Ada, Jaane Tu Ya Jaane Na, Yuvvraaj, Ghajini, Slumdog Millionaire, SakkarakattiâŚ2008 was a dream come true for all Rahmaniacs. The beautiful dream is NOT shattered with the end of 2008âŚJanuary 11, 2009: Rahman wins the Golden Globe award for Best Original Music Score for Slumdog MillionaireâŚand now we witness the release of another simply outstanding Rahman OSTâDelhi-6. Iâm sure those of you who looked at the soundtrack listing of Delhi-6 prior to the release of the OST thought your eyes would pop right out of your eye socketsâRekha Bharadwaj! Ustad Bade Ghulam Ali Khan!! Yes, I know, your readings on the excitement meter must have set records. And, it is with those very unprecedented excitement levels that I approach the 10 tracks of Delhi-6, knowing that when it comes to music, Rahman will never let us down.
While not exactly a song per say, Noor (0.49) is a very poetic 49 second spiritual/sufiyaana exploration of love, delivered by Amitabh Bachchan, who perhaps has one of the most powerful voices in the Hindi film industry. Seriously, how can your ears not pay attention to his deep, yet gentle voice? Backed with very soft twinkling sounds, conjuring up a fairy-tale-like atmosphere, symbolic of the intoxicating state of love, Prasoon Joshi pens down some very meaningful lines: âZarre zarre mein usska noor hai. Jhaank khud mein, woh naa tujh se door hai. Ishq hai uss sey, toh sab sey ishq kar. Ishq hai uss sey, toh sab sey ishq kar. Iss ibaadat ka yehi dastoor hai. Iss mein, uss mein, aur uss mein hai woh hi. Iss mein, uss mein, aur uss mein hai woh hi. Yaar meraa har taraf bharpoor hai.â Waah! Kyaa khoob likhaa hai, Prason Joshi!
While I really enjoyed Mohit Chouhanâs rendition of Tum Se Hi in Jab We Met, I also felt kind of bad for him as most of the songs he received since then kept him stuck in the JWM mould. In Masakkali (4.50), Rahman letâs Mohit break out of that mould, let his voice soar free and reach unexplored heights much like the dove the song is being picturized on. Mohit sings this song without any inhibitions. The sounds of the accordion, rain shaker, tabala, harmonium, bass is breathtaking. The carefree and folk-style accent with which Mohit sings is amazing. His pronunciation of âMasakkaliâ, âMatakkali,â âPhur Phur Phurâ is attention-grabbing. He sounds like he is thoroughly enjoying singing for Rahman (who wouldnât enjoy working with Rahman?!)âhe sings khul ke. This is just one of those songs, like Jai Ho from Slumdog Millionaire, which is inspiring and lifts your spirits when you are feeling down: âuddiyo, naa dariyo, kar mann maani, mann maani, mann maani, badhiyo, naa mudiyoo, kar naadaani.â Two innovative phrases in by Prasoon Joshi in Masakkali which I would like to highlight are âgagan ki baansuriâ and âpawan ki guftagoo.â
Get groovy with the title track, Delhi-6 (3.35)! Full of energy, techno and hip-hop beats and sounds, this is a song bound to appeal to youngsters. Who could be better to sing this song than the quintet of Blaaze, Benny Dayal, Vivienne Pocha, Tanvi and Claire? All you Delhiites can sing this song with pride and attitudeâ âBasti hai mastaano ki Dilli, Dilli, Gali hai deewaano ki Dilli, 6!â Heard the saying, Dilli dil-waalo ki hai? No one gets that message across better than Prasoon Joshiâ âYeh Dilli hai mere yaarâŚBas ishq, mohabbat, pyaarâŚ.Yeh shehar nahin, mehfil hai!â I like how 16 seconds into the song, it picks up beat and pace. The incorporation of French lyrics is an interesting choice.
Ustad Bade Ghulam Ali Khan Saahib in Bhore Bhaye (3.18)âŚOMG!!! And, Shreya Ghoshal, also! This is an absolutely mesmerizing, awe-inspiring classical composition (Raag Gujri Todi) relying on Shreyaâs mithaas-filled vocals, the harmonium and tabalas. This must be one of the most challenging songs in Shreyaâs career so far, and she does a marvelous job with it. It isnât easy having your voice juxtaposed with Ustad Bade Ghulam Ali Khan Saahib. The combination of Shreyaâs clear voice with the sound of Ustad Bade Ghulam Ali Khanâs voice blending into the background (I can imagine someone having an old cassette on and doing riyaaz along with it) is so astonishing. I just canât get over the beauty of this song. The way Shreyaâs voice suddenly becomes clearer 50 seconds into the song also comes across as a very pleasant surprise.
Itâs so great to hear Ash King make his film debut with Dil Gira Dafatan (5.39). This is one very, very romantic composition, and Chinmayee provides wonderful vocal backing, turning this into a splendid duet. Ash Kingâs sings with such softness, such tendernessâŚitâs so soothingâŚ.so calming. I havenât heard such a beautiful, romantic number in quite a while. The outburst of bagpipes and violins reminds me of Irish river dance (around 2.22 into the song). Celebrate the joy of being in love! Prasoon seems to have a fascination for images associated with water in his love songs (remember Kaise Mujhe from Ghajini?)â âseepeeyoâ âmoteeâ âsamandar lehero ki chadar odh ke so rahaa hai.â
Aarti (Tumre Bhavan Mein) (3.01) is a very beautiful bhajan. Rahman really is the best at composing devotional songsâŚQawaalis, Shabads (Ik On Kar from Rang De Basanti), BhajansâŚHeck! Heâs the best at composing everything! (NO, donât you dare suggest Iâm exaggerating). The composition is unique as the four singerâs voicesâRekha Bharadwaj, Kishori Gowariker, Sraddha Pandit, Sujata Majumdarâblend in with each other as they sing in unison as the sitar vibrates. Experience divine bliss while listening to this composition.
All of us Rekha Bharadwaj fans are really thrilled that we get to hear her singing for A.R. Rahman. Hearing Rekha Bharadwajâs traditional voice, folk-style lyrics with hip-hop style beats and bird chirping in Genda Phool (2.50) is quite an interesting and enjoyable experience. Shraddha Pandit and Sujata Majumdar provide nice vocal backing in this sasuraal song that touches upon saasu maa, saiyyan jee, devar jee and nanand. 47 seconds into the song, hip-hop and techno elements are incorporatedâŚwho says bahu raani canât have fun in her sasuraal? Interestingly enough, Rajat Dholakia is also credited for this song.
Alas! Rahman himself takes the mic along with Benny Dayal and Tanvi for Rehna Tu (6.51). Another Rahmantic song with romantic lyrics by Prasoon: âRehna Tu Hai Jaisa tu. Thoda saa dard tu thodaa sukoonâŚTujhe badalnaa naa chaahoon ratti bhar bhi sanam, Bina sajaawat milaawat naa jyaadaa naa hi kamâŚMujhe teri baarish mein bheegna hai, ghul jaana haiâŚ Mujhe teri lapat mein jalna, raakh ho jaana hai âŚDariyaaâŚdoob ne de mujhe dariyaaâŚâ
While other MDs may get caught in the music-factory type approach to their work, Rahman, âRehnaa Tu Jaisaa Tuââcontinue to generously shower music lovers with such excellent and magical compositions. Each and every song in Dehli-6 upholds the high standards Rahman has set. Romantic numbers (Dil Gira Dafatan, Rehna Tu), upbeat compositions (Delhi-6, Genda Phool, Hey Kaala Bandar), uplifting tracks (Masakkali), devotional numbers (Arziyan, AartiâTumre Bhavan Mein), a full-fledged classical number (Bhor Bhaye) and a short and sweet poem (Noor), Delhi-6âs OST has plenty of variety, and songs to suite everyoneâs musical tastes.
10 out of 10âŚperfection doesnât deserve any less!