Music: A.R. Rahman & Himesh Reshammiya
This album is the latest by ARR & HR together. I think the album evokes mixed feelings in me. When ARR?s music hit the southern states in 1993, it was an experience none of us can forget. He could make anybody get up and dance crazy, he could bring tears to even the most emotionally strong moviegoer, he could just about do anything with his music.
Just like it was a passion for his fans to hear his tracks, it was for him to craft each one of his songs. Admitting several times that some of the songs took him around 6 months (Azhagu & Netru Illaatha: Pudhiya Mugham) to tune, and retreating into his peaceful music sanctuary, ARR & his music became one. Well, knowing all this, I am hearing to this album. Several things strike me.
First, there is a change in his style of composing. Starting with Tehzeeb, he has got into using light techno-electronic-sounds and a strong Hindustani flavor. Second, for some reason, his songs don?t look like he has spent much time as before. I am just comparing his previous albums with this one. Third, for some reason, I do not like his selection of singers. Kamaal Khan sings most of the songs well, but IMHO, there are much better singers who could have given that ?extra? to the song. Fourth, as an ex-diehard ARR-fan, its my opinion that ARR?s magic is missing. Enough said let?s examine the tracks closely.
Dil Ne Jise
Kamal Khan, Sujata Trivedi
The starting of the track has a soft flute piece. The tunes might remind you of the song ?Dil Hun Hun? (Rudaali). It?s because both the songs are tuned in the Raag-Bhoopali (Carnatic: Mohanam). As you hear to the song, you might also remember the song from Silsila, again because the Raag is the same. Please refer to the comments section for a small description of what a Raag is. The song is also similar to his previous composition Sabaq Aisa, in structure and percussion. The best parts that you should hear are the music interludes.
As expected from the Master composer, they are ingeniously mixed & intricately arranged. The central piece of the composition is a two note pattern played by a base guitar. Flute gives a soft touch, & is often played in low pitch, to contrast with Sujata?s voice. Rhythm is simple, & does not change much & the emphasis is on the vocals. She has sung it excellently. When comparing the two, I liked Sujata?s rendering much better. I am not sure whether Kamaal would have been the best choice, esp. because this number needs a lot of sustained singing.
In other words, the singers have to hold their voices for extended periods of time. In such situations, the singers? voice should slightly vibrate or else it will sound too hard. IMHO, Udit/Abhijeet could have done a much better job. If you listen to their singing, you can appreciate them vibrating their voices when they sing songs which require extended time periods of voice-holding. In fact it is done by most of the professional playback singers and instrumentalists, and is nothing new. You can also appreciate the use of keyboard a lot, I am guessing that it is more of a convenience measure, since ARR is mostly in London, composing for A.L. Webber.
Jaane Bahaara
Kamaal Khan, Sadhna Sargam
This song is tuned partially in Raag Bhimpalasi (Pointed out by my good friend Sainath). The Raag holds (IMHO) only in the first few lines. Then, I guess disappears among the several scale changes. For some reason, the song did not sound special to me. The rhythm is a bit different, with plucking e-guitar sounds mixed with Tabla (?). Kamaal K., does a bit of strained singing, but never falters out of limit. Surprisingly, this ARR song has no exceptions.
Zindagi Hai Dua
Madhushree et al
This song is for the most part ordinary, but good to hear. It features some experimentation, with an innovative percussion piece & a music segment which sounds Greek or Spanish (I did not understand). But it did sound good. The instrument that dominates this track is the trumpet. The rhythm is similar to the one ARR has used in Chaiyya Chaiyya. This is surprising, because the song is a slow. Madhushree dazzles in this song. Overall, the tune is melodious, and well orchestrated. The innovative rhythm and exotic music combination can be heard in the first music interlude. The second musical interlude might remind you of the starting of the song ?Desh Mere?. Trumpet makes it appearance again.
Bindiya Chamakne
Alka Y., Udit N.
The song is a folk number tuned in Raag Yaman (Carnatic: Kalyani), by HR. The other songs tuned in the same raag are Sochenge Tumhe (Deewana), Jaata Hai Tu Kahan (Yes Boss), Is Mod Se (Andhi), & Jeevan Se Bhari (Safar, 1970). Please see comments for a small explanation on Raag.At first, when I heard this song, I did not notice it much, but may be because of my bias towards this raag, I think I liked the tune. Alka Yagnik has started sounding a bit different. The rhythm is typical folk-based and has little variation. With good picturization, this ordinary sounding song could be noticed.
Yeh Dil To
Sonu Nigam, Alka Yagnik
I wish to congratulate Sonu Nigam on his winning the National Award for the Best Male PlayBack Singer (2004). It is well deserved! In an earlier review (on Dev album), I had predicted that he would win an award for the song ?Tuj Sang, but instead, he won it for KHNH-Title song. For me, it doesn?t matter, talent will be noticed, someday! The song is slow, and I felt that it was moulded to sound similar to the title song composed by ARR. The song is conventional, and I think that is an important achievement for HR. Because it marks his cautious progress as a B?wood MD.
Go Balle Balle
KK, Alisha
This is a Punjabi-track. It?s tuned in the raag-Chakravakam (Not 100% sure). You can hear the same raag used in the following songs: Subah Se Lekar Shaam (Mohra), Chingaari Koi Bhadke, Chappa Chappa (Maatchis). Therefore, you might find some similarities between these songs, I will explain it in the comments section. The rhythm is based on conventional Bhangra beats. After hearing it for a few times, I have started liking it. Though Punjabi music is common, especially the particular rhythm pattern is one of the most commonly used one, I guess, HR has succeeded in capturing attention. At someplaces, he uses an Arabic tinge, to give it a distinct feel. To hear that please hear to the lines: ?Hoga Zara Sa?a?a? towards the middle of the song when Alisha takes over. The hyphens represent quick vibrations, which typically used in Arabic musical pieces.
Mere Nas Nas
Udit Narayan, Alka Yagnik
This song confirms the slow-melodious spirit set by most of the other numbers in this album. It has Sarangi, playing the starting tune, as well as filling in, in several places during the interlude. The use of male chorus (perhaps with Jayesh) in the beginning, I felt, was an attempt to model ARR?s compositions, so that the album has a common thread. Udit & Alka does a great job controlling their voices. Overall, the song is average.
To conclude this review, I should say, I liked this album moderately. It is worth listening a few times. ARR?s compositions are good, but not exceptional. I am still awaiting for his genius to show up in one of the future albums. HR, on the contrary, is making steady progress as a conventional B?wood MD.
