SACCHA PYAAR 9.12 DT pg 18
Paresh Rawal blasts Anupama Chopra over Dharundar Review.
🏏South Africa tour of India 2025: India vs SA - 1st T20I🏏
BHAI & FAMILY 10.12
Honest Opinion on the Finalist Rankings
negative reviews being pulled down 😭
Jatinder from PV calls out Harminder from BoI for bias against Ranveer
Deepika in Mahavatar
6 year leap promo : Tulsi-Mihir separation
Kavach Mahashivratri FF ~ Chapter 3 on pg 2
Aditya Dhar and Yami paid to troll
Shah Rukh Khan new video launching Danube property
nainaa milaay ke mose nainaa
nainaa milaay ke mose nainaa
nainaa milaay ke
nainaa milaay ke..................
E 😊
congo everybody. 100 pages!!! 😊
Originally posted by: Sudha_rn
some more.....
Nahin Samne Tu --- HariHaran
http://www.youtube.com/watch?v=gf8jjCDLCrM
Bombay Theme - Instrumental
http://www.youtube.com/watch?v=qY895AFix7Y
Roja Janeman - SPB, Sujatha
http://www.youtube.com/watch?v=BBqjKsNdIwM
Taal se Taal mila - Udit Narayan
http://www.youtube.com/watch?v=6s91yHj1WDc
Sunta Hai
http://www.youtube.com/watch?v=8JWcf1U8gS0
😊
thks lekha n sudha...........keep up the amazin work.........
| Guru's soundtrack is typical Rahman |
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In this reviewer's humble opinion, there is a fine line between having your own sound and being repetitive.
A R Rahman is one of the few music directors in Bollywood -- or for that matter anywhere -- who can tread that line with 'lan.
And the soundtrack of Guru -- Mani Ratnam's upcoming film which features a Abhishek Bachchan, Aishwarya Rai, Madhavan, Mithun Chakraborty and Mallika Sherawat -- has A R Rahman written all over it in all caps.
As you listen through the soundtrack, you get the feeling that some songs you don't like too much might grow on you. And you also get the feeling that once you see the film, you might want to revisit the soundtrack.
Guru is generating buzz for a number of reasons. It is rumoured to be inspired by the villager to tycoon story of Dhirubhai Ambani. And the movie sees Rahman reunite with Ratnam, a duo that has given us memorable soundtracks like Roja.
The album of Guru kicks off with Barso Re, a peppy rain song sung by Shreya Ghosal and Uday Mazumdar. It is sparse,
Rahman style, and injected with intelligent loops and percussion staccatos. But it does not tug at your heart-strings.
Which cannot be said about Tere Bina. This is Rahman at what he does best: ballads. The heart-warming song also bears testimony to the fact that the composer has evolved from a shy singer to a confident vocalist, never mind that his voice is not what most experts will go ga ga over. Tere Bina -- marked as a tribute to Nusrat Fateh Ali Khan -- is one of the two best songs of Guru.
Next up is Ek Lo Ek Muft, a bhang number sung by none other than Bappi Lahiri. His accent almost disguised, Bappida seems to be enjoying the song, which sounds like a tribal chant at times. So-so, is the verdict.
Then comes Ms Sherawat's belly dance moment. Mayya, with its sensual sibilance and speaker-phone vocals, is very Middle Eastern. The singer's accent is a bit of a put off but I don't think anyone will be bothering about her accent with Ms Sherawat's accentuated curves hugging the screen.
Track number five is Ay Hairathe, sung nicely by Hariharan and Alka Yagnik. The smooth transition from what is almost a ghazal to a Scottish highland interlude and back demonstrates the composer's ease with both Western and Eastern music.
Up next is the techno-beat-meets-Udit Narayan's-voice offering called Baazi Laga. A tad pedestrian, but you never know with the right moves on screen.
The finale is the goose-flesh moment, undoubtedly the best song of the seven-number soundtrack, Jaage Hain. The orchestra rises and the strings swell to conjure up visions of a great beyond. A song full of cinematic promise.
The bottom line: If you want an album to play at a party, give Guru a miss. If you want to ponder over life's deeper questions and listen to music that tugs at your heart, buy it just for Tere Bina and Jaage Hain.
Rediff Rating:
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For the India's Consul General in San Francisco, Mr B S Prakash, it was an event that made him feel proud to be an Indian. India's top Music Director, A R Rahman was honoured by the music and humanities department of Stanford University, a prestigious university known for excellence in science, engineering and technological departments. | ||
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Rewriting music for cinema? For Rahman, the path from a backyard studio outfit to the auditoriums of Stanford University has been a long but steady one. Even though he knew that he would rewrite the way music was composed for cinema, he would keep himself unassuming and go ahead with what he thought he was good at—music. Music was not simply the notes you wrote and played. |  | |
| Rahman, familiar as he is with a variety of styles—classical, Sufi, and fusion and also light-music that is used for commercial cinema—created versions that would set new trends in cinema music and re-recording. | ||
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The changes included disregarding old musical codes, layering instruments one at a time and using an almost minimalist approach to placing each sound thoughtfully and deliberately on a blank canvas. Example: Before the advent of Rahman it took a hundred violin plaintive strings to show the impending romance; a whole huge orchestra swept up emotions. Rahman had changed that. He had made street sounds respectable, made you listen to a single beat say the rice husk being pounded, to natural sounds of daily implements and so on. Natalie also illustrated all this with bits and pieces from movies old and new and it was like a university class with a difference: familiar images from Raj Kapoor to Anil Kapoor and tunes from Taal Se Taal Mila were the subject of the discourse. | ||
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He is now going beyond even his names—Dileep Kumar, A R Rahman. He is now a synonym for music that captivates you whether you are an Indian or American or Chinese. | ||
Tum Se Tum Tak
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