The Release of an AR Rahman soundtrack is like a festival for his fans . Rahmaniacs like self liken it to being served with a feast after starving for a week. The wait for the album gets even more desperate when the music company decides to go for single releases. With the case of Raanjhanaa , the desperation , wait and the gamble seems to have paid off as the album is a winner. The songs hit your soul , creating an impact which will last forever and leave you smiling .This is not the review of the OST , and not a critique either. What this post is , is an acknowledgement of the sheer musical genius of a stalwart and a nod to a director who knows how to get the best out of the said stalwart. Before you start reading further , I should warn you about disjoint sentences , abrupt exclamations and high number of spoilers – for reader , I am still listening to the songs on a loop as I write this !
You know you are in for a winner when a brilliant Sarangi wafts in followed by lilting percussion (the tic tic tic sound , kartal may be), mild strings and the ever dependable tabla – all within the first 20 seconds . That the song stars the ever dependable Shreya Ghoshal and the splendid flute (Naveen) is a very welcome addition. Banarasiya has super hit written all over it. Shreya Ghoshal nails her brief and I am sure that the lady will have a slew of award nominations this year , for this splendid outing.The Sarangi , flute and tabla set a sedate pace for Shreya and co to showcase their talents and cometh the interlude – the tabla hands the baton over to dhol even as you are blinded by the brilliance of the flute. The Dhols take center stage at this point and takes us through the latter half of the song which is equally brilliant. The bits and pieces of strings , the muffled kanjira and the thavil (not sure) vie for your attention even as Shreya lures you with her voice and you keep discovering more every time you repeat the song.
Rahman can hardly go wrong when it comes to sufi . Team him up with Irshad Kamil and you have a winner. Get Sukhwinder to render the vocals , and you have a classic . Piya Milenge is a classic example of a sufi ace from the Maestro. Right from the piano , violins and the backing vocal support from KMMC Sufi Ensemble – Rahman gets every thing right The sound of the ghungroos , the tabla and strings provide ample support to Sukhwinder , who hits the ball out of the park with his rendition.KMMI sufi ensemble shine equally and the segment from 2:04 – 2:40 where they take center stage is captivating to put it simply.The lesser said about this song the better as the divinity and the musical brilliance deserve to be experienced rather than being read about. It was quite difficult for me to move on to the next song , as I kept hitting the replay button for quite a few hours. Raanjhanaa may have nine songs , but when one thinks of a stunner , Piya Milenge is the only song which comes to mind.
Aye Sakhi is rendered by an all female quartet – but Madhushree is the one voice which I could recognize very easily. I am sure I can recognize the other voices with multiple replays , but at the moment Madhushree is the one which comes to mind – for her spotless rendition. A fun song , along the lines of naina milake , this one makes for an engrossing listen and the verbal embellishments added by the maestro add to the masti element.I’ve been going tyu tyu tyu pe pe pein all over the house – so much so that the room mate has threatened to take away my sennheiser earphones and shut my mouth up with tape if I repeat it another time 🙂
Nazar Laaye sounds like a left over from Jhoota hi Sahi at the first listen . Is it because of Rashid Ali’s fluid vocals ? I am not sure and I do not want to take that road. Nevertheless , the song grows on you – thanks to Neeti Mohan , Rashid and the guitars ( Kebah Jeremiah – am not sure on this too). Nazar Laaye might not be the stunner that Piya Milenge is . It does not grab your attention and make you speechless neither does it make you wax lyrical.It eats you heart little by little and only when you start swaying to the guitars you realize that this melody has taken hold of you.
Tu Mun Shudi to me has an RDB air about and I mean it in the best way possible.The percussion , the part-techno , part desi string work , the shenai and Rabbi’s vocals scream energy and wow what an energy pack this number proves to be.Rahman and Rabbi provide a fitting reply to the criticisms received for their earlier collaboration and fans can feel relieved for the fact that Aanand Rai has better sense of music when it comes to Rahman. Tu Mun Shudi is one number which will play on my music system if I end up taking the cross country trip I’ve been wanting to for a while.
ARR dons the singing hat again for the jazzish Aise Na dekho – a song which has vintage written all over it. The strings are a winner and the accordion makes a lovely cameo yet again . The whistle and the accordion in the interlude are soon going to become a rage and while this is not the best song of the album , this is the loveliest.
Land of shiva is all about percussion. The Damrus , the holy chants and the tinkling bells take you back to the 16th century Kashi in all it’s glory preparing for maha arthi. Short and impactful , Land of Shiva will serve to be a superb visiting card to Benaras where the movie is based.
Raanjhanaa is one of the two songs which were released as singles. Much has been talked about the Shenai and the singing featured in the song on which I’ll take a pass. What i’ll focus on is the strings you hear in the background and the sitar which appears in a cameo and takes your breath away. I do not know who played the Sitar , but whoever did merits a special merit. The kinikinis , the shenai motifs and the dholaks pale in comparison to that sitar and just for that Sitar , I’d sing Raanjhanaa hua main tera 🙂
Last , but not the least comes Tum Tak – the song which released first , the song which drew a lot of flak for the composition , the song I fell n love with almost immediately. The kinkinis , the strings , piano and sholkis providing ample support to Javed Ali , as he worships his lady love like a goddess. The shenai in the interludes give lead to the female vocalist Pooja AV mesmerizes one and all with her lovely voice. The song shifts into a bhajanish pace when Javed goes into the Nainon ki baant leja phase making you go Ada.
And thus ends my take on Raanjhanaa – which has completely erased the blemish that JTHJ had created in my mind. It is an album that belongs in the league of other classics like Delhi 6 and rockstar and Anand Rai deserves a pat on his back for giving Rahman full freedom and for his musical sense.
Rahman and Rai – Take a bow please !
PPS : Isn’t Dhanush a lucky bugger ? Nothing for 13 years and then two back to back masterclass albums from ARR .