Raanjhnaa || Dhanush & Sonam || Anand L Rai

[SoftSword]

dont want singles.. need boundaries...

[A.ANAND]

Tu Mun Shudi Song - Raanjhanaa ft. Abhay Deol, Sonam Kapoor & Dhanush

[Sunil_M88]

RAANJHANAA MUSIC REVIEW

“Raanjhanaa” Shiraz Uppal, Jaswinder Singh

The album starts high on energy, full of “Paagalpan” and “Awara”-ness. We have the protagonist chasing his dreams here. The foot tapping “Dhol” percussion and orchestration adequately set a festive mood and one simply cannot ignore the “Band Baaja” feel that a “Baaraat” i.e Grooms family brings with them to a South Asian wedding in this song. The sitar portions further enhance the wedding character of this song.

“Banarasiya” Shreya Ghoshal, Anwesha Datta Gupta, Meenal Jain

Next we have the almost “Lady Sangeet”- ish “Banarasiya”. With Shreya Ghoshal at the helm doing excellent, the support of the backing females too provides an exuberant classical flavour. The “Kanjira” and other ethnic percussion and electronic arrangements complement each other very well. The flute delivers Rahman Ji’s early Ninties rural “Tamil” sound fluently. The catchy hook line, “Thaat bana Rasiya” will probably remain lingering in the listeners head after the song finishes. Overall it sounds very “Nautanki” i.e. Theatre and stage / dance orientated.

“Piya Milenge” Sukhwinder Singh, K.M.M.C. Sufi Ensemble

This song starts from where the Bombay Dreams “Qawwali” left over. “Piya Milenge” showcases “Qawwali” meeting modern Hip hop and unlike many other “Sufi” songs by Rahman Ji, this one definitely has an ample dose of a Rock-ish anthem feel and this can be witnessed in those outstanding chorus portions. This too has a catchy chorus and Rahman Ji has played safe by for opting for Sukhy. I can’t imagine anyone else doing as much justice to the song as him. “K.M.M.C. Sufi Ensemble” takes the song to an all time high.

“Ay Sakhi” Madhushree, Chinmayee, Vaishali, Aanchal Sethi

This one has comical twists and turns. It relies on “Konkanol” i.e. vocal percussion and vocal instrumentation. Some portions have been auto-tuned but that doesn’t hinder the song and as a matter of fact, we have heard many songs like this but here the innovativeness lies in the unconventional pattern of the song. I’ve got a feeling this just might be the dark horse of the album

“Nazar Laaye” Rashid Ali, Neeti Mohan

A romantic duet comes next expressing attitudes of a newlywed couple. It has elements of indie and American Pop. The vocals too reflect this as the singers sound very Anglophonic. The lyrics however bear no relation to the arrangements. With words like, “Sindhoori”, “Teeka”, “Nazar utharoo”, the overall song feels like a paradox but beyond that the melody keeps the song’s fow intact. The novel approach of arrangements sounding alien to the lyrics in “Nazar Laaye” once again prove Rahman Ji’s hunger for experimentation.

“Tu Mun Shudi” A. R. Rahman, Rabbi Shergill

The rebel composer inside Rahman Ji strikes you with this masculine composition. Rabbi’s attitude is very carefree and macho. Beneath this gangster cum “Bhangra” song lays a message of “No one can judge me but God”. “Dhaka Laga Bhuka” / “Jana Gana Mana”, “Paathshaala” and now “Tu Mun Shudi”.

“Aise Na Dekho” A. R. Rahman, Karthik

Rahman Ji performs a lounge bar cum jazz number once again. The huskiness and rawness add to the wide attributes of his vocal range. If he sounded full of high-octane in the previous number then you will be in for a treat with this mellow number. He plays his recent favourite instrument the accordion suavely. This song is easy on ears but sorrow and pain can equally be felt. If the title song established love then this song expresses the irritation of love.

“The Land of Shiva” Instrumental

This is a bit song but it wonderfully transports one to the core of India. Chimes, Percussions, “Shankha” (Conch Shell), etc. welcome us into this “Mandhir” / Temple composition.

“Tum Tak” Javed Ali, Keerthi Sagathia, Pooja Vaidyanath

The Acoustic guitar is subtle but is not overshadowed in this ethnic composition. If one carefully deduces the nuances then the guitar sounds very country-ish. Although it might not seem obvious at first but the song seems like a ride on Bullock cart throughout rural India.

The director, Anand L. Rai’s last venture was “Tanu Weds Manu” and funnily enough excluding “Tu Mun Shudi” the overall feel of this album sets a wedding tone. Rahman Ji impresses with a fresh sound, Irshad Kamil equally steals the show as the songs are not as transparent as they seem and are in fact very deep. The notion of “slow-poison” has long been associated with Rahman Ji’s songs but that hardly comes across with this album as most of the arrangements sound familiar but that shouldn’t effect the longevity of “Raanjhanaa” because the sound might seem familiar but there’s certainly no lack of experimentation as every song here doesn’t follow a bog standard pattern of most routine film songs these days. Hence, the album balances the best of both worlds i.e. Familiar, easy on ear sounds and innovative approaches never witness in film songs before.

Happy Listening!

Sunil Malhotra

source: http://caughtinthemusicalstorm.wordp...-music-review/

[Mahen]

album out? link pls

[ajaybaskar]

Link for me too..

[satissh_r]

Flyte um inime illa, iTunes la innum update pannala, what only can we do? Link for me too pls

[Mahen]

pm-ed to both of you

[Mahen]

Piya milenga and banarasiya

[A.ANAND]

Please pm the link me too!

[Brianengab]

here too, pls..