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KOLLYTALK ROCKSTAR
Even before the storm had settled Isai Puyal A R Rahman simply climbs on top of the hill and enjoys having a sumptuous lunch. Yes now that’s the ease with which this man carries the Indian flag with style. With his Slumdog Millionare still ruling international charts Rahman has come again to override his own album with his upcoming already-a-hit (dude it’sRahman) Bollywood offering Rockstar climbing to top spots. The Rockstar album released (on 30th September) to hugely positive reviews with the track ‘Sada Haq’ already declared a youth stirrer. The album has a total 14 tracks unlike the usual 6 song delivery from the veteran composer (And mind you those 6 are the best 6 you would have ever heard )
In the most happening places of all USA, Rahman’s Rockstar sits firmly holding top-spot at Number 1. While the Rockstar album entered a number 3 at the UK charts it has slid to a number 7 spot for the moment.(But yeah the movie is yet to release so….the climb is assured) .In other nations including France, Germany and Australia hisOscar winning Slumdog Millionaire (Original Motion Picture Soundtrack) has easily grabbed a place among the top ten world albums. A feat no Indian has yet achieved (including that bald guy …what was his name…Abhijeet..and yeah even Ismayil…wateva).Rahman was recently made the brand ambassador of the JBL speakers brand who were in search of that one individual who has revolutionized the Indian music scene.
Undoubtedly JBL people din’t have to search much for their new face, cause this ain’t a multiple choice question GET it? 3 cheers Rahamniacs to our ROCKSTAR !!!
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in sheren mein...karthik sings normally and mohit assaulta paduvaru...think its some song recording where karthik voice will be teaching ranbir..not sure..but got that feeling :)
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Sheher mein is total riot.. lyrics+karthik's singing needs a special mention..when karthik goes nasal twang in the lines "chitthi daali thi aaunga main tere ghar.."
he does sound like certain Bhattacharya :lol: looking at the credits it seems an army of sound engineers have worked on the ost..Sridhar would have been proud by mixing team's work... to maintain the tonality consistently keeping in mind the various genre of songs is an herculean task :thumbsup:
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Nadaan Parindey - Thalaivar just knocks it out of the park with his singing 8-)
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The Rahman effect
BARADWAJ RANGAN
After almost 20 years in the business, is the Mozart of Madras likely to be concerned by the reactions to “SuperHeavy” and “Rockstar”? Not really.
The latter days of September were an important time for AR Rahman. No, scratch that. They would have been an important time for AR Rahman had he not been ushered into cinema, nearly twenty years go, with a gilt-edged invitation from one of our most celebrated filmmakers; had he not won a National Award for that stratospherically successful score; had he not, like no film composer before or since, straddled the chasm that cleaved the musical ethos of the northern and southern halves of the country; had he not gone on to sell millions upon millions of albums; had he not ventured outside Indian cinema and scored for international theatrical productions and Hollywood films and come away clutching Grammies and Oscars; had he not become the musician sought out to add a splash of showmanship to sombre occasions like White House state dinners and Nobel Peace Prize concerts.
Had that AR Rahman existed — in a parallel dimension, alongside a swarthy struggler named Rajinikanth and an economic underachiever named China — he might have been found mopping a clammy forehead in a darkened corner, awaiting the world's verdict on two fiercely anticipated albums. The first, named “SuperHeavy”, reached U.S. stores (or should we say, today, “became available for download”?) on September 20; the second, the soundtrack for Imtiaz Ali's “Rockstar”, arrived 10 days later.
That AR Rahman, the parallel-dimension AR Rahman, would have withered under the coolly unsparing assessment, by international publications, of the eponymous first album of the group where he breathes rarefied air alongside Mick Jagger, Joss Stone, Damian Marley and Dave Stewart. The New York Times labelled him a purveyor of “goopy synthesizer passages.” Rolling Stone appraised his function in the supergroup with the vaguest of generalisations, as someone “adding Bollywood flair.” They might just as well have called him the token Third World presence.
Unconcerned by expectations
The real Rahman, I suspect, is emphatically unconcerned — about the initial reactions to “SuperHeavy”, about the furiously multiplied expectations from “Rockstar” that no earthly album can possibly fulfil (though early raves from fans suggest that the portals to heaven have been breached), and about what the month of September means to his career. This lack of concern is partly a function of the Sufi-Zen calm that the composer wears like a second skin. But it is also a fact that his career has been — and continues to be, like no one else's — strikingly impervious to hits and flops and how we complain about the music when it comes out and how we sigh, time and again, that he's lost his magic. It appears that in his case — and only his case — we have united in a countrywide pact to look forward, to the ways he can delight us; and not backward, on the ways he's disappointed us. This has never happened before with an Indian composer.
There are, of course, conspicuous exceptions, but the story of the Indian film composer generally follows a hidebound script. He struggles during a period no one knows his name. He delivers that first hit and finds everyone smiling unctuously at his doorstep. The years in between, the years of crushing anonymity, have created a vacuum inside and he strives to fill this emptiness, this loss of a sense of self and security, by signing every offer that comes his way. He sticks to the industry that finally opened its doors upon his persistent knocking and shone a spotlight on him, and even if he strays outside for the odd collaboration he returns to his roots. He rarely steps across languages and styles and genres because he knows what his producers want and what his listeners want and what will vault his songs to the top of the charts, and whenever he chafes, inwardly, about being typecast, he remembers a past filled with struggle and a present glutted with comforts. He is like the Indians of the pre-liberalisation era, who were grateful for opportunities and knew that boats weren't meant to be rocked and taught themselves to be happy with what they got.
Rahman, on the other hand, is like the global Indian who emulates American kids finishing school and taking a year off to backpack around Europe while pondering upon what they want to do in life, or middle-aged parents who forsake successful careers and enrol in college to pursue long-cherished degrees alongside friends of their mortified children. Rahman's choices — the music he creates, the people he collaborates with, the projects he chooses — reflect not the steady reassurance of the done thing, the viable thing for long-term survival, but the adrenalised excitement of what he really wants to do at that instant.
What we respond to
That's perhaps what we respect, what we respond to and look forward to, and that's perhaps why we never give up on him because he marches to the beat of his own drummer and we wish we could do the same in our lives and be rewarded with the same successes. With other musicians, we feel we have the upper hand. We can bestow on their works pleasure or supercilious disdain and we can change, on a capricious dime, the course of their careers. But with Rahman, we have trained ourselves to be indulgent, even if we suspect that he is never going to give us an album that we take to instantly, and even if we fear that we are going to rush out in droves to purchase our copies of “Rockstar” only to register the initial response of bemusement.
That, after all, is how we reacted to “Jhootha Hi Sahi”, Rahman's last soundtrack, which was released almost exactly a year ago, in the September of 2010. In the interim — after repeated listens, after patient hours and months devoted to chiselling away at its impenetrability — it has neither spawned belated hit singles nor has it ripened into a connoisseur's cult item. But that hasn't impacted a whit the frenzied expectations for “Rockstar”, which has just been released as of this writing. Will it rocket to instant immortality, like the sublime soundtrack for “Delhi-6”? Will it fail to take off, like “Jhootha Hi Sahi”? Will it hover in between, like an anxious aircraft circling the skies awaiting permission to land? It doesn't matter. We will soon begin speculation about what lies ahead of “Rockstar”, which is why these latter days of September were of scant concern to AR Rahman.
http://www.thehindu.com/arts/magazin...cle2517553.ece
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ROCKSTAR REVIEW
This movie starring Ranbir Kapoor is in the news for all the right reasons. The promos of ‘Sadda Haq’, ‘Jo Bhi Main’ etc have generated a great deal of curiosity and buzz about how the music is going to turn out and also due to the fact that the music is done by none other than the genius, A.R.Rahman. So, has the music lived up to its humongous expectations? Lets find out.
Track Name Artists Rating
Phir Se ud Chala Mohit Chauhan Rating:
Jo Bhi Main Mohit Chauhan Rating:
Katiya Karun Harshdeep Kaur Rating:
Kun Faya Kun A.R.Rahman, Javed Ali Rating:
Sheher Main Mohit Chauhan, Rahman Rating:
Hawaa Hawaa Mohit Chauhan, Tanvi Shah Rating:
Aur Ho Mohit Chauhan, Alma Ferovic Rating:
Tum Ko Kavita Subramaniam Rating:
Nadaan Parindey A.R.Rahman, Mohit Chauhan Rating:
Tum Ho Mohit Chauhan , Suzanne D’ Mello Rating:
Sadda Haq Mohit Chauhan Rating:
Tango for Taj [Instrumental] Rating:
Dichotomy of fame [Instrumental] Rating:
Meeting Place Ranbir Kapoor N/A
1.Phir se ud Chala: The album starts off with ‘Phir se ud chala’, a breezy feel good song sung by Mohit Chauhan. The song is light on instruments. Mohit Chauhan improvises on the tune beautifully with several short aalaps. This song also breaks the regular Mukhda-Antara or Pallavi-Charanam format. I loved everything about the song except the synth beats which tamper with the song’s flow. A decent start to the album
2.Jo Bhi Main: Lo and Behold! Rahman brings Progressive Rock to India. This song evokes a pensive and a psychedelic feel to it. The heavy bass and rock beats are delightful. Mohit’s groovy vocals and the chorus of ‘Ya ya ya’ complement the song beautifully. The use of organ truly lends it a ‘progressive rock’ live concert feel. Lyrics penned by Irshad Kamil deserve a special mention here. This one’s a la Pink Floyd. Beautiful.
3.Katiya Karun: An extremely catchy Punjabi song that catches your interest in the very first listening. This is a naughty , peppy song rendered pretty well by Harshdeep Kaur(of ‘Ik Onkar’ ,Rang De Basanti fame). The mood of the song changes suddenly towards the end and the song adopts a romantic feel. The piano transition is beautiful. Nice one.
4.Kun Faya Kun: We all know Rahman’s prowess in Qawwalis. Rahman, once again stamps his class all over this one. Sung with devout sincerity, Rahman himself goes behind the mike with ample support from Javed Ali and Mohit Chauhan. I would rate this on par or even better than the famous ‘Khwaja mere Khwaja’ . The seamless integration of acoustic guitar into the harmonium and tablas just reinforces Rahman’s genius. Brilliant and an elaborate composition.
5.Sheher main: This seems to be a situational track. About how a music director supervises the recording of a song . A very innovative song interspersed with dialogue exchanges. Has a very likeable tune that is rendered nicely by Karthik and Mohit Chauhan. The public will love this for sure. Thumbs up.
6. Hawa Hawa: What a composition!! Mind blowing stuff. This is a song that is picturized among the gypsies as revealed by Imtiaz Ali himself. This song has so many foreign influences that collude to produce a sumptuous treat to the ears. This song has been intricately designed just like an artist designs his masterpiece. It has expert usage of violins, well drawn out interludes with some inspiring classical guitar, dulcimer work. The chord progressions are lovely and the tune has a retro feel to it. This is a typical Rahman composition. You may not like this the first time. But new layers will unfold themselves everytime you listen to this. Will take time to grow on you. But only Rahman can produce something so extraordinary.
7.Aur Ho: One word: haunting. This is song on the lines of ‘Behne De’ from Raavan. Mohit Chauhan exhibits an amazing range. The treble portions of the song and the riffs of electric guitar in the background are the highlights. The supporting vocals by Alma Ferovic infuses the song with melancholy. So far, this album has been nothing short of great.
8. Tum Ko: This is a typical romantic song. This song marks the return of the famous Kavita Subramaniam. This a soft ballad like songs with soothing vocals and mellow instrumentation. It’s a feel good song with some interesting instruments like Tabla that give this a ‘Ghazal’ish effect. It has beautiful use of strings, piano and truly conjures a blissful ambience.
9.Nadaan Parindey: Soft Rock! Starts off with a deep choir and electric guitar playing in the background. Then Sivamani takes over with his effervescent drum play. The Rahman weaves his magic with his voice. This song has a distinct bass and has some amazing lead guitar work by Sanjeev Thomas. Mohit Chauhan yet again displays his skill with smooth vocals. The guitar harmonies, the chord progressions, the drum play, the bass work, the amazing vocals. This song has it all! Top notch arrangement.
10. Tum Ho: This is the male version of ‘Tum ko’. Set at a faster tempo , this song is slight better than the female version. Despite having the same tune, Rahman has tried to make this as different as possible. Mohit scores once again with his urbane voice.
11. Sadda Haq: Ah! Finally we arrive at the most expected song. The promos of this song have scorched the screen and having been receiving rave reviews. So is the final product worth all the hype? OH YEAH! This song is all set to be the ‘Youth Anthem of the year’. Starts off with an anthemish feel, with deliberately slow vocals and male choir. The tension steadily builds up and then it explodes. With some overpowering distortion and drum beats the song throbs with limitless energy. Special thanks to the world-class guitarist Orianthi, who has been roped in by Rahman. The guitar interludes are extremely creative. This is a typical anti-establishment song that reminds us of the 70-80’s Rock era in the U.S. The lyrics are a major feature too. I especially loved these lines. “Kyun sach ka sabak sikhaye, jab sach sun bhi na paaye. Sach koi bole to tu, Niyam Kanoon bataye.Tera Dar, Tera Pyar, Teri wah Tuhi rakh.” Whose rough translation is “Why do you preach truth, when you cannot listen to it. And when someone tells the truth, you bind them with rules and laws. Keep your fear, love and appreciation to yourself damnit.” Epic.
12. Tango for Taj: The first of the two instrumentals. With some beautiful piano play, the accordion and the piano complement each other remarkably well. The piano sounds funny at some parts. The tune is very amusing. However, a nice one.
13. Dichotomy of fame: This is a jugalbandi between guitar and shehnai. The shehnai parts are beautiful with the guitar supporting it very well. However it could have been slightly longer.
14. Meeting place: This is a poem of Romi that is narrated by Ranbir Kapoor with mellow chords playing in the background. Nothing much to say.
This album is an epic creation. It has everything from Progressive rock to soft rock to hard rock to qawwalis, romantic numbers, folk music, haunting songs, Arabic, Spanish music. This album is a cornucopia of several musical styles and influences. Mohit Chauhan deserves special mention. This may well be the break away album for him. A.R.Rahman once again proves his genius. In future references, when there are discussions and arguments for India’s greatest composer ever, Rockstar may be one of those albums that might tilt the balance in Rahman’s favour.
Verdict: This album is a celebration of Rahman’s genius. Take a bow, Sir.
http://www.musicperk.com/rockstar/
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By Satyajit, Glamsham Editorial
ROCKSTAR...ROCK MUSIC, A.R RAHMAN and what more to expect! Post TAAL (1999), this is the first major musical endeavor from the maestro in the league of musical-oriented entertainer that also brings out many commercially bankable names in the credits. This time director Imtiaz Ali, who had tremendous musical success in his last two flicks (JAB WE MET and LOVE AAJ KAL, both composed by Pritam), changes his loyalty to the great A.R Rahman, with a promise to allure international audiences with his style of composing.
ROCKSTAR is also special in a big way as it brings out the finest of international musicians in its baggage and packs a solid 14 original soundtracks in its audio packaging. Fuelled, inspired and displayed with immense passion and zeal, the music of ROCKSTAR is already anticipated with baited breath, as promos of songs like 'Saadda Haq', 'Katiya Karoon' and 'Jo bhi main' have clicked well with listeners. Can this album be the desired ROCKSTAR among its contemporaries? Will Rahmaniacs be blessed again with a chartbusting hit album? Let's get straight into the arena of this rollicking rock-music mania and gets the musical facts...
It starts where...it ended! Mohit Chauhan's soulful hue that was mesmerizing in mild tones in 'Dooriyan' (LOVE AAJ KAL) makes an echoing reappearance with tender-feel arrangements in beautifully composed 'Phir se udd chala'. Rahman's composing picks up an earthen modest melodic feel, exhibited cohesively in expressions in Irshad Kamil's lyrics, that gets amalgamated with techno-generated orchestrations and creates a 'lounge' feel ambience. Mohit's sonorously somber voice is paced amiably with soft displays of delectable mandolin notes, guitar riffs, synchronized electronic fillers and lovable chorals with hook-line ('tu-tu-tu-ru') that works brilliantly to conceptualized a desired dreamy situational feel. Unlike its 'yuppie' friendly title (ROCKSTAR), Rahman prefers a motivational musical start to the album that also sets a melodramatic prelude to the journey of 'rags-to-riches' of the lead protagonist. Soothing!!!
Arena-rock and the following crowd-pulling entourage are all out there to entertain and the first major jolt of 'rollicking' happenings on concert-floors comes in the form of 'Jo bhi main'. Light-hearted guitar strums, cool-mentholated breezy vocals, infectious drumming and hook-line ('Oh-ya-ya-ya...') brings out the zeal of a lively concert show. Mohit Chauhan's experiments this time with singing sounds of guitars, followed with his varying soothing baritones that strikes chords with the groovy rock-feel and enlightening chorals in the backdrop. For all those who have cherished numbers like 'Rock On' (ROCK ON) and 'Alvida' (LIFE IN A METRO), it will be a delight to hear Rahman getting into the soul of archetypical rock music with flair. Go for it!
Imtiaz Ali's stringent and passionate Punjabi affixation that was instrumental in making 'Thoda Thoda Pyar' (LOVE AAJ KAL), a feisty musical happening makes a positive recurrence in cherubic sounding 'Katiya Karoon'. Rahman brings out the crazy madness of 'Ting-a-ling-ling' of 'Rang De Basanti' (RANG DE BASANTI) in chirpy folksy tones of impressive Harshdeep Kaur with effective support of Sapna Awasthi. It's playfully romantic in nature and moves sporadically with catchy ethnical Punjabi instrumentals, Gujarati folk-fusion feel and earthen voice of Harshdeep Kaur. Rahman's composition sticks to the cultural roots rather than trying too hard on improvisations and delivers out a potential solo feminine romantic number.
Whether it was intrinsically Sufi 'Khwaja mere Khwaja' (JODHAA AKBAR) or divine 'Arziyan' (DELHI-6), there was a marvelous divinity in Rahman's composing that worked big times in impressing purists, critics and classy listeners. 'Kun Faya Hun', an ode to the greatness of Nizammudin Auliya in form of devotional 'qawalli', adds to this beautiful collection that has intense spiritual significance with soulful interaction with God Almighty. Irshad Kamil delivers the performance of a lifetime this time and should be proud of delivering it with finesse in a track that is not only difficult to write but also desires loads of literature strength. For the first time maestro A.R. Rahman comes behind the mike along with Javed Ali and Mohit Chauhan and renders it with sheer piousness. In terms of arrangements and composing, Rahman prefers a subtle traditionalism in instrumentals and maintains the soulful decorum of the great Nizammudin Auliya with immense grace and appeal. Rhythm-divine!!!
The music of ROCKSTAR takes a chill-pill and relaxes to some extent in situational sounding 'Sheher Mein'. It's a thematically driven simple number that takes an introspective view of 'recording-room' where singer practices with his lines, passes remarks and finally picks the desired 'sur'. Mohit Chauhan along with Kartik sings this light-hearted number and adds few jovial moments to this intense emotional saga.
ROCKSTAR takes an international explore in fast-paced salsa number 'Hawaa Hawaa', an impulsively composed dance number that brings an arrays of peculiar sounding instrumentals, foot-tapping sounds and varied pitched voices. This time Rahman enters into least explored genre in Hindi filmdom that was last heard in 'Udi' (GUZAARISH) and comes out with a vibrant melodic 'swirling-twirling' dancing feel. Mohit Chauhan's versatility in impersonating many moods and styles shows his genius that gets embroidered well with snazzy sounding back-up supports of Viviane Chaix, Tanvi Shah, Suvi Suresh and Shalini. It's a visually spectacle soundtrack and a 'tailor-made' dancing feast number for all TV reality dancing shows that should also work positively for a promising big-screen feast.
In terms of innovation and trans-culture foray, the next offering, 'Aur Ho', a melancholic offering in depressing tone, is the most brilliant attribute of the album. It brings on Alma Ferovic, a renowned Bosnian musical talent in soulful prelude that not only evoke pathos but sets an emotional melodic backdrop of a beautiful melody. Rahman's poignant sounding composition takes its emotional hues from Alma's international hit 'Srebernica' (song about Bosnian genocide tragedy) and reconnects with couple of his last sentimental hits like 'Behene De' (RAAVAN) and 'Satrangi re' (DIL SE). Mohit Chauhan's pensive vocals excel to supreme as it conquers every sentimental shade in its modulating tones. It's a great improvisation in mixing varied genres, singing styles where Irshad Kamil's meaningful lyrics ('Iss lamhe ko kar doon main jo mujhe chain mile aaraam mile, Aur ho aur ho saans ka shor ho aanch ki ore badhe...) adds to the evocative pathos of the track. Brilliant!!!
Hard-rock metal base musical binge returns with vengeance as it packs a punch of inspirational feel of pain and self-realization in 'Naadan Parindey'. This situational sounding number holds melodramatic importance as it swivels out the happening of events in the climax stages of the flick. Rahman's pensive mood singing leads this singing show that is blessed with contemporary hard-rock aesthetics where penchant drumming (Sivamani) and electric guitar blues (Sanjeev Thomas) deserves a special mention, a rollicking on-screen presence will surely makes this a hot commodity.
It's nice to hear back veteran like Kavita Subramanium (Krisnamurthy) in musically resounding album and she strikes back with a contemporary Bollywood's soft-hear romantic track 'Tum Ko'. The song primarily works on traditional instrumental works and later gets a major lift in Rahman's techno-improvised electronic beats and rhythms. As compared to earlier impressive set of numbers, it sounds routine but never run short of quality performances. Overall a decent-hear number and welcome return by Kavita Subramanium to the marquee.
ROCKSTAR...FINALLY! Heartbeats go wild; pulses are racing as the tempos are raised to hear the final countdown in album most ballistic, catchiest, and promising soundtrack titled 'Saadda Haq'. Hugely promoted and appreciated, this soundtrack packs a solid punch of distorted electric guitar riffs of Orianthi Panagaris (Australian guitarist, also featured in Michael Jackson 'This is it' tour) that not only sets a bombastic prelude but also leads a violent onslaught in the closing stages of the track. Materializing the present storm of revolutionary youthful tones, it's a rebellious outrage in its impressive lyrics ('Hey inn gadaaron mein ya udhaaron mein, Tum mere jeenay ki aadat ka kyun gott rahe dum...') paced with belligerent percussions (Oscar Seaton) that hits like tones of bricks in its loud roaring renditions. Mohit Chauhan screeches his lungs to extreme to depict the volatile set of emotions and delivers his finest of the album and promises this as one of the biggest hit of the year. This time Rahman hits the 'bull's eye' in hard-rock genre and promises a sure-shot chartbuster in weeks to come, a repeat on 'play' button will further fuel the passion for this track. Rocking!!!
Rahman promises this to be a 'one-man show' on vocals and catches the breezy Indi-pop tonality with his style of composing in mellifluously composed 'Tum Ho'. Mohit's sonorously tender vocals retraces back his 'Silk-Route' singing days where cool-mentholated romantic hues seeps through the contours of nimble-touched arrangements. This uber-cool soft-rock ballad brings on the suppleness of Suzanne D'Mello genteel choral humming, adding to the lovable chemistry, a worthy contribute for a delightful romantic evening. Lovable!!!
After vocals presentations, it's now the instrumentals that take over the proceeding and the first to arrive is 'Tango for Taj'. It's a fine display of classical European symphony display, where romantic emotions are displayed in synchronized works of piano drills, accordion works and violin notes, a perfect blend of philharmonic display, depicting out musically enriched caricature of the flick.
'Dichotomy of Fame', the second in series of instrumental, is Indian at heart and moves with fine display of customary shehnai (Balesh) and guitars (Kabuli). The striking feature is the enlightening shehnai works that moves serenely with the subtle moves of guitar strums to exude a desired theatrical background musical feel.
Finally, its Ranbir Kapoor rendering out one-liners in midst of light-hearted instrumental display, epitomizing out a gist or theme inspired from great Sufi poet Rumi in the final soundtrack 'The Meeting place'.
ROCKSTAR turns out to be a 'rockstar' among the present set of musical releases and lives up to its huge expectations. The striking point of the album is the quality inputs from international musicians (Orianthi Panagaris and Alma Ferovic) that have given it an enriched international outlook. A.R Rahman succeeds to a great extent in delivering out a potential rock-music album that not only entertains but also enlightens with its quality displays. It will surely give Mohit Chauhan a big boost in his singing career and will make him amongst the top most singers of Bollywood this year. ROCKSTAR rocks the listeners completely with tracks like 'Saadda Haq', 'Jo Bhi Main', 'Phir se udd chala' and 'Katiya Karoon' while the solace of soulfulness in tracks like 'Kun Fayan Kun', 'Aur Ho' and 'Tum Ho' will connect with the sensibilities of the listeners. After the delightful musical presence of RA.ONE, it will be ROCKSTAR that will be ruling the audio stands and will be enjoying big shelf-life in months to come. Grab it now...Happy Listening!!!
Worth-a-buy!
Rating - 4.5/5
http://www.glamsham.com/music/review...iew-101117.asp
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NaadhAn parindhay... friggin superb! Mohit, for all his might in this album, comes a distant second to ARR's singing here; their voices gel quite nicely, though. Darn good bass and drums work too.
That small sangadhi by ARR in the 3rd line of the pallavi at parindhay, what loveliness :clap:
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Sruthi Haasan, daughter of actor Kamal Haasan tweeted abt Sadda Haq
"In love obsessively with Sadda haq what a track!!!! 3 cheers !"
source:arryg
