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Mohenjo daro – Music review

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This review first appeared here – http://www.thequint.com/entertainment/2016/07/08/review-music-mohenjo-daro-ar-rahman-hrithik-roshan-pooja-hegde-ashutosh-gowariker

You can listen to my music review on the B.B.C. website -http://www.bbc.com/hindi/multimedia/2016/07/160728_bbc_mr_vm

Ashutosh Gowariker and AR Rahman with a historical drama backdrop between them has all the makings of a delicious music album. This is purely because of the precedence this duo has set when we look at the music of Lagaan and Jodhaa Akbar. Let’s dig in song by song to find what’s on offer in their latest – Mohejo Daro.

Mohenjo Mohenjo

Mohenjo Mohenjo is a song that celebrates a lot of things including diversity and peace. Sung by Arijit Singh, Bela Shende and Sanah Moidutty, the song come across like a chronicler of sorts. I wasn’t too taken in by the weak lyrics, the ‘foreign’ sounds and the way the ladies of the song have sung their parts. As a result, to me the song sounds laboured and way too long.

Sindhu Ma

In Sindhu Ma, the lyrics are dumbed down so much that they’ve lost the magic that you associate with a well-penned song. With the elaborate arrangement it enjoys, the song could have been so good but at a couple of places in the beginning itself, software comes in the way of continuity. The good part is, you hear Rahman mature as a singer a bit because the tune is not easy. The bad part, the rest of the song, processing and bad lyrics.

Sarsariya

Sarsariya has a tune that is crisp and provides good real estate to both vocalists to play with and they do so very well. There is a great deal going on in terms of unfamiliar languages and strange sounds which didn’t completely unsettle me, to be honest. Having said that, the ordinary lyrics stuck out like a sore thumb here.

Tu Hai

In what is a better version of Sindhu Ma, we get vintage AR Rahman, the singer, and a promising Sanah Moidutty without any distractions. The flute injects a lot of emotion in the song which is a relief because in a bid to catch the ‘sound of the times’, the placement of strange sounds have otherwise made it difficult to ‘feel’ other songs in the album.

Whispers of the Mind

Whispers of the Mind has some hidden Arabic turns in the tune. A film piece no doubt, the track feels solid thanks to the deep bass effect and not for a minute does the unfamiliar language unsettle the pace of the song.

Whispers of the Heart

Whispers of the Heart  has added female back ups and some excellent albeit subtle variations vis a vis Whispers of the Mind. Don’t be harsh on yourself if you are unable to catch the percussions before they become quite prominent in the track. It ends with the sound of wood crackling in fire. Again, a beautiful atmospheric track.

The Shimmer of Sindhu

Shimmer of Sindhu is an instrumental version of Sindhu Ma and it doesn’t miss a beat in sounding more intimate and beautiful. Compared to the fractured Sindhu Ma, this track is pure gold. That flute and those strings you hear, remind you of all the good songs you have ever heard because this track will place itself right next to them.

Lakh Lakh Thora

What happens when you let a magician like Tapas Roy explore a track? You get a wonderful track like this. What is clearly an instrumental version of Sarsariya, Lakh Kakh Thora sounds like a balm to the soul. Hear how cheekily Naveen’s flute calls out ‘sarsariya’ and concludes the track leaving you craving for more.

All in all, Mohenjo Daro is an album where instrumentals outlast ‘vocal’ attempts purely because the former sound more cohesive and simple, the latter however are obvious attempts at over simplifying everything with a lot of distractions and ordinary lyrics.

Highway – Music review

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This review appeared first here – http://www.timeoutmumbai.net/music/cd-review/album-review-highway

Unabridged version of the review is here – http://moifightclub.wordpress.com/2014/01/27/highway-music-nashe-mein-ud-jaaye-re-haaye-re/

After Rockstar Imtiaz Ali is back with his latest romance-drama Highway starring Randeep Hooda and Alia Bhatt. With the genius of AR Rahman, Ali presents the film’s nine-track soundtrack.

The first and probably most popular song of the album is “Patakha Guddi”, an electronic track with the electric duo of Sultana and Jyoti Nooran who have given us one of the best sufi-sque film songs in a long time. It’s a typical Rahman song, one that is devoid of any hook and flows boldly and confidently throughout. Watch out, party people, DJs have a new song to ensure everyone attacks the dance floor. There is incidentally a male version of “Patakha Guddi” too and even though Rahman has rendered the Punjabi language with zest, his version has more layers than the Nooran could evoke. The excellent near shred guitar play along with lyrical twist makes his rendition a blast! Next up is “Maahi Ve”  that perfect tune for a long drive. Its excellent back-up vocals, however subtle, truly uplift the track. Jonita Gandhi makes “Kahaan Hoon Main” sound irresistibly exotic despite its serious lyrics. Thanks to a generous dose of keyboards and violins, the song has a lot of character and depth which might not suit the film’s premise of a truck driver and rural Indian roads. The next one will surely surprise everyone. Don’t be surprised if you see “Wanna Mash Up?”  borrowed by a Hollywood producer for a Fast and the Furious-esque film. Kash, Krissy and Suvi Suresh (with the former two penning lyrics) literally bring the house down with this top class composition. This is Rahman at his experimental best with no inhibitions. We can understand why Irshad kamil who has worked on most of rest of the album, didn’t provide the words for “Wanna…”

An adorable hum by Alia Bhatt herself kickstarts “Sooha Saha” which has Zeb croon about the folk music of the hills. Zeb lends the solidity to the song whereas the young actress provides cute innocence, making it a perfect balance. The second track of the album by wordsmiths Kash and Krissy is “Implosive Silence” performed by Gandhi. With a hauntingly simple arrangement, the track’s lyrics are extremely difficult to decipher. However, you actually don’t need to find the meaning of the words here. It is all about the feeling and the atmosphere that the song creates. After this is “Tu Kuja” a traditional song sung by Sunidhi Chauhan that envelops you in its trance. It’s actually an old composition in which Kamil has added Hindi words for a contemporary effect. We honestly felt the track was a bit cluttered and would have been better off with Rahman’s voice. Finally, “Heera” ends the album. Rahman ceremoniously presents saint and poet Kabir’s writing in his  trademark fashion with enough Violins to make anyone cry with pleasure.

The lyrics are top class and the music is superlative. After long, we’ve come across an album where we’re not reaching for the fast forward button.

2013 Hindi film music – Vanishing traditional touch?

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This year amidst the barrage of pre tuned item numbers, there was a lot of good music that made it’s way to our ears cutting out all the noise. The year started on a good note with films like Matru ki bijlee ka mandola and Kai po che that had a good mix of folk and contemporary songs and while we cannot term it as purely ‘folk’, films like Mere dad ki maruti oozed with regional flavor peppered with familiar folk undertones. Not all good music was folk though. Films like Chennai express, Aashiqui 2, Go Goa Gone, Ghanchakkar, Nautanki saala etc. had a strict urban sound as a whole and they were good enough albums alright! Staying on the urban sound of an album, even a film like Ye jawaani hai deewani, which was set in urban landscape had a holi song that was a mix and mash of a lot of folk/traditional songs. Indeed, we are talking about balam pickari.

Nobody gave the entire music album a regional/traditional flavor the way in which Vishal Bharadwaj did (for Matru ki bijli ka mandola). An album that was dipped completely in folk, Vishal didnt even shy away from putting a folksy ode to Haryana in the dreamy ‘Khamakha’. This album also introduced masses to Prem Dehati, a voice that we will love to hear in the times to come.

Amit trivedi was in top form too in demonstrating that he can offer us a folksy Shubharambh (from Kai po che) just as easily as he can play with bengali folk and come out with Monta Re (from Lootera). A.R. Rahman for his part did more experimentation with folk genre in Raanjhanaa with splendid offerings like Tum Tak, Aye sakhi and Banarasiya cocnentrating more on the sound and arrangement. Even bits and pieces in the very sticky ‘Tum tak’ from the same film smells folk and refreshingly so. Shankar ehsaan loy also flirted from a distance in ‘Mera Yaar’ (from Bhaag Milkha Bhaag). Music director Krsna stayed true to the template and made Malini Awasthi and Raghubir yadav sing bhagan ke rekhan (for issaq), a heart breaking song that could have done much more had the film been  success.

As the year drew to it’s close, we were served a colorful mix of folk meets contemporary by music duo of Sachin Jigar in Shudh desi romance which was refreshing. Sanjay Leela Bhansali, while famous for larger than life frames served us a delicious bit of Gujrati folk in the form of ‘Mor bani thandhat kare’.

Of course the year was full of 100 crore film soundtracks who did nothing except add to the noise pollution levels but we choose to focus on the good music and we cannot wait to see how 2014 unfolds and tries to retain and build upon this trend. A dying trend that keeps us rooted to the sounds of our country which are as diverse as all ragas.

Do you think we are being served right amounts of folk/traditional songs? Or do you think we are just keeping the sound alive by a one off composition in an otherwise cluttered environment?

Since film music is promoted better than the pop music in India (a trend that would be broken soon thanks to growing online access for the masses), it is only wise to expect film music to be the flag bearer of keeping this tradition alive. I won’t mind being bombarded with a good kajri/thumri a million times on Television/other platforms. It would certainly be better than seeing a flop hero advising her screen girlfriend to keep her doggie away from biting him!

We are sure to have missed few things here anyway, so please feel free to add your picks.

P.S. – We have got a flavor of some via the music of dedh ishqiya where traditional compositions are topped with additional words and treated differently to sound ‘new’. Not complaining. At all!

Jab tak hai Jaan – Music review..Almost

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The way ‘Saans’ starts, one does feel the sound of A.R. Rahman trying to hit you. Shreya Ghosal comes up with an echo (and a lot of ‘dhafli’ in the background and some unnecessary violins that more or less go on and on). Mohit Chauhan has probably done a doctorate in such slow mood songs and remains flat and predictable. (Couldn’t help but feel the point where Mohit chauhan makes an entry in the song sounds terribly same like the line ‘Do pal ruka’ from Veer zara). Both the singers take turns to go out of tune (mostly in the all the ‘antraas’). The unbearable shrill alaap of Shreya Ghosal isn’t good enough to keep you in the song. There are bagpipers playing too..Yes, Someone mentioned A.R. Rahman has done music for this film. Very ‘Subhash ghai’ sort of song. Uselessly grand (as far as music album is concerned) and falls flat.

Ishq Shava – Guitars. Peppy start with a very thorough Raghav and the usually brilliant Shilpa Rao behind the microphone. The unnecessary ‘Say what’, ‘Yeah’ and ‘hey’ do their bit to spoil this song. ‘Paani pe chal ke dekho zara, badalon mein zameen nahi hoti….’Yes this sounds like it has been penned by Gulzar sahab. Foot tapping song. Will this go on to my playlist? No.

Heer Harshdeep kaur puts so much soul into this! The excellent use of ‘Mirza’ has Gulzar sahab written all over it. The soul piercing violins are very A.R. Rahman. Yes, this is more like it. There is an element of ‘Yash chopra presents’ finality and drama in the music arrangement. Not complaining at all. The song just fades towards the end and will invariably have you reaching for the repeat button. Goosebumps stuff even if you don’t understand punjabi. The faint electric flute, the pace of the song, the feel, the atmosphere, easily my pick of the album.

Jiya re – The start, although no way related to ‘ni main samajh gayi’ did remind me of it. First hearing made it sound like – chaiyya re but it is ‘Jiya re’. References to loving herself and a general happy feel is what characterises the song. Sung very well and you will feel the singer Neeti mohan has put in a lot of effort. Probably an intro song (with a lot of english vinglish phrases in the background), the song lacks continuity in my view. It’s tiring to listen to this song in it’s entirety.

Jab tak hai jaanJaved ali, Sitar and some violin in good measure start this song. Probably the loudest arrangement of all songs. The moment we try to settle with the pace of the song the ‘sajid wajid like’ break disrupts the pace of the song. Very filmy song. Shakthisree Gopalan makes a splashing entry (but pauses the pace of the song only to pick it up again). Would love to hear more from her because the voice is just beautiful. The typical song that you can imagine has a lot of ‘Hero turning and heroine turning…and heroine turning again and hero turning again….and the hair flying all around’. Whether we like it or not, this song (looks like) will pick when the film hits the theatres. Did I like it? Shamelessly, Yes!

Saans (Reprise) – Oh yes…a ‘reprise’ (generally referred to as ‘Part 2’ in previous films of Yash chopra). Shreya ghosal. Sounding very much like ‘do pal ruka’ song again like from Veer zara, the song ends. (Music by Yash chopra or the stock of old madan mohan tunes?).

Ishq danceInstrumental (of course!) – Completely undecided on this piece. Doesn’t sound like the typical ‘ARR’ instrumental track. In between an all male chorus of ‘hey hey hey hey’ is disturbing but the bass it is accompanied with is very theatrical. bass doesn’t dip for a moment from here and is joined by a brass band like sound towards the end. Not catchy but this shall remain in my playlist for a while.

The PoemShahrukh khan, if only you were given better words to recite! Pedestrian poetry accompanied with excellent music arrangement has done it for the track! The filmy (of course it’s a film soundtrack, I know) end of this track is what ARR can do to you. Hear the music and tell me if you don’t get goosebumps?

Challa – Sounding more like the work of Rabbi shergill than ARR. The song has grown from the time it was launched. ‘The voice doesn’t suit SRK’ is probably a lame argument against the song so I won’t go there. The choir like chorus mixed smartly does speak of ARR a bit though. The song is again in punjabi so the uptake of the same might not be instant, but as the case with ‘90s A.R. Rahman’ remains, this song will grow.

Not an entirely impressive album by Gulzar sahab/ARR/YRF standards, the album falls in the ‘listen and buy only if you want to’ category. Probably Gulzar sahab and ARR stuck to the ‘instructions’ by YRF. If this is the last film of Yash Chopra as a director and if You know Yash Chopra well, trust me he will have you crying buckets thanks to ‘Heer’, the song, and for old times (and some classics that he has given us) sake, I hope he succeeds in doing that.

Pick of the album – Heer, Challa, recital by SRK and Ishq dance.

Rating – 3 on 5

Rockstar – Music review

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This post first appeared here – http://bit.ly/moifightclub

In the times of ‘gone with the click’ I cannot remember the last time when the curiosity of a music score being released was even half as it was for the soundtrack of ‘Rockstar’. Guilt is my witness as I shamelessly searched all the ‘shady’ sites to catch hold of this album because right from the first promo we could all smell ‘Rahman on the rocks’ soundtrack. Does it live up to the hype? (Yes T-series, we are talking about the artificial hype you created…Boo you for that by the way!)

1. Phir se udd chala – A folkish chorus of girls humming a tune which you associate with hill stations normally, welcomes you to this song with Mohit Chauhan taking over almost instantly. A song set up with a nomadic feel and the usually accused of being ‘Instrument heavy’ AR Rahman gives us a flavor of how can he blend the music in the background. The first 2 minutes successfully create the anticipation of the song taking off and Mohit chauhan doesnt disappoint throughout. A very positive song.

2. Jo bhi main – Guitar…Yes ‘THAT’guitar starts off with Mohit chauhan throwing his voice melodiously. If you hear attentively you will find the chorus (which is brilliant throughout the album) is set in a very theatrical and live concert style. It doesn’t give you the feeling that a few back up vocals were called in the studio to ‘sing’ (like the ones in the soundtrack of Rock On). The music setting is mostly soft and almost all the ‘hysterics’ are done by a wonderful mix of the ‘crowd’ and Mohit chauhan. Meaning wise, a very deep song especially the part where lyricist has revealed that all of us are just mirrors….I just cannot get the beautiful and very theatrical crowd effect of the song. Two thumbs up!

3. Kateya karoon – The punjabi folk sounds welcome you to a bubbly song mixed with good bass to begin with and then the characteristic (and almost continuous ‘hoye hoye’ chorus). Harshdeep Kaur has sung this song in a very ‘Jaspinder Narula’ style by occassionally making her voice heavy. A generally happy song. Personally speaking, It did not touch me at all because I felt that the song just couldn’t take off. The song iis just under 4 minutes so it just comes and goes.

4. Kun Faya Kun AR Rahman starts and is accompanied by a very ‘dargah like’ harmonium and Javed ali joins. The surreal atmosphere of this composition is very infectious and you would definitely end up listening to it more than once. The ‘beautiful romance between ‘claps’ and a slow guitar is ‘oh so very Rahman’. Javed Ali in between calls out to the power that be. Mohit Chauhan joins the party and gives the song his soul. The part where Mohit is reciting words with a very faint harmonium is what makes this song very very special. The near jugalbandi feel towards the end of the song is surreal and hasn’t been heard for a long time. A very pure song. If you feel it reminds you of ‘Khwaja mere khwaja’ then the purpose of the song is accomplished because when you call out to ‘Maula’, it doesn’t matter if someone else has remembered ‘Maula’ before you. Again, the way the song ends is very very theatrical with AR Rahman leaving a haunting echo.

5. Sheher mein Karthik and Mohit – Not a melodious earth shattering song but a funny song largely thanks to the overall sound of it. The ‘composer’ is very vocal about how should Mohit Chauhan sing this song to ensure that the song is made ‘caller tune’ and is a ‘hit in UP and Bihar’. Mohit by the way croons it well. This will be a treat to see in the film. Clearly the composer (in the film) wants Mohit chauhan to stick to the ‘hit formula’ and not ‘innovate’…but does Mohit listen? Melodiously NO!

6. Hawa Hawa – Acoordion, voilin and a catchy chorus start this retro feel song with somewhat Arabian undertone. A good song because of the way Mohit chauhan has sung it. Hear it attentively and you can almost feel Mohit chauhan dancing in the studio while singing this. The musical setting you might argue is very ‘Zubeida’ like but then hear it and you will hear words like ‘waat’ and ‘bhajiya’! Towards the end you do feel that may be the composer is trying a little too hard. Might grow when the film hits the theatres. (Mohit ‘Meows’ in this song by the way) : )

7. Aur Ho – Mohit and Alma ferovic – A sinking feeling. Thats what the beginning tells you and Mohit chauhan confirms it with very powerful lyrics. The song has a ‘satrangi rey’ (Dil Se) feeling. The instruments are usually repeating short notes to create an eerie feeling. Mohit chauhan at times fades and then comes back almost dreamy/drugged with Alma in the background crying out. A song perfect for theatre performances depicting pain. The song really ends on a high. beautifully.

8. Nadaan Parindey – AR Rahman and Mohit chauhan – Carol like start with electric guitar. The song starts with Rahman requesting one to come back. The song has a very pop feel to it (Ok Ok I will use ‘pop’ and ‘rock’ interchangeably). The words like ‘Har karam ke kapdey mailey hain’ means that the song is advocating peace. Mohit chauhan almost cries out the fact that you will come back home no matter which road you take. The ‘chun chun khaiyoo maas’ (lines from Kabir I guess) are a misfit in the song so I did not like them at all. You might.

9. Tum Ko -Kavita subramaniam – From the start of this song, I got a feeling that this song is an old Rahman song. I hate to mention this but this came across as the weakest song of the album. Although the use of sarangi and tabla is very ghazal like, the song didn’t touch me at all. May be it was because of the fact that the other songs didn’t have me believe that there could be a ghazal like composition woven in between.

10. Sadda Haq – Yes…HELLL YES! Orianthi starts the guitar and tells you quite clearly that this would be the song that will result in the demise of a lot of woofers and speakers all over the world. Kicking ass from the beginning Mohit recites some lines which are very ‘rebellion’ in nature and then the song reaches the HIGH when Mohit along with the chorus cries out ‘Sadddaaaa Haq’. Trust me, when someone sings from heart, it reaches your heart and this so called SCREAM does exactly that. Cannot recall a song in the near future which shakes you up (in a good way) as this one. I could write an entire post on this song but I will stop. Do check this song out even if you feel it is a rip off from here there or somewhere (because I know such tribe exists who cannot accept a good thing from INDIAN composer you see).

Special mention – Would have been too easy for Imtiaz ali and AR Rahman to have opted for Ranbir’s voice at the beginning of the song but thankfully they have used Mohit chauhan. Keeps the wholesome feel alive to the song.

11. Tum ho – Mohit and Suzanne – Romantica! Aha! Suzanne shines in the background (like always) and Mohit chauhan does a vocal waltz around that feeling of someone’s presence and how he has lost himself and gained love. The song lasts for about 5 mins. or so but ends leaving you wanting for more. Strange isn’t it? The tune is more or less similar to ‘Tum Ko’ mentioned above. I am yet to make an opinion about the song. Any help on this would be much appreciated

12. Tango for Taj – Here is a tango piece which is very old piece and signature Rahman. A typical song which if treated well will be a visual treat. The constant piano and the claps are just too good too be in a piece which just lasts for about 3 minutes. Two thumbs up.

13. The Dichotomy of Fame Shehnai! oh how i have missed you after ‘Swades’ song. After opening this piece beautifully the shehnai mixes well with the rest of the instruments, yet enjoys a ‘lead vocal’ status. Just too good a piece to miss.

14. The Meeting PlaceRanbir Kapoor says one sentence and vanishes…leaving you with much curiosity about the film. No, I won’t write it here. Go discover yourself. In a way, this piece might give away the ending of this film. Or may be not. Spoiler? Let’s see.

This album is undoubtedly a coming of age experience for Mohit Chauhan because he has shouted and romanced at many different levels. A special mention for the master lyricist Irshad Kamil. It’s almost taken for granted that a rock album will have a ‘woofer-phaadu’ music but the character of the songs come out when the lyrics are powerful and it is certainly the case here.

AR Rahman and Imtiaz Ali have gone to the press stating that they have invested a lot of time in this album and when you hear it, you feel they might be right!

Rating – 4/5

So which track are you playing on the loop?

AR Rehman connections – review

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I can feast on AR Rahman’s music for 2 and a half days without food. Not sure about you!

The moment I heard about this new album, I thought of checking this out and here I am with its review…

Silent invocation A – the serene Sitar starts and finds company in the flute that accompanies and transforms the listener to a spiritual world. Hear this for the uniformity in compositions. The various notes that the flute takes make you concentrate within and lead you to all what you have ever believed in. If you hear this sitting in a room, alone chances are you will be in tears within 2 minutes…Do hear the way the flute takes deep breaths…and also the 2nd flute that follows the primary flute…the camaraderie is subtle but cannot be missed. The slow thuds of electronic drum in the background creates the swivel that is necessary for thoughts not to get stuck while listening to this lovely piece.

Silent Invocation B – Has a very Buddha feel to it right from the word go. Again the flute takes the lead with subtle sitar in the background. The flute continues on the same note with different pitch and if you let loose, you will not be able to decide whether you are sinking or swimming…Not surprising this composition has a watery feel to it. Hear this one for the simplicity of composition. The end is almost haunting with the flue becoming distant…and distant…

Silent Invocation C – Gives you the morning feel the moment it starts. The echo of the flute (accompanied by another subtle flute) creates an impression. There is a silent clock like sound which leads this composition towards its end but not before making you realize that your eyes are now open…Edited 7 Feb 2009 – Please note that it is taanpura and not Sitar as mentioned above.

Mylapore blues – Miracle, keyboards, guitar and matka among other things draw your attention to this ‘guitar dominated’ composition and Rehman drops the tempo of the guitar the moment we think it will be all the same. The ability of ARR to ‘pick’ the tune from depths and play with all the levels is just a treat to the ears. Hear this one to see how naughty a guitar can be, and the calming effect it can have on you. What sounds very much like light notes of Mridangam come and lead this composition towards the end and its just magical! This could be ARR’s tribute to the vibrant neighbourhood Mylapore in Chennai….hence the titleHimalayas – starts with light keyboard notes and violins conversing with them in their mother tongue, Music! Oh! The way in which ARR plays with the keyboard will remind you of a sweet little naughty girl coming down the steps and that too mischievously! The only bad part about this piece is that it ends too soon!

Mosquito – Rahman marries the evergreen sarangi with other instruments and makes us re-live those kingly mehfils and functions where the sarangi players left the listeners asking for more. It has a bit of Rajasthani touch and that makes the overall feel very ‘folk’, and just when we think it is ‘folk’ electronic keyboard flirts with the sarangi and throws color on it! Sarangi allows itself to be colored by all the colors and retains its grace. Do hear the jugalbandi towards the end of this composition. Aah! Let me push the ‘repeat’ button again!

Kural – The Kural is one of the most important forms of classical Tamil poetry. It is a very short poetic form, exactly in 2 lines, the first line consisting of 4 words and the second line consisting of 3. It should also conform to the grammar for Venpa. (courtesy – Wikipedia). The female voice comes and takes us through the tamil poetry in a way it should be done.The ‘young and vibrant’ blaze swoops in and successfully introduces us to the laws of respect and honor. I don’t understand tamil fully so couldn’t understand the tamil words but Blaze makes it up for us….love the way he doesn’t go over the top and remains within the overall sanctity and character of the song (look out for the haunting vocals in the background when Blaze raps it up). This one has a message and a very clear one.

Jiya se Jiya – Oh we know it is AR Rahman the moment this one starts. Chorus of instruments mostly drum like, accompanied with clapping. As in most of his songs, this one doesn’t take time to start…Oh yea! Hear this one to celebrate the union of two souls…! You can’t help but tap your hands in appreciation..check this out!

Mann Chandre – The killer Punjabi slow song. Yes slow and punjabi can you believe it? You better, for when the heart is crazy (which is what is meant by Mann chandre) you don’t need words to express and its irrelevant what language the heart chooses to convey it’s hurt. Heart, when it loves can neither afford nor want satisfaction. It doesn’t care and looks for the beloved and none else. It hides after crying. Pain and hurt is all that happens to the heart and it doesn’t want anything else. The song opens with Shradha Pandit’s lovely voice and sukhwinder takes it over although I would have loved to hear more from Shradha pandit…she portrays being in pain without taking deep breaths or going hysterical(shreya, you listening?). She lets her voice do the needful. If you have ever been in love, this one will bowl you over.With only 3 vocal songs, (in Tamil, Punjabi and Hindi), this album is by all means refreshingly different.

Rahman doesn’t need a ‘very useful’ from me so I cannot judge his music. The write up is a tribute to this Indian Mozart who gives a lesser mortal like me, a reason to derive peace and tranquility from his compositions.The last I know is that some pieces (and if you are lucky then the entire album) is supplied with select Nokia phones. I have no idea about the official release of this album, but I thank my very good friend who bought a new Nokia and gave me this music.Please rate and leave your comments

This post first appeared on the link below

http://www.mouthshut.com/review/Connections_-_AR_Rahman-161144-1.html

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