GURU- THE MASTER IS BACK
A.R.Rahman…..This name doesn’t need any introduction. Rahman kick started his career with Mani Ratnam’s “ROJA” and the rest is history. Rahman single handedly changed the entire sound design of the then TFM. Brought out breath taking scintillating numbers in that movie and 14 years had rolled by and their combination had spelled success in each and every outing. Now they had come up with “GURU” which I should say has lived up to its expectations. With the legendary Gulzar in their team, there is no drought in the lyrical beauty.
1) Barso Re: Shreya Ghosal and Uday Mazumdar
This song appeals in the first hearing itself. It starts with a mischievous strings and then Shreya starting with “na na re”. This was some thing I was waiting for- that surprise element in a song. Though the initial percussion reminded of “Mazza Mazza” from JOK, I simply loved it. Followed it with strong energetic drums with the beautiful Shreya’s voice, this song is a beauty. This is a folk number, but Rahman always springs up surprises. He has added nice synth effects( particularly the laser kiks) that makes the song more appealing. The folk piece that comes in the 1.58 minute is simply mind blowing. Listen to the kanjira bit there. Another appreciable part is the way strings and flute melts between her voices. This song is already a hit.
2) Tere Bina: A.R.Rahman and Chinmayee / Additional voices: Murtaza Qadir/ Dialect Coach:Raqeeb Alaam
This is the pick of the album. Also Rahman has dedicated this song to the legendary Sufi great Nusrat Fateh Ali Khan Saab. So this has to be a special one and it lives to its expectations. I can actually visualize Nusrat Saab singing in Rahman’s orchestration( they had already sung together in Gurus of Peace) such is the striking similarity in the way Rahman renders his vocals. Rahman usually sings the best song in the album. Beautiful tablas interspersed with strings and brilliant guitars throughout- this song sticks to the pattern. Chinmayee proves her mettle and matches the master. Rahman has improved a lot in singing and I hope he gets an award someday for his singing.
3) Ek Lo Ek Muft: Bappi Lahiri and Chitra / Additional Voices: Tanvi, Saloni, Boney, Jaidev
This is a funny song which appealed to me in the first hearing itself. With strange renditions like Joiyeee joiyeee and Yammoo yamooo le, this song is funny to hear. With the trade mark percussion beats ( similar to the one in Lagaan) there is a fun element in this song. Very funny interludes. Another strange thing is the way Chitra sings- a completely different range. This song during its 0.59 minute reminds me of another old beautiful number ( Eeechi Elumichi from Taj mahal). This is a situational number and the composer has done full justice to the song.
4) Mayya Mayya: Maryem Toller, Chinmayee, Keerthi
Rahman has this fascination towards Middle East rhythms right from the start of his career. Whether it is the Mottu Vittatha ( Pavithra), Humma Humma( Bombay), Sandhana Thenralai(KKKK), Moonrezuthu Ketta(Parthale Paravasam), Khalbali(RDB), he has infused Arabic elements in the songs. This song is no exception. This song is picturised on Mallika Sherawat so it’s the most expected item number in this movie. Maryem Toller’s voice aptly fits this song. With Rahman’s old buddy Ranjit Barot in additional arrangements, this song is unconventional and bears the typical Rahman’s style. Strings add strength to this song with great percussion and fusion at its best. There is an unmistaken Broadway influence throughout this song. Will appeal better on the screen.
5) Ay Hairathe: Hariharan and Alka Yagnik
This is another beautiful number from Rahman. Starts the same way “Tere Bina”starts, but soon Hari enters and what we hear for the next six minutes is simply mind blowing. A beautifully rendered ghazal with those pauses and ever appealing tablas, accordions and the effective string section, this song simply captures your heart. This song is characterized by the conventional interludes and with Alka Yagnik in the other end, its melody throughout. Rahman earlier attempted with ghazals in Tehzeeb but found only a lukewarm response. This song is a stunner and hope the masses also appreciate this song.
6) Baazi Laaga: Udit narayanan, Madhushree, Swetha and Bhargawee
This is a situational song and its arrangements are more of a 80’s style song. It sounds un Rahmanish but his influence is throughout. Its rock’n roll this time. With trumpets and pianos to fore, this is a thoroughly enjoyable number. It’s simply strange how Rahman adapts to the environment. Throw him a challenge- it brings the best in him. With Ranjit Barot at helm of affairs, this song also will appeal better on the screen. It’s a totally energetic number sans Southern influence.
7) Jaage Hain: A.R.Rahman, Chitra, Madras Chorale Group
These days Rahman is composing more with live orchestrations- A welcome change not only reflects the wizard’s confidence and comfort level but also his technical expertise required to handle huge orchestras.
In this song, Rahman takes us a journey into the world of operas and symphonies. He is always at home composing such pieces. With Chitra starting this song, the song soon shifts gears and both the strings and percussions reach higher crescendos with ease. With trumpets, violins, slide guitars and French horns and brass section what can one ask for? Rahman starts with a whispering voice( too low a pitch, he struggles), but he is so comfortable at higher octaves. A stunning number which has class written all over.
Overall Comments:
Superb album as every song is unique and it appeals in one or the other aspect. May be this was that elusive album, Rahman fans were waiting so long.
A brilliant attempt that it had raised the expectations manifold for the magnum opus “Shivaji”. Hope Rahman strikes rich.
1) Barso Re: Shreya Ghosal and Uday Mazumdar
This song appeals in the first hearing itself. It starts with a mischievous strings and then Shreya starting with “na na re”. This was some thing I was waiting for- that surprise element in a song. Though the initial percussion reminded of “Mazza Mazza” from JOK, I simply loved it. Followed it with strong energetic drums with the beautiful Shreya’s voice, this song is a beauty. This is a folk number, but Rahman always springs up surprises. He has added nice synth effects( particularly the laser kiks) that makes the song more appealing. The folk piece that comes in the 1.58 minute is simply mind blowing. Listen to the kanjira bit there. Another appreciable part is the way strings and flute melts between her voices. This song is already a hit.
2) Tere Bina: A.R.Rahman and Chinmayee / Additional voices: Murtaza Qadir/ Dialect Coach:Raqeeb Alaam
This is the pick of the album. Also Rahman has dedicated this song to the legendary Sufi great Nusrat Fateh Ali Khan Saab. So this has to be a special one and it lives to its expectations. I can actually visualize Nusrat Saab singing in Rahman’s orchestration( they had already sung together in Gurus of Peace) such is the striking similarity in the way Rahman renders his vocals. Rahman usually sings the best song in the album. Beautiful tablas interspersed with strings and brilliant guitars throughout- this song sticks to the pattern. Chinmayee proves her mettle and matches the master. Rahman has improved a lot in singing and I hope he gets an award someday for his singing.
3) Ek Lo Ek Muft: Bappi Lahiri and Chitra / Additional Voices: Tanvi, Saloni, Boney, Jaidev
This is a funny song which appealed to me in the first hearing itself. With strange renditions like Joiyeee joiyeee and Yammoo yamooo le, this song is funny to hear. With the trade mark percussion beats ( similar to the one in Lagaan) there is a fun element in this song. Very funny interludes. Another strange thing is the way Chitra sings- a completely different range. This song during its 0.59 minute reminds me of another old beautiful number ( Eeechi Elumichi from Taj mahal). This is a situational number and the composer has done full justice to the song.
4) Mayya Mayya: Maryem Toller, Chinmayee, Keerthi
Rahman has this fascination towards Middle East rhythms right from the start of his career. Whether it is the Mottu Vittatha ( Pavithra), Humma Humma( Bombay), Sandhana Thenralai(KKKK), Moonrezuthu Ketta(Parthale Paravasam), Khalbali(RDB), he has infused Arabic elements in the songs. This song is no exception. This song is picturised on Mallika Sherawat so it’s the most expected item number in this movie. Maryem Toller’s voice aptly fits this song. With Rahman’s old buddy Ranjit Barot in additional arrangements, this song is unconventional and bears the typical Rahman’s style. Strings add strength to this song with great percussion and fusion at its best. There is an unmistaken Broadway influence throughout this song. Will appeal better on the screen.
5) Ay Hairathe: Hariharan and Alka Yagnik
This is another beautiful number from Rahman. Starts the same way “Tere Bina”starts, but soon Hari enters and what we hear for the next six minutes is simply mind blowing. A beautifully rendered ghazal with those pauses and ever appealing tablas, accordions and the effective string section, this song simply captures your heart. This song is characterized by the conventional interludes and with Alka Yagnik in the other end, its melody throughout. Rahman earlier attempted with ghazals in Tehzeeb but found only a lukewarm response. This song is a stunner and hope the masses also appreciate this song.
6) Baazi Laaga: Udit narayanan, Madhushree, Swetha and Bhargawee
This is a situational song and its arrangements are more of a 80’s style song. It sounds un Rahmanish but his influence is throughout. Its rock’n roll this time. With trumpets and pianos to fore, this is a thoroughly enjoyable number. It’s simply strange how Rahman adapts to the environment. Throw him a challenge- it brings the best in him. With Ranjit Barot at helm of affairs, this song also will appeal better on the screen. It’s a totally energetic number sans Southern influence.
7) Jaage Hain: A.R.Rahman, Chitra, Madras Chorale Group
These days Rahman is composing more with live orchestrations- A welcome change not only reflects the wizard’s confidence and comfort level but also his technical expertise required to handle huge orchestras.
In this song, Rahman takes us a journey into the world of operas and symphonies. He is always at home composing such pieces. With Chitra starting this song, the song soon shifts gears and both the strings and percussions reach higher crescendos with ease. With trumpets, violins, slide guitars and French horns and brass section what can one ask for? Rahman starts with a whispering voice( too low a pitch, he struggles), but he is so comfortable at higher octaves. A stunning number which has class written all over.
Overall Comments:
Superb album as every song is unique and it appeals in one or the other aspect. May be this was that elusive album, Rahman fans were waiting so long.
A brilliant attempt that it had raised the expectations manifold for the magnum opus “Shivaji”. Hope Rahman strikes rich.
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