No Man's Land. Review on Guru Songs

This review is the introductory part of a multi-part series I wrote on my blog. Due to space limitations, I am onlyposting Part 1. If you are interested to read parts 2 and 3 please go to my blog:

https://aksharasangeetham.blogspot.com/

When I saw that the music of "Guru" (Mani Ratnam, A.R. Rahman) had released, my heart raced. I just couldn't bear the few seconds before I could hear the songs. Every crazy artist or genius makes people want to hear/see their work. It is an admiration that is beyond our conscious control. Once I heard the album however, I should admit, I am lost. I don't know what to make of it.

It is apparent that ARR has spent a lot of time and effort making this album. It boasts of a crazy variety of numbers tapping into several genres. One example is ARR's attempt to integrate middle-eastern (Turkish?) music with Gujarati folk. Goodness, is that really necessary? What's the harm in trying, right? After all isn't ARR a genius?

Overall, ARR's music is upto his standards: Delicately handling melody, never overwhelming on piece of music with another, and scintillatingly astute in rhythms. Above all the heaps of praise people shower on him, I have always admired his ability to catch us off-guard, even pleasantly surprise us with powerful song beginnings, and rhythm additions etc. You will find all that in this album. Still, is it like what ARR's music used to be? Remember, we are not talking about comparing ARR's work to say, Dil Se, or Taal. His work spans several albums, languages and genres. Yes, I am waiting. Waiting to lean one way or another. I definitely like some songs, but I am not totally bowled over by them. Maybe its just me.

Barso Re is my pick of the album. Firstly, who cannot have a crush on the melliflous voice of Shreya Ghoshal. She is the best thing since Lataji and K. S. Chitra that the films have produced. You also have to just sit back and revel in the magic of a superb song-beginning. Elsewhere, I had written that ARR is the King of Song Beginnings. This one starts with the sound of a folk instrument (sounded like a shamisen). Shreya sings the "Na Re..". Slowly, the percussion is added. When the full blown version is played, listen to the clever placing of synth sounds between the drum beats. The rhythm is not overwhelming, but catchy, relatively slow, but steady. There are places where the lyrics strain through the sudden note changes. The charanam is very mediocre until Shreya playfully sings the last part.

It has been a long tradition and no surprise: ARR's music album typically contains some middle-eastern riffs or full-blown arabic numbers. "Mayya Mayya" is ARR's attempt at Turkish music (?; I heard an interview where ARR says he has mixed Turkish music with Gujarathi music). Initially when I heard this song, I dismissed as it being another one of those repetitive arabic music pieces. Well, about 60% of the song has several things which might remind you of several older arabic numbers. Eg. The sudden string interludes and the use of folk percussion (Darabuka, Tar/Duff?). Again, look for a simply "outta-the-world" song beginning. Music Directors of India.....pay attention please...!!! (obviously they do and we get some star musicians in Kerala/Tamil N. & Bollywood). The starting humming seems to invoke arabic feel. Listen closely as the rhythm is suddenly introduced. In the 8th measure (after percussion starts), the magician's wand is waved when Toller says a few arabic (?) words at the nick of time. It is that touch that pushes the song forward, and makes us sway with the music. The pallavi and anu-p seemed surprisingly ordinary, just like in any other middle-eastern song. The strings support periodically, building the ambience of the genre. The song uses a lot of intermittent choruses and random hummings by the lead singer. But I liked the way ARR builds up the pace. There is nothing else that stands out in the song. Overall, considering ARR's high standards, I would rate it "moderately good" (whatever that means)? By the way, in the outside chance that ARR sees this review, my question to him is: What happened to the "Ae Ajnabi"s, "Mitwa"s, Nahin Samne's etc.?

"Ae Hairathein" is ARR's softie song in this album. Tough to call it a ghazal, although other reviewers have called it so. This is a song where you get convinced that Hariharanji's voice is a blessing for us all! I am guessing that the scenes shown during this song happens several years ago, because the music has the touch of the 70s. The tune is very simple. It is interesting to see lyrics used in a different way (e.g. the sudden stop after ".....lagaaa math"). Obviously, ARR is following the meaning closely. The charanam reverts back to ordinary-levels. Alka Yagnik sings the number well, but I would have paid extra to hear it in the voice of Shreya or Chitra. The second interlude is drier than the first and this is where I got lost in "No Man's Land". Ending is interesting. I thought I heard the typical noises of a dusty old record player. Nice touch!

To be continued on https://aksharasangeetham.blogspot.com ...... (with my angry ramblings on why ARR chose to sing a couple of songs. Why, Why? I ask.)

Comments are welcome.