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!!!

The music is extracted from an unspent treasure trove of the genius Madan Mohan- probably a first in the history of films, wherein a dead composer’s music has been so thoughtfully resurrected. But to say that these are purely Madan Mohan’s compositions would be a fallacy. In Kyun Hawa, the chorus at the beginning harks back to Shiv-Hari’s prelude in Silsila’s Yeh kahan aa gaye hum; the rhythms of Mai yahan hun remind of DDLJ and Mohabbatein; a snitch of Sharara gets attached to Hum to bhai jaise hain; and lo, was that a glint of Ladki kyun in the second guitar interlude of Mai Yahan Hun?

That, however, does not mean the score is not original. Far from it- the songs are as fresh and fragrant as a freshly powdered baby! And equally tender too! But suffice to say, this is a Yash Chopra score-with a strong dash of Madan Mohan ( just the way Kahin aag lage lag jaaye and I Love My India were Subhash Ghai songs, and nothing to do with their respective credited composers).

From the opening piano bars of Tere liye to the closing saxophone/trumpet strains of Jaane kyun, the album is stacked with myriad emotions-a musical rainbow-with multifarious song genres- love, sad, patriotic, festive, qawwali, et al. The CD contains 11 fulsome tracks-no repeats, no remixes, no redundancies.

This stunning soundtrack is a gift of gratitude by Yash Chopra to his favorite muse, Lata Mangeshkar. Lata has sung all Chopra-directed (and some produced) film songs since Kabhi Kabhie. This perfectly symbiotic relationship has lasted a concrete thirty years in an industry full of nebulous negotiations.

Lata returns the gesture with full vocal support, completely belying her true age! As a critic points out “Her indescribable virtuosity carries us through a universe of romance, nostalgia, patriotism and festivity that is a feast for the ears. What a wonderful birthday gift for her fans!”

From this vast spectrum of sonority, my most favorite track is the Lata-Udit duet Yeh Hum Aa Gaye Kahan (Javed Akhtar does a naughty twist of words from his own Yeh Kahaan Aa Gaye Hum from Silsila). The simple tune is further heightened by a tickling sitar motif that comes in front of each antara. The tune of the antaras is a catchy breathtaking glide from high to low- a waterfall of emotions and melody falling into the fresh water lake of the mukhda. Lata sounds so young when she sings naughtily ‘tumhe mil gaye pyaar ke sau bahane‘ that one is naturally expected to wonder that is she really 75? Her voice conjures up the image of a winking, dimpled Preity Zinta-that is her true genius!!! The musical arrangements, slight and unassuming, are first-rate.

Only Yash Chopra could have coerced her to sound sassy and saucy in the spicy Hum to bhai jaise hai waise rahenge- a rebellious number with a strong Arabian undercurrent. The hum in the beginning sets the mood to a vivacious winner. And don’t get taken in by the delightfully simple façade; like all Madan Mohan compositions, a more complex sub-terrain simmers. Some critics point that perhaps Asha would have done a much better job at such a number? My rejoinder: this is a silly hypothetical question, which can only be countered with another more potent query- would Lata have done a far better job at Mera kuchch saamaan? Also, that the critics think of Asha for such a song (and not for the rest) just proves my point on the limited ability of the singer!

Another ditty bathed in moonlit melody is Do pal. Sonu Nigam does a wonderful job, while Lata provides him ample support. The structure looks back at Ek duuje ke vaaste from Dil To Paagal Hai. The sitar and santoor conjoin together in a heave of an enthralling fountain, only to part ways, like the ill-fated lovers. RS Mani’s musical arrangements, like the flow of a rustic beauty’s dupatta in sylvan surroundings, with just a hint of sorrow in her deep expressive eyes, is visually abundant.

Tere liye hum hai jeeyeis definitely the most perfect tune; hence, also the opening number and the theme song. Once again, Madan Mohan’s favorite instrument sitar finds a pride of place. The laid back languish pace is steeped in nostalgia; the structure of the antara conjoins the mukhda at the end in a seamless amalgamation. Madan Mohan’s strength lay in creating the antara with lot of care, without the effort showing; I would take this song as its prime example, though the rest follow the same pattern. This is undiluted Madan Mohan- impeccable in architecture of tune. Writing verse to already composed tunes is not an easy task; yet, Javed Akhtar pens some sober heart felt lyrics, especially in this one.

The contemporary sounds have irritated most purists; I found the combination quaint- except in Jaane kyun lagta hai, where the jazz like saxophone does not merge well with the overall tune.In fact the opening guitar riffs sound stolen from some English song. Yet, this is a song where Madan Mohan’s basic tune tears out of its arrangements, searing the heart with a passion of warmth. Do I have to add that Lata sounds blissful? My only grouse that Chopra refrained from keeping a typical Madan Mohan-Lata combine song is partially fulfilled with this number.

My last pick from the melody basket is Lata-Jagjit Singh’s Tum Paas Aa Rahe Ho; together, the singers recreate the magic of Sajda and Nargis (the last is a ill-fated film that never got released but had some sumptous numbers like Dono ke dil hai majboor pyaar se, Arre too pawan basanti, Mai kaise kahoon janeman, Kaahe ab ki ae bahar).

From the three choral songs, Lo aagayi lodi ve is a topper; with a tune more infectious than flu, the short staccato antara is filled with a remarkable joi-de-vivre; also, in parts it resembles Raamlaxman’s Didi tera devar deewana. Gurdas Maan’s rough rustic voice is a neat foil to Lata’s honeyed one, this time in a cute and perky mould. Udit Narayan comes in for a wrap up line at the end of each antara (as in Mohabbatein’s Soni soni ankhiyon waali). Yash Chopra transcends trends by creating probably the first song based on this little known North Indian festival.

The other, Aisa des hai mera, is a brilliant patriotic number where Javed Akhtar takes the front seat with some first class imagery of the bucolic life. Largely dominated by Udit Narayan’s expressive and restrained singing, the song has snatches of popular Punjabi folk songs. Pritha Majumdar (who sang most of the songs in Mohabbatein, alongwith a hoarde of others), gets to do a couple of lines. She is the only other female playback singer in the album.

The third, a situational qawwali, is the only let down; it is not of the class as in Henna’s Der Na Ho Jaaye or Parampara’s Mujhe Ishq Ho Gaya! Or perhaps, qawwalis do not motivate me enough.

Although Lata is the sole female playback singer (barring a small two line by Pritha), there is an array of male vocals ranging from the expressive Jagjit Singh to the throaty Gurdaa Maan. In this, a special note for Udit Narayan’s immense control of voice and music is definitely warranted. In both his duets with Lata, he holds fort with an amazing grace, only to shine out on his own in his sole solo track, Mai yahan hoon, a song that has all ingredients of being a super hit. Sonu Nigam’s shining glory is Kyun Hawa; unfortunately for him, Lata’s alaaps and hums, overshadow. ( Remember how she took the entire song with her by just a couple of alaaps and a word ‘aaye haaye’ at the end in Bholi si surat aankhon mein masti). As a song, the overtly western semi-rock-and-roll kind of rhythm did not really appeal me.

This year, if Tumsa Nahi Dekha steered Hindi film music to its original course, Veer Zaara lands it up at its rightful destination. The difference is that where TND is good, VZ is great. Actually, it is blasphemy to even think of Veer Zaara with anything that our contemporary musicians create. Let us not even waste time in futile comparisons; like Taj Mahal, Veer Zaara is exclusive; you cannot compare a Taj to a Petronas ever!!

Yash Chopra has maintained an unique clique of exclusivity in the past three decades by signing on non-commercial music directors- Shiv-Hari, Uttam Singh, Khayyam. Largely, this has ensured that the style he has so lovingly cultivated has remained confined to his films only. This time around, he has simple wiped out any means of self-plagiarism.

To sum up, I will quote a review that I read on the net : “The sumptuous score accommodates 11 tracks and as many moods, all culled together to pre-empt all out tomorrows in a clasp of beauty and harmony which is as precious for its fragility as it is for its strength… an album of tremendous melodic value”

The advertisements state ‘listen it to believe it’. For once, I agree. A small fear also creeps up, will today’s generation fed on a staple diet of techno-induced metal sounds and heave-hop of remixes appreciate this evocative, intimate album? This is revival of melody- enjoy it for you will not hear such a monumental score in a long time to come!

For the skeptics, please do listen to it again- a challenge given to a fellow blogger stands for all: I guarantee, if listened to with your heart, Veer Zaara will stay in your soul forever. Like Silsila and Kabhi Kabhie, Yash Chopra gives one more eternal album!

Though I tried to, I just could not find enough effusiveness as this reviewer has done. Please do read this link

Overall: A collector’s album.

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