Ghajini

In Rahman’s recent Tamil soundtrack ‘Sakkarakatti’, there is this song ‘I miss u da’, where Rahman tries to bend the rules, break convention on how not just a Indian film song but any song should sound, but the song is just that, it just bends the sound but not the music. It is one of the classic examples where there is more of Rahman’s sound than Rahman’s music.

Some of the very deeply emotive and soul stirring melodic phrases are in “Ghajini” soundtrack like those hums, hoons and hymns of Sonu Nigam throughout the extremely catchy ‘Guzairsh’, which on surface sounds like a routine love ballad with a familiar repetitive rhythm. It is Sonu’s soothing interruptions that take the song a notch higher with its emotional content. Though Kavitha Baliga’s operatic interlude sounds like an after thought, it is rare to find a Rahman song with such a simple sounding interlude that creates an aural ambience around the listener.

Equally soothing is Shreya’s humming in Kaise Mujhe with which she starts her part of the song, after Benny quite uncomfortably wanders through a tedious melody that has more silence in between phrases which sounds more manufactured than naturally fallen, so as to bring out the effect and emotion in the melody fabricated around those silences in between. But inspite of a very unconventional flow of the melody, with some touching phrases of melody and with the clever and an aurally alluring orchestration (which is more so evident in its blissful instrumental version) Rahman manages to convince at least those for whom a song need not be instantly hooky.

Bekha is unarguably THE song of the soundtrack where Karthik seems to have had a blast singing it. The attitude, expression and rendition of Karthik is mind blowing in this song, just listen to the way he casually rounds off those rough western notes in a sweet classical way. Rahman goes a little further from where he left in ‘September Maatham’ from Alaipayuthey (or ‘Chori pe chori’ from Saathiya) in writing unconventional melodies that makes lyricists go mad in finding words to fit the tune. The song sounds as if all those complex phrases of melody and counter saxophone pieces just flew instinctively out of Rahman’s mind when he went into the same euphoric and romantic mood in which the character in the movie is when he sings this song.

The sound heavy ‘Aye Bachchu’ is an enjoyable Rahman cliché with abundant layers, e-sounds and loops and head banging rocking guitars and percussions. Once the song gains momentum with ‘Jhoom le’, it refuses to stop and make us swing with its rhythm. Coming to ‘Latto’, by using Shreya Ghosal, with the addictive ‘Yaar Yaar’ hook and the interesting vocal harmonies in the interludes, Rahman sold it to me. When you put these two songs on your noise canceling headphones, you are in a unique Rahman’s sound universe where each sound makes some sense and doesn’t add up as a cacophony.

To continue from where I left in the beginning,

When Rahman’s sound is almost in balance with Rahman’s music, we get a soundtrack like Ghajini. Sometimes while doing so, Rahman asks too much from his listeners, he takes them too far a place where they are so uncomfortable, not because they don’t like the place but because they haven’t been there before. But indeed by Rahman standards, it isn’t an extremely unconventional or path breaking soundtrack, it is just (just is just because it is Rahman) an enjoyable and a vibrant soundtrack apt for a commercial movie like Ghajini and the one that has its highs and lows and those who want to like it will like it for those highs, patiently waiting in those few lows for the next following high. And I am one of them.

Jaane Tu Ya Jaane Na Soundtrack

It has been quite a while since Rahman scored for an out and out romantic plot set in a college backdrop, in which a composer gets ample scope for scoring conventionally entertaining music. But a conventional Rahman soundtrack is always unconventional and so is that of ‘Jaane Tu ya Jaane Na’. The melody, orchestration, choice of singers, lyrics all come together to accomplish one single mission and that is to make every listener feel light, energetic and much younger when listening to this youthful soundtrack. Music may be technically complex but what finally matters is the world that it transports the listeners to, the mood and feel the music immerses the listeners into.

The instantly catchy and constantly looping acoustic guitar riffs - velvety vocals of Rashid Ali, exquisite multi layered flute interlude – structure with no standard structure - the flute pieces at an optimum pitch without airy sounds complementing the velvet texture of Rashid Ali vocals, all sit on subtle beats which hits just as hard as a dancing kid hits the floor with its legs, in ‘Kabhi Kabhi Aditi’.

‘Pappu can’t dance’ with multiple vocals is pure fun and entertaining music at its best. The hooky motifs ‘Thirikita’ and the e-sitar/guitar/mandolin piece, helps in sandwiching the fragmented catchy phrases of the song. The thump in the beats, whistle blows, claps and chorus brings in the necessary campus feel in the song. There are so many layers and overlaps of motifs, sounds and instruments and the song needs a lot of attention to unravel the beauty behind its production. The remix version is a perfect track to burn the dance floors. Though it has all usual elements of a remix, there are some interesting variations and surprises in this track which makes it one of the rare not-to-be-skipped remixes.

Rahman as always tries to make the pathos song ‘Jaane Tu Meri Kya hai’ more sophisticated and less sentimental in its sound but without diluting the emotion. Though Runu Rizvi’s voice is good, her subdued and husky rendition lacks the depth that the emotions in this song demands. While the male version which is comparatively more conventional in its orchestration, has Sukhwinder Singh precisely delivering the emotions in his rendition. There is a beautiful and a very intricate and intimate vocal harmony running throughout the song and it delivers the intended emotions so effectively.

The acoustic guitar rich ‘Nazrein Milana’ is a joyride throughout. Rahman’s yet another attempt at Jazz in ‘Tu bole’ is little tough to buy in immediately. It is tough to fit the Hindi words into a genre like Jazz without loosing the flow in the lyrics. But Rahman has somehow managed it, and to those who feel it is too difficult to consume, Rahman provides a catchy hook with the title line to which all the jazzy twists and turns conveniently comes to an end. ‘Kahin To’ is yet another breezy popish melody which just flows so effortlessly and the soft crescendo towards the end is just exhilarating.

Sometimes a song or music piece reaches our ears from nowhere place and for few seconds we enjoy the part we listen to, shake our head, tap our feet and soon continue with your work carrying within, the mood of the song, we just listened to by accident. Even if you play this soundtrack in a place where people have no time or intention to pay attention to the music, this music will find a way to reach their ears and soul and shift their moods for a while. The music of ‘Jaane Tu Ya Jaane Na’ has got that quality.