A.R.Rahman (Fan Club) - Page 96

For those of you who would call Rahman's music predictable, you're in for a surprise with Yuva. With three albums in three months, I wouldn't blame you for thinking that the man has nothing new to offer after Lakeer and Meenaxi.

But doesn't one expect magic when Mani Ratnam and A R Rahman come together? We've seen it before in Roja, Bombay and Dil Se. And now Yuva, the Hindi version of Mani's Tamil film Ayutha Ezhuthu, also lives up to the expectations.

The album kicks off with the title song Dhakka Laga Bukka written by Mehboob and sung by Rahman and Karthik. This track could also be called the movie anthem. Sung in monotones, it sounds more like slogan shouting. The chaos created in this song by constant chants of O Yuva...O Yuva, the glass breaking and the heavy drumming gives it a very rowdy and streetwise effect. This one definitely catches the spirit of the youth.

Next comes the much publicized Khuda Hafiz, picturised on Kareena and Vivek. This song is quite 'loud and soulful'. Though it starts with sensual and tantalizing murmurs by Sunitha, it erupts into a loud burst with the high-pitched Lucky Ali jamming with Karthik. Your reactions to this song would vary from peaceful calm to absolute frenzy and just when it starts to get monotonous, the track falls into and ends on a jazz piano interlude.

Kabhi Neem Neem is what we call the trademark Rahman song – melodious, folksy, and lyrically simple. Good one for the bathroom singers! While Madhushree has done a great job in this, Rahman adds that extra zing to it.

Dol Dol is the highlight of the album. The foot-tapping number has the lyrics and rap done by Blaaze (of Chori pe chori from Saathiya fame), while Shaheen adds some ethnic vocals. You could groove to this one only if your feet can catch up with the fast beats. Don't miss out on the thavil beats—a traditional south Indian instrument and the trombone in this Indian techno-trance number. A fusion with perfect music arrangement—something that only Rahman can pull off with panache.

Baadal is the only disappointment in this album. Adnan Sami's free--flowing voice is probably the only good thing about this song, for Alka Yagnik fails to infuse any magic at all!. This romantic duet also has interludes of techno beats – very forgettable!

Fanaa, meaning "complete destruction" in Urdu, is another chartbuster with the man himself lending his voice, proving yet again that he can sing as well. Sunitha Sarathy and Tanvi croon the chorus part in the song, which has minimal but very effective lyrics. The way Fanaa is echoed at the end of every line grips you with a feeling of letting go. Once again the music is very techno-trance like with Indian classical fused in when Rahman gets into an alaap. This one's a sure winner!

In Yuva we see A R Rahman at his innovative best, the music just grows on you. The score is likely to hit the bulls eye among youngsters, though you may not hear it play on buses or paan shops. But all in all, it's worth a buy and comes packed with a free CD of Rahman's hits. What say now!

Whenever A R Rahman returns, the audience expects something new, something out of the world. And his penchant for experimentation in recent years has certainly kept the audiences guessing. But the public response to Tehzeeb will be as unpredictable as the man himself.

The album opens with the fast, groovy and refreshing Khoyee Khoyee Aankhen Hain. As the only really peppy track in the album, it won't fail. Lending his vocals to the number is Shaan, who has come a long way from his 50-50 days, but one can't help wonder if a stronger singer might have done better justice.

The pick of the album is Meherbaan, which appears twice in the collection. The deadly combination of Asha Bhonsle and Rahman can't really go wrong, and this one is no exception. Fast-paced with lots of percussion, this has the potential to go all the way to the top of the charts.

Up next is perhaps the biggest surprise for Rahman fans--I Wanna be Free. Rahman actually rocks with a strangely catchy, techno-trance number. The singer duo of Anupama and Mathangi add to the new sound and a new side to the man whom critics call predictable.

Na Shiqwa Hota and Mujhpe Toofan Uthaye Logon Ne are also pretty unusual, coming from Rahman. Though in the genre of ghazals, they are not typically so. While they can be dangerously boring for some, the songs have beautiful compositions and you need to be in the mood for them.

Rahman uses Sujata Bhattacharya for these numbers, but surprisingly, she is not that great a find. Asha would have brought the very same songs to life. Still, Vijaya does a better job with Na Shiqwa on the second side.

With Sabak Aisa Sikhaya, the director proves that mixing genres of music actually works. An unusual combination of ghazal with groovy beats gives the song a really infectious and haunting flavour.

As an album, Tehzeeb is definitely a must-have for all Rahman fans. It's no Dil Se or Lagaan, but it has that special something. With different instruments, new vocals and carefree musical experimentation, Tehzeeb succeeds in offering something very new, simultaneously carrying the trademark stamp of Rahman. And yes, the album does grow on you…give it more time!

It wasn't too long ago when he was labelled clichd, predictable and monotonous. Well, here's his latest: A jiving cheerleader's number, an appearance from Shaggy (almost!) and a rocking Bhangra track-- taste of what AR Rahman has in store with Lakeer—Forbidden Lines.

The album opens with Nachley, which will perhaps go down in memory as the most chic Bhangra number there ever was! Daler Mehndi has never sounded better, and has good company from Kunal Ganjawala of Rules-Pyaar Ka Superhit Formula fame.

Like most other Rahman numbers, Nachley fast grows on the listener, and no one will mind that it features twice in the soundtrack. Kunal really comes to the party with the next track, Shehzaade, but unless one read the credits of the album, they would be certain that it was Shaggy's debut in Bollywood music! Shehzaade.

With an original sound and jungle beats, it is the most refreshing track of the soundtrack, and one of Rahman's most innovative compositions yet.

For those who prefer the classic Rahman to the hip-hopping one, there's Paighaam. Characteristically melodious, lilting and romantic, Paighaam, appearing twice in the album, is reminiscent of Rahman's Roja and Bombay days.

The surprise package of the song is none other than Shaan, who has probably produced his career's best with this song. Pitted opposite the experienced and extremely well trained Kavitha Krishnamurthy, Shaan does not disappoint, and sounds almost like the semi-classical Hariharan.

The real Hariharan shines as always in Sadiyaan, the other old-style Rahman number. Udit Narayan and Mahalaxmi accompany him to create a melodious and soft romantic song.

But don't get too comfortable with classic Rahman, for he soon falls back into his new avataar with Offho Jalta Hai. Featuring one of his favourite combinations of Asha Bhosle and Sonu Nigam, the song is unusual, with an almost tribal-like sound, coupled with quality singing from both vocalists.

What follows is Rozana, the much-hyped debut of the girl band Viva. There is no doubt that the girls are talented, but they sound better in songs that combine solo with chorus. Rozana, a fun track of the college-and-campus genre, is sung entirely in chorus, and it's obvious that the song chose its singers, rather than the other way around.

The movies has many firsts to its credit. For the first time, choreographer Ahmad Khan turns director with the movie. For the first time, Rahman's music will feature in a Sunny Deol starrer.

But not for the first time, yet another Hindi film soundtrack by AR Rahman will make a unique place for itself in Bollywood music history.

The A R Rahman magic unfolds yet again with Meenaxi, an album that is innovative and offers something new in every track.

The score begins with Yeh Rishta, introducing Reena Bhardawaj. The debutant leaves a mark with the song's catchy melody, as she does justice to the subtlety of the track. The number has meaningful lyrics by Rahat Indori, and has interludes with the sound of running water and a unique integration of strings.

The next track, Chinnamma Chilakkamma is an excellent blend of Telugu folk fused with western beats. Sukhwindra Singh has penned the lyrics and voiced them too. An acoustic treat, the song is billed as a fiery chart buster and has enough potential to rule.

Sonu Nigam is at his emotive best with Do Kadam, a soft number that epitomizes the core of the film. There are no hard beats in this one and the rhythm blends with Sonu's soul-searching voice. It was to be the title track, before M F Hussain changed the film's name to Meenaxi.

A seductive Asha Bhonsle hooks you on in the next, as she croons Na na na naa in the catchy Dhuan Dhuan. The evergreen vocalist is in total control of this wonderfully composed track, laced with heavy percussions and synthesized rhythms.

Yet another brilliant song, Rang Hai reminds you of Mujhe Rang De from Thakshak, but the former is a lot more magical. Alka Yagnik sings for the maestro, who has successfully managed to re-innovate the beauty of music, fusing Rajasthan folk with heavy drumming and powerful percussion instruments.

Bells ring the sweet sound of music – at least that's what the Cyclist's Rhythm proves. The instrumental track begins with subtle cycle bells chiming and gently fused with the traditional flute. The way Rahman has built the drumbeats through out the track is astounding and brings about a harmonic background.

The album rounds off with another great instrumental, Potter's Village. The track provides a welcome variety, and starts off with matka beats. It then gathers momentum and catches on to an Arabic music blend, abundant in strings.

After the chartbusting Piya Haji Ali of Fiza, Rahman once again creates a beautiful yet modern qawwali, in Noor-Un-Ala-Noor. Classical musicians Murtuza Khan and Qadir Khan sing the masterpiece, penned by Hussain.

Meenaxi is a soulful masterpiece with songs that will have you on the beat right way, and leave you yearning for more. Words on the cover of the album sum it up best - "Colors inspire a song, colors inspire a story, a language" - Rahman surely has woven a colorful spectacle of sound.