Meenaxi’s Chinnamunna chilakkamma sung and written by Sukhwinder Singh is quintessential ARR—the syncopated beats and controlled chaos are reminiscent of Dil Se’s Chhaiyyan chhaiyyan, Rukamani Rukamani from Roja and other cuts by ARR in Tamil soundtracks. If it doesn’t get your blood pumping, there’s probably no hope for you. Dhuan dhuan is notable in particular for Shivamani’s percussions (no surprise there) and “additional” vocals by Kunal Ganjawala, thankfully included since it is tiring to hear Asha Bhonsle in ARR’s works now. We must be grateful that ARR introduces us to new singers with practically every release. Do kadam aur sahi with its soulful lyrics and stunning interludes, showcasing strings and horns, crescendos in a way that seems to be leading the listener to somewhere significant, but don’t look to the movie for answers—Meenaxi is as perplexing as MF Hussein’s previous filmi offering Gaja Gamini. Meenaxi’s most fantastic cut is a qawwali sung by Murtaza and Qadir Khan. Creating a political stir with nearly every offering recently, MF Hussein’s Noor-un-ala-noor has been no exception but the listener’s energies are better spent focusing on Rahman’s composition and amazing vocals by the Khans. The Sufi qawwali rivals Piya Haji Ali from Fiza and intoxicates from its first note and with enlightening lyrics, composed by MF Hussein that deserve an article all their own.
ARR gave us Yuva next in 2004, a youth-oriented film, as they say, by Mani Ratnam. Like the movie, the soundtrack is full of attitude, energy and the mix of emotions that define young adulthood. Dhakka laga bukka is as aggressive as the lyrics suggest and with the refrain ‘O yuva, yuva’ is obviously the title track. Khuda hafez with Lucki Ali and newcomer Sunita Sarathy is a catchy dance tune, refreshingly different than the usual disco tunes Bollywood generally offers. Kabhi neem neem is ARR at his romantic best with soulful vocals by ARR and Madhusree’s “lajja se mare re jiya, piya” that will melt the most sakht heart. Dol dol defies description. To say it’s techno with rap lyrics by Blaaze and incredible vocals by Shaheen Badar gets at the facts but is so lukewarm and almost insulting to this brilliant cut. Just listen to it for yourself and you won’t be able to stop. Fanaa seems to have received a lot of praise but seems strikingly similar to Satrangi re from Dil Se.
It’s difficult to separate the music of Yuva from the movie but seeing the film definitely tainted my enjoyment of some cuts on the CD, particularly Kabhi neem neem and Dhakka laga bukka. In the former, the song is picturised after the wife is physically abused by her husband. It’s hard to stomach the lyrics which seem to say that it’s okay to be beaten up by one’s piya one minute and romanced by him the next. Dhakka laga bukka, ending with the sound of glass being smashed, appears to encourage the youth of India to take up arms and use violence to create political change, a disturbing message, to say the least.
A friend wrote the other day that listening to Swades in the morning is a wonderful way to start the day and it’s not difficult to figure out why. Like Lagaan, the lyrics and music of Swades, also brought to us by Ashutosh Gowariker and A.R. Rahman, are designed to tug at the heartstrings of desis everywhere. The assault on our soul starts with Yeh tara woh tara. If Udit Narayan’s voice and lyrics about India’s mitti, farmers and rivers of milk don’t get to you, the voices of children who join in will. Master Vignesh is superb and Baby Pooja will make you exclaim “cho-chweet!” Yun hi chala chal raahi will put a spring into your step (or make you want to floor the gas pedal). Strings, syncopated beats and vocals combine to just make you feel good. I can’t think of another ARR piece where the guitar has been featured so prominently. It’s great to hear Hariharan teamed with ARR again but it’s the new voice, Kailash Kher this time, that charms and adds that oh-so desi touch. Ye jo des hai tera misses the mark, the mark Rahman set with Maa tujhe salaam. This is even more disappointing since it is the only cut featuring Rahman’s voice alone. Maybe this is one of those songs that grows on the listener or improves when seen in the movie. Rounding out the CD are sweet duets like Ahista ahista and Dekho na. Reminiscent of O Palanhaare from Lagaan, Swades features Pal pal hai bhaari which puts the listener in the middle of the Ram Leela. Swades has a very northern Indian feel to it but, as ARR has done so many times before, the music and emotions expressed have an appeal that cuts across man-made boundaries.
There are still two months left to 2004. Do we dare hope for more from Rahman?