Nah...this is no countdown. And if you are wondering why I am attempting it, the reason is simple. I had to write something...for, let me be honest, I have forgotten how to write!
I had penned a diatribe on people wishing each other "Happy New Year" and continuing on with their miserable existence for the rest of the year, about how people put on a show of meaning good to others, and so on...But then, nobody is interested in reading anything so nasty, even if it is true. Hence all that was left was to discard it and write something nice. After all, one should start the new year on a pleasant note, as the world likes to say.
Listening to my Worldspace radio churn out all those nice Gulshan-Kumaresque romantic numbers (that made life so beautiful during school and college days) on New Year's Day put the thought in my little brittle mind - to look back at the songs that captured my imagination in the past year. I had done one such exercise before also in 2003, hence it is not something entirely out of the blue.
Should I say the choice was easy, or should I say the choice was difficult? Owing to the fact that not many songs caught my ear in 2007, i was left with a handful of numbers to choose from. As i said before, this is NOT a countdown, and is in no particular order.
So what provoked my imagaination?
1. Jaage Hai (Guru): There's perhaps, just four lines in the song. What's so great about that? It's specifically those four lines...
Jaage hai der tak, hamein kuchh der sone do...
Thodi si raat aur hai, subah to hone do...
Aadhe adhure khwab jo poore na ho sake...
Ek baar phir se neend mein woh khwab bone do...
Listen to Rehman's suppressed tone at the beginning, and you feel like slipping off to sleep and continue dreaming, and achieving all those which can never become a reality in this lifetime...
2. Bol Na Halke Halke (Jhoom Barabar Jhoom): In an otherwise jarring soundtrack (I didn't muster the inner courage to watch the film), it comes as a whiff of fresh air, albeit halke halke (slowly). It took time for me to imbibe the song. OK, maybe Iam a little partial towards it because of the train sequence, but it does not take anything away from the fact that the song has been shot beautifully in some of the best locales. Add to that the lilting voices of Rahat Fateh Ali Khan and Mahalaxmi Iyer and the beautiful lyrics (Aa neend ka sauda karein, ek khwaab dein ek khwaab lein), you have a winner all the way.
3. Hey Shona (Ta Ra Rum Pum): "Shona"? What's that supposed to mean? It's exactly that thought that kept me away from the song for long. But some songs attract you towards them, and "Hey Shona" is such a track. The quintessential lovers' song, it gives you that floating-on-the-moonlight feeling. Do not be surprised if it reminds you of "My Dil Goes Mmmmm", but the similarity ends with Shaan and the background crooning. The lyrics are softer and the surprise element is the sensuously soft voice of Sunidhi Chauhan. If you are a romantic at heart, this one's for you. And the best time to listen to it? Go on a drive late at night with the song playing on your car stereo...
4. Aye Hairat-e-Aashiqui (Guru): So much has already been said about it. Rehman has this technique of capturing your heart slowly, and uses it to great effect in this song, as it starts mildly and builds up inside you with the high-pitched chants of "dum dara dum dara..". And then, you are forced to ask: "Where the hell was Hariharan hiding all these days?" For once, forget the lyrics. As Rehman says on Worldspace, "There's so much to hear..."
5. In Dino Dil Mera (Life in a Metro):
"Be-rang si hai badi zindagi kuchh rang to bharoon...
main apni tanhai ke waaste ab kuchh to karoon".
I guess, it is time to confess...about the inspiration behind my Budapest Diaries. Walking along the riverside with the song playing in my ears, it was in the city of Budapest that I fell in love with the song.
6. Hare Krishna Hare Ram (Bhool Bhulaiyaa): The song that caught the imagination of an entire nation. I'm not a person who would fall in love with such a song, but this one strangely makes me tap my foot in rhythm. Though Neeraj Sreedhar's chant is infectious (The chant seems vaguely familiar...is it a copy?), it's nothing compared to Akshay Kumar's innovative actions - to the extent that the cinema-going crowd was unwilling to vacate the halls until the song came up on screen - and to the extent that I (of all the people) try aping the step whenever I hear the song.
7. Chak de India: Now where did THAT come from? If the above mentioned song caught the imagination of a nation, this one inspired a whole nation. And for that precise reason, it finds a mention in my list. There's nothing technically great about the song - below average lyrics and average, but good, music. But the moment you listen to the song, it conjures up unforgettable images - Ian Bell trapped in front of the stumps by Zaheer Khan, a helpless Matthew Prior losing his stumps to RP Singh and a ruthless Yuvraj Singh launching a blistering attack on Stuart Broad. Thank you, ESPN and Star Sports. And please spare a thought for the Indian hockey team, who did so much but were unsung.
8. Labon Ko Labon Pe (Bhool Bhulaiyaa): Oddly, for me it's the timing of song in my playlist that does the magic trick. Coming on the heels of the foot-tapping Hare Krishna Hare Ram, this lilting number forces you to sit back, relax and imbibe it. The moment you see the colourful picturization of Shiny Ahuja and Vidya Balan on the screen, it is love at first sight. After all, what else can you expect, when you have the majestic presence of KK, the voice behind the song?
9. Masha Allah (Saawariya): Whatever sin was committed on screen by SLB, has been atoned for by this number. The chorus of "Masha Allah" by Kunaj Ganjawala, with the alaaps of Shreya Ghoshal is enough to give the song that ethereal effect. Add to that, Ganjawala's effortless movements from one note to another, and you can see that dream world in which the song is picturised. Spare me the movie. I'll take this song instead anyday.
10. Taare Zameen Par:
Jaise Aankhon Ki Dibiya Mein Nindiya
Aur Nindiya Mein Meetha Sa Sapna
Aur Sapne Mein Mil Jaaye Farishta Sa Koi
Jaise Rangon Bhari Pichkari
Jaise Titliyan Phoolon Ki Kyari
Jaise Bina Matlab Ka Pyara Rishta Ho Koi
This one is for the child in you. Be it Shankar Mahadevan's excellent crooning at the end of the song, or the beautiful chorus that invokes childhood memories, the song just captivates you each time you listen to it.
11. Maula Mere Maula (Anwar) and
12. Tose Naina Laage (Anwar): I'm going to use a technicality to include these songs - that even though the music was released in November 2006, the movie was released in January 2007, thus qualifying the songs to be here. And my desperation to include these songs here should be enough to describe why they are my favourites. Right from the magnetic Maula mere maula chorus to the captivating lyrics of Javeda Zindagi (Nahin Koi Insaan Mohabbat Se Khaali, Har Ek Rooh Pyaasi, Har Ek Dil Savaani), it's sheer poetry in motion
13. Maa (Taare Zameen Par): What can I say?
Bheed Mein Yun Na Chhodo Mujhe
Ghar Laut Ke Bhi Aa Naa Paoon Maa
Bhej Na Itna Door Mujkko Tu
Yaad Bhi Tujhko Aa Naa Paoon Maa
Kya Itna Bura Hoon Main Maa?
Tell me you didn't cry for that, and i'll tell you...You don't have a heart.
Amen...
Some notable omissions:
1. Cheeni Kum - Sorry, I can't get over the originals
2. Laari Chhooti (Ek chaalis ki last local) - i found the music monotonous for my liking.
3. "Awaarapan" and "The Train" - I have this prejudice against Emraan Hashmi
4. Rozana (Nishabd) - a synthetic background score
5. Tere Sawalon Ka (Manorama 6ft Under) - good song, but the length put me off
6. Jab We Met - cute movie, but that doesn't necessarily make the music stand out
7. Johnny Gaddar - everybody raves about the title track, but somehow it missed by radar completely
8. Om Shanti Om - Too much promotion and too little substance. Six packs don't make a good music track.
That's me...I don't know whether the vast majority of music lovers out there would agree with me...perhaps that's why we are all called "individual"s. No one person can be the same as the other...and let me be an individual with my own likes and dislikes.
To re-iterate what A.R. Rehman says in the Worldspace ad: "There's so much to hear..."
Showing posts with label music. Show all posts
Showing posts with label music. Show all posts
Thursday, January 03, 2008
Sunday, March 06, 2005
Music review: Lucky
He is known for his trademark style of music. He became a household name a few years back, with the soulful “Kabhi To Nazar Milao”. Since then he has brought out two more best-selling albums, cavorting with the leading actresses of Bollywood in the music videos. Lucky – No time for Love (henceforth I’ll refrain from using the byline) features Salman Khan and Aishwarya Rai look-alike Sneha Ullal in the lead, with Mithun Chakravarthy in a supporting role, and marks Adnan Sami’s debut as a music director in Bollywood.
Sami starts off with the beautifully romantic Jaan Meri Jaa Rahi Sanam. Soothing and melodious, the song beings softly with the voice of Udit Narayan. Sami uses the tabla and the flute to build up the song. The orchestration reminds you strongly of the title track of “Tera Chehra”. Anuradha Paudwal compliments Udit’s voice perfectly. Sameer’s lyrics are splendid (Kya ladakpan hai, kya jawani hai, ab tumhare naam meri zindgani hai. Kya haqeeqat hai, kya kahani hai, saamne mere meri sapnon ki rani hai). A sure chart-topper!
Sun Zara starts off with some Gregorian chant-like stuff and heavy thumping beats which makes you think as if you are listening to something out of Enigma. However, Sonu Nigam puts you at ease, and what follows is one of his best songs so far. Sonu perfectly manages to convey the anguish of separation through his voice. The solo violin piece in the background is haunting.
If you though the best was over, what follows is sheer bliss. Adnan Sami and Lata Mangeshkar work magic with Shayad Yahi To Pyar Hai – easily the best track in the album! The lyrics are once again splendid! Those who accuse Lata lately of being too shrill (including your’s truly), should listen to this track! This is the Lata we all love. Sami and Lata are exhilarating in both the high and low notes of the song. Simply marvelous!
What follows is only for Salman Khan fans. Chori Chori is not in the same league as the above mentioned threesome, but for it’s lively pace, it’s likeable chhed-chhad song. For Sonu Nigam and Alka Yagnik, it’s a routine day’s work. The chorus in the background is catchy.
Asha! Oh Asha! What would we have done without you? Lucky Lips is not a song which people would fall in love with at first hearing. But the song grows on you on further hearing. Mind you, you’ll have to ignore some lyrics if you want to listen to the song. Watch out for the excellent rendition of the antaras. Lubov Mix of ‘Sun Zara’ comes next with intermittent vocals by Adnan Sami. It is however, not the usual remix stuff you get to hear nowadays – add some beats in the background, add some illegible mumbling of English words in the name of rap and put in a ‘yo’ here and there. Sami has done a wonderful job by adding the sax and the guitar to the original.
Hum Deewane, a mediocre piece by Sonu Nigam and Anuradha Paudwal follows. There’s not much in the song to catch your attention, and it sounds just like the run-of-the-mill tracks that you come across in any Hindi movie. This one is an invitation to press the forward button. This is just a minor aberration though, as Asha is back with the Bolshoi Mix of ‘Lucky Lips’. It actually sounds better than the original, though there is no doubt that Adnan has been inspired by Robert Miles! To close off the album, Adnan gives Sonu Nigam stiff competition with his own melancholic rendition of Sun Zara.
Lucky definitely scores in melody. Salman Khan is on a high! The year 2004 saw Salman bag a big hit in Mujhse Shaadi Karogi and a Screen award nomination for best actor (Ugh!) in Garv.
Lucky could turn out to be what the doctor ordered for Salman Khan – a hit! Of course, while listening to the album some of us will have to forget that Salman Khan will be enacting out the songs on the screen! However, it would be better if Adnan Sami becomes less predictable with his songs – traces of his previous albums do creep up in various songs. Nevertheless, Lucky is certainly a good buy for lovers of romantic numbers. And for lovers of Adnan Sami’s music, it is a MUST BUY!
Sami starts off with the beautifully romantic Jaan Meri Jaa Rahi Sanam. Soothing and melodious, the song beings softly with the voice of Udit Narayan. Sami uses the tabla and the flute to build up the song. The orchestration reminds you strongly of the title track of “Tera Chehra”. Anuradha Paudwal compliments Udit’s voice perfectly. Sameer’s lyrics are splendid (Kya ladakpan hai, kya jawani hai, ab tumhare naam meri zindgani hai. Kya haqeeqat hai, kya kahani hai, saamne mere meri sapnon ki rani hai). A sure chart-topper!
Sun Zara starts off with some Gregorian chant-like stuff and heavy thumping beats which makes you think as if you are listening to something out of Enigma. However, Sonu Nigam puts you at ease, and what follows is one of his best songs so far. Sonu perfectly manages to convey the anguish of separation through his voice. The solo violin piece in the background is haunting.
If you though the best was over, what follows is sheer bliss. Adnan Sami and Lata Mangeshkar work magic with Shayad Yahi To Pyar Hai – easily the best track in the album! The lyrics are once again splendid! Those who accuse Lata lately of being too shrill (including your’s truly), should listen to this track! This is the Lata we all love. Sami and Lata are exhilarating in both the high and low notes of the song. Simply marvelous!
What follows is only for Salman Khan fans. Chori Chori is not in the same league as the above mentioned threesome, but for it’s lively pace, it’s likeable chhed-chhad song. For Sonu Nigam and Alka Yagnik, it’s a routine day’s work. The chorus in the background is catchy.
Asha! Oh Asha! What would we have done without you? Lucky Lips is not a song which people would fall in love with at first hearing. But the song grows on you on further hearing. Mind you, you’ll have to ignore some lyrics if you want to listen to the song. Watch out for the excellent rendition of the antaras. Lubov Mix of ‘Sun Zara’ comes next with intermittent vocals by Adnan Sami. It is however, not the usual remix stuff you get to hear nowadays – add some beats in the background, add some illegible mumbling of English words in the name of rap and put in a ‘yo’ here and there. Sami has done a wonderful job by adding the sax and the guitar to the original.
Hum Deewane, a mediocre piece by Sonu Nigam and Anuradha Paudwal follows. There’s not much in the song to catch your attention, and it sounds just like the run-of-the-mill tracks that you come across in any Hindi movie. This one is an invitation to press the forward button. This is just a minor aberration though, as Asha is back with the Bolshoi Mix of ‘Lucky Lips’. It actually sounds better than the original, though there is no doubt that Adnan has been inspired by Robert Miles! To close off the album, Adnan gives Sonu Nigam stiff competition with his own melancholic rendition of Sun Zara.
Lucky definitely scores in melody. Salman Khan is on a high! The year 2004 saw Salman bag a big hit in Mujhse Shaadi Karogi and a Screen award nomination for best actor (Ugh!) in Garv.
Lucky could turn out to be what the doctor ordered for Salman Khan – a hit! Of course, while listening to the album some of us will have to forget that Salman Khan will be enacting out the songs on the screen! However, it would be better if Adnan Sami becomes less predictable with his songs – traces of his previous albums do creep up in various songs. Nevertheless, Lucky is certainly a good buy for lovers of romantic numbers. And for lovers of Adnan Sami’s music, it is a MUST BUY!
Friday, January 07, 2005
Music review: Bewafaa
Bewafaa boasts of a stellar star cast – Anil Kapoor, Akshay Kumar, Kareena Kapoor, Sushmita Sen, Manoj Bajpai and Shamita Shetty. Behind the screens are Dharmesh Darshan, Boney Kapoor, Sahara One, Nadeem Shravan and Sameer. On top of this, the music album is an assembly of big stars. With such an ensemble, expectations from the film would run high. Fortunately, the music does live up to it – taking you down memory lane, to the days of “Saajan” and “Deewana”. Nadeem Shravan is back in business.
Udit Narayan excels in the opening track – Ek Dilruba Hai. An intensely hummable number, with impressive beats, the song has already gained popularity though the promos shown on the various television channels. There is also a short, slower version of the same song by Shaan – Pyar ki Raahein. The duo continue the good work with Pyaar Ka Anjaam, which strongly reminds you of “Aksar is Duniya Mein” from Dhadkan. Alka Yagnik and Sapna Mukherjee effortlessly carry the song on their shoulders. Even Kumar Sanu’s presence does not spoil the beauty of the song (thankfully!)
Lata Mangeshkar singing for Nadeem Shravan is indeed a rarity! Kaise Piya Se Main Kahun is surely for the Lata fans. A song about the girl waiting for her lover to come home, Lata proves that when it comes to soft romantic number, she’s still a force to reckon with. Lata’s rendering of the song does have the soothing effect of lulling you to sleep. The song, though, does raise the question of “inspiration”. The opening lines remind you of the Godfather theme (more commonly known in India as “Raja Ko Rani Se Pyar Ho Gaya”), and the whole song has a passing resemblance to “Are re Are Yeh Kya Hua” from “Dil To Pagal Hai”. If Lata put to sleep, Ishq Chhupta Nahin is sure to jolt you awake. This is perhaps the best song in the album (there is a similarity to “Tu Is Tarah Se Meri Zindagi Mein” from “Aap To Aise Na The”). Abhijeet’s soft voice is complimented to the hilt by the heavy use of the piano and the background chorus. A semi-ghazal type of number, it takes you back to the golden days of Nadeem Shravan, when they gave us “Mera Dil Bhi Kitna Pagal Hai”. Sheer bliss!
Kehta Hai Kabootar is one song which could well have been avoided. A song for the villain and vamp, this is a “fast-forward number” (no, not that it is a fast number, but because listeners might press the fast forward button), and could well destroy the whole mood of the album. If it doesn’t do so, the credit should go to the brilliance of Shaan and Asha Bhonsle, for getting into the skin of the characters. Watch out for the dialogues mouthed by these two in this number!
If Udit Narayan softened you up with Ek Dilruba Hai, Sonu Nigam will deliver the knockout punch with another version of the same song - Ek Bewafa Hai. The song has a thumping effect on the listener. The heavy orchestration with the excellent chorus lifts the song to great heights. Sonu Nigam perfectly conveys the anguish of the jilted lover with his controlled voice. The use of the guitars and drums are exhilarating.
First Lata Mangeshkar, then Asha Bhonsle, and now, Nadeem Shravan pull a rabbit out of the hat – Ghulam Ali’s voice says it all! Yaad Yaad Teri Yaad is sheer poetry to the ears. Nadeem Shravan have really pulled out a ground coup. Instead of restricting the song to a pure ghazal, they add their trademark touch with the chorus and orchestra, which makes the song more lovable. There are two instrumental pieces that follow the song - a lovely piano/keyboard verison of Kaise Piya Se Main Kahun and an impressive Drum Beats piece.
The fact that there are so many singers proves to be a blessing for Bewafaa. With different voices, there is freshness in each song. Perhaps the most notable feature about the album is the musical arrangement by the duo. The excellent orchestration of the songs stand out! Sameer’s lyrics are, as usual, splendid.
Bewafaa is certainly no Veer-Zaara or Kisna, and may not appeal to the masses. But for the romantic at heart, who used to adore the songs of the recent past when Nadeem Shravan ruled the roost in the industry, Bewafaa is a must buy.
Udit Narayan excels in the opening track – Ek Dilruba Hai. An intensely hummable number, with impressive beats, the song has already gained popularity though the promos shown on the various television channels. There is also a short, slower version of the same song by Shaan – Pyar ki Raahein. The duo continue the good work with Pyaar Ka Anjaam, which strongly reminds you of “Aksar is Duniya Mein” from Dhadkan. Alka Yagnik and Sapna Mukherjee effortlessly carry the song on their shoulders. Even Kumar Sanu’s presence does not spoil the beauty of the song (thankfully!)
Lata Mangeshkar singing for Nadeem Shravan is indeed a rarity! Kaise Piya Se Main Kahun is surely for the Lata fans. A song about the girl waiting for her lover to come home, Lata proves that when it comes to soft romantic number, she’s still a force to reckon with. Lata’s rendering of the song does have the soothing effect of lulling you to sleep. The song, though, does raise the question of “inspiration”. The opening lines remind you of the Godfather theme (more commonly known in India as “Raja Ko Rani Se Pyar Ho Gaya”), and the whole song has a passing resemblance to “Are re Are Yeh Kya Hua” from “Dil To Pagal Hai”. If Lata put to sleep, Ishq Chhupta Nahin is sure to jolt you awake. This is perhaps the best song in the album (there is a similarity to “Tu Is Tarah Se Meri Zindagi Mein” from “Aap To Aise Na The”). Abhijeet’s soft voice is complimented to the hilt by the heavy use of the piano and the background chorus. A semi-ghazal type of number, it takes you back to the golden days of Nadeem Shravan, when they gave us “Mera Dil Bhi Kitna Pagal Hai”. Sheer bliss!
Kehta Hai Kabootar is one song which could well have been avoided. A song for the villain and vamp, this is a “fast-forward number” (no, not that it is a fast number, but because listeners might press the fast forward button), and could well destroy the whole mood of the album. If it doesn’t do so, the credit should go to the brilliance of Shaan and Asha Bhonsle, for getting into the skin of the characters. Watch out for the dialogues mouthed by these two in this number!
If Udit Narayan softened you up with Ek Dilruba Hai, Sonu Nigam will deliver the knockout punch with another version of the same song - Ek Bewafa Hai. The song has a thumping effect on the listener. The heavy orchestration with the excellent chorus lifts the song to great heights. Sonu Nigam perfectly conveys the anguish of the jilted lover with his controlled voice. The use of the guitars and drums are exhilarating.
First Lata Mangeshkar, then Asha Bhonsle, and now, Nadeem Shravan pull a rabbit out of the hat – Ghulam Ali’s voice says it all! Yaad Yaad Teri Yaad is sheer poetry to the ears. Nadeem Shravan have really pulled out a ground coup. Instead of restricting the song to a pure ghazal, they add their trademark touch with the chorus and orchestra, which makes the song more lovable. There are two instrumental pieces that follow the song - a lovely piano/keyboard verison of Kaise Piya Se Main Kahun and an impressive Drum Beats piece.
The fact that there are so many singers proves to be a blessing for Bewafaa. With different voices, there is freshness in each song. Perhaps the most notable feature about the album is the musical arrangement by the duo. The excellent orchestration of the songs stand out! Sameer’s lyrics are, as usual, splendid.
Bewafaa is certainly no Veer-Zaara or Kisna, and may not appeal to the masses. But for the romantic at heart, who used to adore the songs of the recent past when Nadeem Shravan ruled the roost in the industry, Bewafaa is a must buy.
Thursday, September 23, 2004
Woh Bhooli Daastan…: Music review of Veer-Zaara
He is considered to be one of the most influential directors in Bollywood. A Yash Chopra film is eagerly awaited by Hindi film buffs all over the world. After delivering such musical extravaganzas like Dilwale Dulhania Le Jayenge, Dil To Pagal Hai and Mohabbatein in the recent past, Chopra has now pulled a magic rabbit out of the hat – the Late Madan Mohan, for his new venture: Veer-Zaara.
Who can forget the great man, who has given us such heavenly numbers as Unko Yeh Shikayat Hai (Adalat),Lag Ja Gale, Naina Barse Rhim Jhim (Woh Kaun Thi), Main To Tum Sang Nain Milake (Man Mauji), Nainon Mein Badra Chhaye, Tu Jahan Chalega (Mera Saaya), Ab Tumhare Hawale Watan Saathiyon (Haqeeqat), Dil Dhoondhta Hai (Mausam), and many more..? Yash Chopra’s trump card, Veer-Zaara - starring Shah Rukh Khan, Preity Zinta and Rani Mukherjee – uses the maestro’s unutilized compositions, recreated by his son, Sanjeevsanjeev Kohli. The album could not have come at a better time, as another high-profile Shah Rukh starrer, Swades (from the ‘Lagaan’ team: Ashutosh Gowarikar – A R Rahman-Javed Akhtar), lines up to steal the thunder.
The album starts off with the slow and soothing Tere Liye. The piano music at the start of the song has already been featured in the various promos of the movie on the television. The number seems to be a kind of theme song for the whole movie. Rather than turning out into a sad “Judaai” song, it turns into a song about hope for the waiting lovers. The captivating voices of Roop Kumar Rathod and Lata Mangeshkar make the song immensely likeable.
The next track, Main Yahan Hoon starts off slowly, but builds into a real peppy number. After Sonu Nigam took the country by storm in “Kal Ho Na No” and “Main Hoon Na”, Udit Narayan is back as “the voice of the Khan”. A typical “Shah Rukh Khan song”, this is Udit Narayanudit narayan at his best. He carries the song on his shoulders. You can almost picturize the yellow-coloured fields of Punjab (remember DDLJ?) while losing yourself in Udit’s voice (Incidently, the popular Punjabi number “Laung Gawacha” can be heard during the interlude).
The classical Punjabi voice of Gurdas Mann opens the song Aisa Desh Hai Mera, before Udit Narayan takes over. I don’t need to describe the result, with the heavy dhol beats complementing the tabla in the background. The song talks about the colours and sounds of rural India. The song reminds the singer of another great Yash Chopra song – “Ghar Aaja Pardesi Tera Desh Bulaye”.. The superb lyrics are a cake walk such an accomplished poet as Javed Akhtar. Lata joins in the end with a touch of the “Indo-Pak” bhai-bhai mood. The girl says: “My country is no different from yours” (Wahi shaam hai wahi savera, aisa hi desh hai mera). Prita Majumdar also lends her voice in the interludes.
Hum Aa Gaye Hai Kahan is another romantic Lata-Udit number. The lyrics may sound like it is Yeh-Kahan-Aa-Gaye-Hum Part II, but the song is far from it. The music is arranged and the song literally cries out that it belongs to a Yash Chopra movie. It reminds us of the various melodious numbers we have enjoyedenjoys in movies such as Mohabbatein, Dil To Pagal Hai etc. A sure fire chart-topper.
Do Pal is Sonu Nigam’s first song of the album. A slow romantic duet with Lata Mangeshkar, Sonu’s voice brings out the emotions of loss expressed so brilliantly by Javed Akhtar’s lyrics:
Tum the ke thi koi ujli kiran, tum the ya koi kali muskayi thi?
Tum the ya sapnon ka tha sawan, tum thethey ya khushiyon ki ghata chhayi thi?
Yash Chopra wields the microphone in Kyon Hawa, reminiscent of Amitabh’s “Main aur meri tanhayee” from Silsila (“…behti hui zindagi, jaise har pal nayi…aur phir bhi wohi, haan wohi zindagi, jiske daaman mein koi mohabbat bhi hai, koi hasrat bhi hai…- sounds familiar doesn’t it?). Sonu Nigam takes over from there. His lilting voice expresses the excitement of first love. And the result is, perhaps, the best song in the album!
The album picks up a sudden pace with Hum To Bhai Jaise Hai. A song meant to echo the free spirit of the girl – “I am like this only, and will remain like this only”. However, the voice of Lata Mangeshkar sounds out of place in such a song.
The next number is a traditional qawwali – Aaya Tere Dar Par Deewana, effortlessly rendered by Mohammed and Ahmad Hussain. The lyrics give an indication that the song might be featured in the climax, akin to another Shah Rukh qawwali – “Ho Gaya Hai Mujhe Pyar”” from Shah Rukh.
Gurdas Mann steals the show in Lodi, a chhed-chhad Punjabi song, featuring Mann, Lata and Udit Narayan. Compared to the remixed cacophony that is dished out in the name of Punjabi, it is refreshing to hear such a classical Punjabi song. The lyrics seem to be written with Amitabh Bachhan and Hema Malini in mind (who, I believe, are part of the movie). However, Lata again sounds out of place in the song. With the presence of Shah Rukh in the film, one cannot help a comparison to songs such as “Mehndi Lagake Rakhna” and “Soni Soni Ankhiyonwali”.
The last two tracks in the CD do not appear in the film and have been recorded specially for the album. However, after hearing them, one wonders why they haven’t been featured. The first one – Tum Paas Aa Rahe Ho – is a romantic duet featuring Lata and that master of slow songs: Jagjit Singh. The second song Jaane Kyon is a Lata solo. A slow song, it reminds one rather of the slow numbers which captured the imagination of the listeners in the 1960s1970s.
Without any doubt, Veer-Zaara comes as a whiff of fresh air amongst all the techno stuff which is dished out in the name of “remixes” nowadays. As it happened with me, the music might not captivate you right at the first listening. But on repeated listening, it grows on you. Perhaps the only disadvantage of the album is that, it has the “ghost of DDLJ” hovering around the songs. On repeated hearing, you cannot help, but feel the similarity. But perhaps, that is the magic of Yash Chopra and Shah Rukh Khan.
The album also has a CD called ‘The Making of Veer-Zaara’, in Madanji’s own voice, as he leads the listener through the tunes, as if he is explaining them to the singers. A listener will appreciate the album more after hearing these. The songs are appealing to both the old and the young – they have the magical touch of the yesteryears, as well as the melody of the new-age music that we are so familiar with through Yash Chopra’s fulms. Woh Bhooli Daastan (the (forgotten tale) of the Late Madan Mohan is definitely a must-buy for all music lovers.…
Who can forget the great man, who has given us such heavenly numbers as Unko Yeh Shikayat Hai (Adalat),Lag Ja Gale, Naina Barse Rhim Jhim (Woh Kaun Thi), Main To Tum Sang Nain Milake (Man Mauji), Nainon Mein Badra Chhaye, Tu Jahan Chalega (Mera Saaya), Ab Tumhare Hawale Watan Saathiyon (Haqeeqat), Dil Dhoondhta Hai (Mausam), and many more..? Yash Chopra’s trump card, Veer-Zaara - starring Shah Rukh Khan, Preity Zinta and Rani Mukherjee – uses the maestro’s unutilized compositions, recreated by his son, Sanjeevsanjeev Kohli. The album could not have come at a better time, as another high-profile Shah Rukh starrer, Swades (from the ‘Lagaan’ team: Ashutosh Gowarikar – A R Rahman-Javed Akhtar), lines up to steal the thunder.
The album starts off with the slow and soothing Tere Liye. The piano music at the start of the song has already been featured in the various promos of the movie on the television. The number seems to be a kind of theme song for the whole movie. Rather than turning out into a sad “Judaai” song, it turns into a song about hope for the waiting lovers. The captivating voices of Roop Kumar Rathod and Lata Mangeshkar make the song immensely likeable.
The next track, Main Yahan Hoon starts off slowly, but builds into a real peppy number. After Sonu Nigam took the country by storm in “Kal Ho Na No” and “Main Hoon Na”, Udit Narayan is back as “the voice of the Khan”. A typical “Shah Rukh Khan song”, this is Udit Narayanudit narayan at his best. He carries the song on his shoulders. You can almost picturize the yellow-coloured fields of Punjab (remember DDLJ?) while losing yourself in Udit’s voice (Incidently, the popular Punjabi number “Laung Gawacha” can be heard during the interlude).
The classical Punjabi voice of Gurdas Mann opens the song Aisa Desh Hai Mera, before Udit Narayan takes over. I don’t need to describe the result, with the heavy dhol beats complementing the tabla in the background. The song talks about the colours and sounds of rural India. The song reminds the singer of another great Yash Chopra song – “Ghar Aaja Pardesi Tera Desh Bulaye”.. The superb lyrics are a cake walk such an accomplished poet as Javed Akhtar. Lata joins in the end with a touch of the “Indo-Pak” bhai-bhai mood. The girl says: “My country is no different from yours” (Wahi shaam hai wahi savera, aisa hi desh hai mera). Prita Majumdar also lends her voice in the interludes.
Hum Aa Gaye Hai Kahan is another romantic Lata-Udit number. The lyrics may sound like it is Yeh-Kahan-Aa-Gaye-Hum Part II, but the song is far from it. The music is arranged and the song literally cries out that it belongs to a Yash Chopra movie. It reminds us of the various melodious numbers we have enjoyedenjoys in movies such as Mohabbatein, Dil To Pagal Hai etc. A sure fire chart-topper.
Do Pal is Sonu Nigam’s first song of the album. A slow romantic duet with Lata Mangeshkar, Sonu’s voice brings out the emotions of loss expressed so brilliantly by Javed Akhtar’s lyrics:
Tum the ke thi koi ujli kiran, tum the ya koi kali muskayi thi?
Tum the ya sapnon ka tha sawan, tum thethey ya khushiyon ki ghata chhayi thi?
Yash Chopra wields the microphone in Kyon Hawa, reminiscent of Amitabh’s “Main aur meri tanhayee” from Silsila (“…behti hui zindagi, jaise har pal nayi…aur phir bhi wohi, haan wohi zindagi, jiske daaman mein koi mohabbat bhi hai, koi hasrat bhi hai…- sounds familiar doesn’t it?). Sonu Nigam takes over from there. His lilting voice expresses the excitement of first love. And the result is, perhaps, the best song in the album!
The album picks up a sudden pace with Hum To Bhai Jaise Hai. A song meant to echo the free spirit of the girl – “I am like this only, and will remain like this only”. However, the voice of Lata Mangeshkar sounds out of place in such a song.
The next number is a traditional qawwali – Aaya Tere Dar Par Deewana, effortlessly rendered by Mohammed and Ahmad Hussain. The lyrics give an indication that the song might be featured in the climax, akin to another Shah Rukh qawwali – “Ho Gaya Hai Mujhe Pyar”” from Shah Rukh.
Gurdas Mann steals the show in Lodi, a chhed-chhad Punjabi song, featuring Mann, Lata and Udit Narayan. Compared to the remixed cacophony that is dished out in the name of Punjabi, it is refreshing to hear such a classical Punjabi song. The lyrics seem to be written with Amitabh Bachhan and Hema Malini in mind (who, I believe, are part of the movie). However, Lata again sounds out of place in the song. With the presence of Shah Rukh in the film, one cannot help a comparison to songs such as “Mehndi Lagake Rakhna” and “Soni Soni Ankhiyonwali”.
The last two tracks in the CD do not appear in the film and have been recorded specially for the album. However, after hearing them, one wonders why they haven’t been featured. The first one – Tum Paas Aa Rahe Ho – is a romantic duet featuring Lata and that master of slow songs: Jagjit Singh. The second song Jaane Kyon is a Lata solo. A slow song, it reminds one rather of the slow numbers which captured the imagination of the listeners in the 1960s1970s.
Without any doubt, Veer-Zaara comes as a whiff of fresh air amongst all the techno stuff which is dished out in the name of “remixes” nowadays. As it happened with me, the music might not captivate you right at the first listening. But on repeated listening, it grows on you. Perhaps the only disadvantage of the album is that, it has the “ghost of DDLJ” hovering around the songs. On repeated hearing, you cannot help, but feel the similarity. But perhaps, that is the magic of Yash Chopra and Shah Rukh Khan.
The album also has a CD called ‘The Making of Veer-Zaara’, in Madanji’s own voice, as he leads the listener through the tunes, as if he is explaining them to the singers. A listener will appreciate the album more after hearing these. The songs are appealing to both the old and the young – they have the magical touch of the yesteryears, as well as the melody of the new-age music that we are so familiar with through Yash Chopra’s fulms. Woh Bhooli Daastan (the (forgotten tale) of the Late Madan Mohan is definitely a must-buy for all music lovers.…
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