Its that one album I had been waiting for which I could gush over without attaching any conditions. I had almost given up hope in the current dismal music scenario, though admittedly the past two months have been pretty interesting in an assorted manner. From Pritam’s oeuvre, I liked a couple of ditties from Once Upon A Time in Mumbai and Aakrosh; Vishal-Shekhar provided some good tracks in Anjaana Anjaani; I quite enjoyed Anu Mallik’s Laagi laagi milan dhun laagi (Shreya Ghoshal) from Hisss and of course, Lata Mangeshkar’s mammoth effort in Dunno Y: Na Jaane Kyun’s title track is worth its weight in gold.

However, it was always a song or two picked up and never the full album. Until I discovered Khelein Hum Jee Jaan Sey, composed by Sohail Sen, who had also done Ashutosh Gowarikar‘s previous film What’s Your Rashee‘s brilliant score. In fact, I had discovered What’s Your Rashee very late, when the film and its music had vanished from public memory. By then, I guess, it was too late and I confess that even though I had enjoyed the music, I couldn’t pay complete attention as some other newer stuff had churned out by then and plus old songs continue to occupy majority of my mind space. Now, having re-visited that album with more depth and much attention, I feel like kicking myself for not even including it in my year-end list.

Returning to Khelein Hum Jee Jaan Sey, it is a soundtrack that swiftly sweeps you off your feet and takes into an exquisite musical journey and finally transports you into a landscape where tunes are simple but exquisite and where instruments rule, like they always should in a soundtrack. The album has gripped me, mesmerized me and interested me to an impossibly high extent

Sohail Sen’s compositions are magnificent aural enchantment. His biggest USP (and holds true for What’s Your Raashee too)is his instrumentally rich interludes – music that goes between the words; and here it is pure music. If that is good, the song gains weight and warrants repeated hearings. I have always believed interludes should be tunes in themselves that link the antaras, and they should flow out from one into the other. His second strong point is that his tunes do not rely on a hook line ; these are real tunes given to fine words (Javed Akhtar). For example, in Nayn tere jhuke jhuke the tune effervescently ripples like a gurgling river, without obligation to return to a catch-phrase. This is how old songs were composed and this is precisely how melody is endurably created. Although I understand it doesn’t matter to many, but I am pleased he mostly uses the quintessential film song structure as well (at least for songs having two stanzas): prelude, mukhda (repeated twice), interlude1, antara, interlude2, antara2 and mukhda or main riff-repeat at the end.

On all counts, Sohail Sen has delivered masterfully. As I titled this post (which, incidentally, is not a review but more an appreciation post), Khelein Hum Jee Jaan Sey is a colossal celebration of sound where dollops of sitar, tabla, flute, whistle, accordions, percussions and a heavy strings section combine to seduce listeners into a delightfully satisfying and deeply satiating festivity. The tonal quality is deeply resonating, weighty and one that I absolutely adore (arrangers & programmers: Simaab Sen, Prakash Peters & Rajeev Bhatt) Sohail Sen weaves a musical rich shawl that grips, hugs and warms your heart. Mind it, it s not possible to select one song as the entire soundtrack is an impeccable intricate wholesome design as each tune or riff finds a refrain in another piece. Hence, my strong suggestion is to listen to the full album as it is laid out and do it on a good sound system.

Coming to the songs, the album opens with a splendid number Yeh des hai mera yeh des mera: the tune s stunning attraction lies is in its third line ( Jaan rahe na rahe dil toh ab yeh kahe ) which takes an unexpected but pleasant detour from the opening two lines, and you know you are hooked, and as it progresses the interludes (a soft humming chorus with santoor) and the antara flow like a balmy zephyr, with a dash of Vande Mataram audible in the second interlude. Sohail’s voice adds shine.

But Yeh des hai mera is a mere appetizer to the main course that succeeds it. Nayn tere jhuke jhuke kyun hai tu bata is a song that transports into a totally different era an age of simplicity and heart-achingly beautiful innocence where two friends could giggle about first flush of love, while going about their chores. Remember those Lata-Asha duets, with the heroines on cycle going for a picnic? Almost similar in flavor. And this has an outstanding flutes (especially in its main riff) and a distinctly Bengali flavor. Keeping in line with the same melody there is Sapne saloney hain sach toh hone, a porcelain fragile love duet, which includes lovely sitar pieces (and sitar is a personal favorite). When was the last time you really heard sitar in a Hindi film soundtrack?

Finally, we have the clarion call Ab humko roke na toke koi, a superb choral burst (Suresh Wadkar’s academy students sing with verve and vigor) and where the title words (Khelein hum jee jaan sey) are its lynchpin, and once again some more impressively done arrangements. The music has so much enthusiasm & energy that it can rouse even the dead.

Thereafter, the album is filled with an array of background instrumental pieces each one cross-referencing to one or the other song, and each having a distinct enjoyable sound. My favorites are Long Live Chittagong & The Teenager’s Whistle (back to back, they can be clubbed together), The Escape, Vande Mataram & Revolutionary Comrades.

In each of these, the music is so rich & evocative you can almost visualize & imagine the scene. I eagerly await Ashutosh’s on-screen interpretation(and going by his previous track record I am sure it will have some stunning cinematography & provide equal visual delight).

In all, it’s an album worth spending money on and listen to it with eyes closed deeply immersed in it’s music. And while you are doing so, please do also grab a copy of Ashutosh Gowariker‘s What’s Your Rashee to understand Sohail Sen’s continuum in music space. Hopefully, he will continue to create music in this way.

Overall: Must Buy

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I had skipped this compilation last year. But breaking traditions is not a good habit. Hence, this year I started to do this in November itself, so that I could complete it before year-end. Though, honestly & admittedly, I am not confident whether I am a good person to do this any longer. My listening to new songs is limited & restricted. The joy in finding a good song is absent because today’s music hardly fascinates me. The song structure has changed, mukhdas have elongated, interludes vanished and melody is on back-seat. Not my ideal situation.

Strangely, the songs that managed to excite me turned out to be ones that their music composers seemed to have abandoned mid-way (Jashn hai jeet ka, Bin tere marjaavan main, Ring ringa, Rafa Dafaet al).

Still, I will give it a shot from the small ambit that I managed to explore. As always, this list is in no particular order. And, this is a purely personal compilation, ingrained with my biases and prejudices.

Daata sun le Maula sun le – Jail – Lata Mangeshkar’s second foray this year into the recording room (other than Hanuman Chalisa), post her knee operation, was good in parts. I enjoyed the so-called ‘remix’ version better. It had a lilting tabla beat, and overall more cohesiveness than the ‘main’ version. Lata Didi, as usual, uplifted Shamir Tandon’s composition, which to put it politely, was a pretty ordinary composition. If this were Madhur’s answer to Ae maalik tere bande hum (Do Aankhen Barah Haath), it was a very weak reply indeed. Still, it was manna from heaven for Lata Didi devotees.

Otherwise, Jail‘s music held little interest. Sharib-Toshi’s Saiyan Ve burnt the dance floors for a while, but it’s longevity is suspect (especially since the film has bombed badly at box-office).

Tan ganga mann prem ki dhara and Krishna krishna – Umariya Kailli Tohre Naam – I welcome any musical serendipity. This time, in the form of a Bhojpuri film. From a chance ‘google’ search, I learnt that Lata Didi (Lata Mangeshkar) has sung one Bhojpuri song this year, under Raamlaxman’s baton. It took awhile to find the cd. And boy! was I bowled. As the cd unravelled – there was not just one or two but full three songs by the Diva! Krishna Krishna (in two parts; one, a duet with Bhupendra Singh; and second, a solo) sounded to my ears a nineties recording that seemed to have dug its way into this film. It’s purely in Hindi. Wonder which film it was originally recorded for. Tan ganga man prem ki dhara sounded newer. It’s a soft song, with lovely sitar and flute riffs and an effective chorus line.

(Incidentally, the mp3 I bought had hoardes of other Bhojpuri songs, which kept my interest alive. Will write on them later).

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Do Knot Disturb – Ever since I read Nadeem Shravan’s name on music credits in the theatrical trailor, curiosity gripped me. Hadn’t they split? From the film’s look, it hardly looked dated. So, were the composers – who ruled the nineties and then returned with some splendid stuff in early 2000′s (Dhadkan, Raaz, Pardes) – returning? I love their music. But one hear, and my enthusiasm wilted. This is hardly a comeback one would look forward to. Remember the scene in Kuch Kuch Hota Hai, where a simple Kajol tries to apply make-up and be hep like her rival-in-love Rani Mukerji, with some absolutely disastrous results? Well, this album is akin to that scene. Nadeem Shravan’s attempts to sound modern descend in pathetically cacophonous consequences. They even get the current chart-topper Pritam’s regular singer Neeraj Sridhar to croon two utterly uninspiring numbers.

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Another thumping return:- Udit Narayan makes a resounding comeback! And how! In ‘Dil dance maare’ he simply lets loose his vocals, and his enjoyment in singing those bizarre lyrics, is more than audible and palpable and perceptible. Though Sukhvinder and Sunidhi give him tremendous support, however, for me, it is Udit who outshines both. Vishal’s crazy and inane lyrics (in their latest release Yash Raj Films’ Tashan) are…well, crazy and inane. But tell you what? They work! This unabashed and undiluted celebration of nonsense is the most sensible to hit the charts in the past few seasons. Vishal-Shekhar effortlessly tune words that go White white face dekhe dilwa beating fast sasura chance maare re, and the harmonium hookline is addictive, to say the least!

After Tara Rum Pum and Om Shanti Om, where Vishal-Shekhar displayed a keen sense to break away from the contemporary audio trend, (without fully discarding or alienating it), my personal expectation from this album were huge. Though I missed the serenading cascades of violins (Mai agar kahuun), or the tender tones of piano (Ho agar kabhi koi gham), still Tashan has enough sponge to sink one’s senses into! In fact, Vishal-Shekhar are the few new composers who actually look like working on the music between the antaras.

Take for example, the Hey Shona-ish love ditty in Tashan, ‘Falak tak chal saath mere’ : there is a tingling santoor riff in the second interlude, which is instantly uplifted by a sonorous flute strain, leading to the soft and supple antara – that in itself breaks into a dholak-based rhythm mid-way. Now, hearing the dholak so prominently, and so well-used, is surely a cause for joy!

Falak tak chal is the second Udit Narayan number in the score, and this time he is on more familiar ground, having sung innumerable love songs in the nineties. Mahalaxmi Iyer, who is rarely heard, accompanies him in this beautiful number. I liked the lyrics (by Kausar Munir) in this one (even if the chand and suraj metaphors/imagery reminded me of Gulzar’s poems)

Other than Dil Dance Maare, the folkish- or rather , more correctly put, the ‘hinterland effect’, is also found in Sukhwinder Singh’s opening solo ‘Dil haara re’ , another pleasurable song. A teeny weeny complaint, though – did they have to change the rhythm and pattern towards the end of the song?

The dope-y Tashan mein , sung with verve by composer Vishal and singer Saleem takes a while to intoxicate you, but once it does, there is no point in getting away. Surrender to the electric guitars and the curvaceous tune!

I found Sunidhi’s Chhaliya the only weak number in an otherwise inspired album.

Tashan is a unique North-Indian word that can mean style, attitude and arrogance all rolled in one. In the album, all the lead actors speak a line or two of what tashan means to the characters they are playing (interspersed between the songs).

Dunno how the film will end up, but the music sure has lot of tashan!

Overall – Must Buy

It’s the time to rewind and assess the music that hit the charts this year. As in the past four such compilations, the below list is my own choice and does not in any way reflect the fate at the charts. Anyways, my music choice is so individualistic, often it doesn’t coincide with the hit parade.

Personally, I found this year’s music scene far superior to 2006. Where last year I had struggled to find one single fulsome album, this year I had at least six of them, and many more where the favorite songs exceeded that one single entry played relentlessly on the music channels and FM radio.

My own award to the music composer of the year goes, undoubtedly and unwaveringly to Vishal and Shekhar. The duo came up with not one, but two, wholesome albums which I thoroughly enjoyed listening to and revisiting.

So without much waste, here we go:

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The Times of India (Dated 17.12.06) carried a full page article on how music has returned in Hindi films. It praised the new sounds, and even commended on the use of Urdu in few songs.

I disagree.

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I admit it is too early to really write a review on the music on which everyone seems to have an opinion. But before that, let’s face a few facts squarely in the face – it was an arduously tough act to compose songs for a subject whose previous version is still fresh in the minds of music listeners. More than merit for the older hit, it is the nostalgic wrapper that shines and glitters. It has reached a cult status, where it is placed at a hallowed pedestal. One reality check that I wish to present – unlike Sholay or Don the movie, or its music, wasn’t such an earth shattering hit when released in the eighties. It is only over the years that the songs have acquired a ‘retro-hit’ status. So, this sudden urge by everyone to lambast against the newer version sounds funny – even from that generation. Even those who wouldn’t ordinarily listen to Khayyam’s ghazals from Muzaffar Ali’s classic have somehow turned up their nose against Anu Mallik’s efforts. A prime reason is that Mallik’s name itself evokes plentiful negative reactions. Even before the music was out, I had read vitriolic write ups on how could J P Dutta entrust Mallik with such a prestigious job. But obviously, Dutta has enough faith in his composer who gave two whopper (musical) hits with Border and Refugee. In my honest opinion, such reaction was totally unwarranted. Mallik might be obnoxious in his interviews, his many compositions lack any luster of many kind, but still the man has in him to turn up with music that might just be listenable. Another positive point in Dutta-Mallik’s favor is that they haven’t gone and remixed or re-arranged the old classic songs – a towering brownie point to the team, especially seen in the light of the absolutely bland re-mixes/re-designed score of Don.

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Music Review

It’s after listening to the film’s music I realised how much I missed Jatin-Lalit’s music. Sadly, this will be their swan song as a team, with both partners splitting up officially – quite a first in music industry; even though Shankar and Jaikishan were composing and interacting with producers separately some five-six years prior to Jaikishan’s untimely death, still they held to “S-J brand” very closely, so much so that Shankar did not allow the hyphen to go even when he was left alone by destiny’s chilling hand!

In mid-nineties JL were there right at the top – with two back-to-back musical bumper hits (DDLJ and Kuch Kuch Hota Hai) and several other hits (Pyar To Hona Hi Tha, Jab Pyar Kisise Hota Hai etc), they were sitting primly at the peak – till differences arose. Their last notable release was Hum Tum, from the same team as Fanaa.

Fanaa is a good farewell gift from the duo.

The most interesting point is to see Sunidhi Chauhan shedding off her ‘item girl’ image, an avatar she

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Music That Entices!

While the nation looses control over Rahman’s frothy Rang De Basanti score, his quiet and serene Water languishes away in oblivion. I am not a Rahman fan, but his few scores have really made an impact with me. Dil Se, Zubeidaa, Pukar, One Two Ka Four, Bombay and Lagaan are my favorites. A point to note – all the above are prior to his current phase where the stress seems to be more on beats, rhythms and sounds than tunes. So, listening to Water came as a very pleasant surprise; till the time I read somewhere that Rahman’s music for Water was scored way back in 2000. 

Anyways, whenever Rahman recorded these songs, they are beautiful! 

The music is very delicate, like a dew drop; as if touching it would soil its purity. At other times, it’s like a soft drizzle which sends a thrilling shiver down the spine. Instruments are used minimally. You can switch off the light, put on Water’s music, and soak yourself in sheer melodies – extremely relaxing, that’s what Water is! 

My favorite number – and I heard it five times on repeat mode after the first hearing – is ‘Piya Ho’ sung by Sadhna Sargam and Sukhwinder. There is this subtle rhythm which keeps flowing in the background, and a tune which cascades in its own curves in an unhurried pace; and over this Rahman places some riveting flute pieces so softly as if he is placing an expensive crystal over rich velvet – but then, that’s what this song is – bright as a crystal, soft as velvet! And it’s the tune which holds attention and not just sounds; a strong harkback to the old era of music. Oh yes, I have to mention the chorus which trails after the mukhda; it’s like a soft breeze which ripples over the tranquil river waters! If I am allowed to make one wish on this score, I would have loved to hear Lata Mangeshkar in this number!

Continuing the same mode, but switching theme to Meera’s unfulfilled love, is ‘Naina Neer Bahaye Mujh Birhan Ka Dil Saajan Sang Jhoom Jhoom Gaaye’ – quite similar to ‘Piya Ho’ but has a distinct rhythm and melody. Once again the able Sadhna Sargam at the mic, but this time she is solo. ‘Prem toh hai gangaajal jisme vish amrit bann jaaye’ writes new lyricist Raqeeb Alam. The song encapstulates unadulterated love, alongwith it’s underlying pathos. 

Sukhwinder returns, but with a trifle increased tempo in ‘Aayo re sajan sakhi’ – earlier I felt it resembled Sukhwinder’s own Kisna title song. But as the song progresses the difference is stark. In this number Sadhna Sargam joins Sukhwinder from mid-way. A lovely use of Indian instruments like santoor embellishes the song . The song is like the royal sea's tide washing over an expansive beach.

With these three songs itself, the album can be called a dizzying exponent of high-quality sweet music. But there are three more tracks remaining – like the silver vark on tasteful barfi! 

This album is definitely Sukhwinder’s crowning glory. Listen to him in yet another Lord Krishna-theme-based semi-classical song Bangri marori saiyan ne meri. I love the way the tune takes a sharp upward curve at the line ‘Radha ke gal-dori’

The next exquisite track is ‘MoheShaam rang de’ – a Holi number. This is a full-fledged masti song and the heart dances as the singers throw up a vocal flourish with ‘bajale zaraa dhol zor se’. The rang-bhang ka mausam is right at our doorstep now, and this number should be right up there – and it is such a relief after Rahman’s own horrible Holi number in Mangal Pande. This time the singers are Richa Sharma, Naqeeb Alam and Surjo Bhattacharya – and they create an ocean of riotous merry making with their voices. 

The last track is the famous Gandhian bhajan- Vaishnav Jan To sung by Kaushaki Chakraborty. This is a bhajan immortalized by Lata Mangeshkar’s rendition in the bumper hit album Ram Rattan Dhan Paayo. Rahman moves away a bit from the basic framework, and manages quite well overall. My bias will remain for Lataji’s version! 

Yes, this is not the score that will be played at parties and discos. But the difference lies exactly there – it does not set your foot tapping, but your head swaying in its lyrical rhythm. And it makes a place permanently in the heart. This is A R Rahman’s very best in recent times. 

Do grab it as soon as possible – and while you go to buy it, I will return to have another hear of ‘Piya ho’! 

Overall: Not to be missed; A Must Buy

Keeping Random Expressions away from Lata Mangeshkar is a sin that this blog and its owner object to strongly. Hence, this post is on yet another mesmerizing melody that touches the Queen’s lips and becomes divine. Unfortunately, the number was not used in the film, and hence it is quite forgotten.
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Madhur Bhandarkar attempts a true blue musical in his film on glamour and the glamorous; for this, he has unexpectedly chosen a relatively new Shamir Tandon, rather than rely on an established name in the industry. Tandon has earlier given us a few bloopers in Rakth.

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Veer Zaara
Music Review

Veer Zaara…mmm, how does one even start writing on this one without getting stuck in quagmire of clichéd superlatives and stock praise phrases. The music is way beyond a review or a critique; it is also way above the claustrophobic confines of communication clutches.

Like a well nurtured and matured wine, this album has to be sipped and savored in small spurts. Unlike beer, it does not give instant gratification. Hear the soft cadences of santoor, sitar and Lata soak your sensibilities in a musical equivalent of a softly diffused photograph. However, the sepia toned tunes are given a strong swish of contemporary brush.

With a great burden of expectations, I approached Veer Zaara with lot of doubt, apprehension and cautiousness. At the end of the first listening I tried to shake it off,but like a well trained pet, the music just stayed back with me. Ever since, I have been trying to dissect it but every time I fail, and get carried hopelessly away by the sheer sway of the tunes. Veer Zaara is a monumental dazzle of bright lights…this is the Diwali of Hindi film music!!!

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