenaxi's Yeh > Rishta—is back with Khili Re (4.11). Now, while Reena's voice does have a > calming effect, and the tabla and flute arrangements are awesome, this > really slow-paced, semi-classical, devotional, sans any wild percussion > arrangements present in the other Raavan compositions, is going to take some > time to appreciate. Personally, I'd rather listen to any of the other > compositions instead :-) Lyrics are average, with the exception of the > following lines: "Haatho se chunnaa re surilaa badan moraa, "Honton pe rakh > ke phoonk baansuriyaa." > > Kata Kata (5.11) is one wild bachelor party song full of chhedd-chaadds > bringing together Ila Arun, Sapna Awasthi , Kunal Ganjawalla and supposedly > over 500 dancers! There is a madness, wildness and subtle darkness to this > playful pre-wedding composition. The bugles at the beginning awaken everyone > to an emergency, a crisis, something going amiss followed by drums. What > turmoil has arrived, you ask? Ek aur gayaa kaam se…bole toh, dulhaa miyaan > is getting married! > > Kataa kataa bechaaraa bakaraa > Kataa kataa bechaaraa > Manaa le manaa le khair manaa le > Aakhri raat kunwaraa > Dulhe miyaa dulhe miyaa dand-vand > Gaya gayaa ek aur gayaa > > The composition gets intense at 3.40 and even faster at 3.50 full of > Kunaal's mad laughter and Ila's rustic "dhin dhin thaddak dhin." The voices > and instruments blend together making the overall sound, not words, of > utmost importance. > > The songs are, indeed, superbly composed, and are for the most part packed > with loads and loads of energy and intensity. Four out of the six tracks > conjure a tribal setting through the use of chanting and African percussion > instruments, yet they are also fused from time to time with strings, the > electric guitar, and techno sounds. There is a lot of repetition of a word > (Beeraa, Kataa Kataa) or particular phrases (Ranjha Ranjha, Behne De) > throughout most of the songs, too, similar to Paa's compositions (i.e. Muddi > Muddi). > > A folk-style composition (Ranjha Ranjha), a pre-wedding song (Kata Kata), a > classical track (Khili Re), a Sufi-style gorgeous composition (Behne De), a > zesty Punjabi style motivational number (Thok De Killi), and a tribal style > track (Beera), Raavan is rich in its variety of songs. Do check it out, and > check it out asap! > > > -- Praveen
