Mani Ratnam A.R. Rahman Gulzar Abhishek Bachchan, Vikram, Aishwarya Rai Bachchan, Bipasha Basu (Special appearance), Govinda and Nikhil Dwivedi
ANTAGONISTIC! Indian films have been benevolent to suave natured 'protagonists' but its darker and parallel versions ('antagonistic' or 'anti-hero') have not been justified by many. After delivering out back-to-back socially relevant cinematic treats, genius like Mani Ratnam is all set for the countdown that pitches the hottest pair of Abhsishek Bachchan and Aishwarya Rai in the lead roles. As expected from the long-list of musical successes of the past, its old compatriot A.R Rahman along with experienced Gulzar to deliver out the devilish tones for this horrifying love saga. The conglomerate of Mani Ratnam and A.R Rahman stared off with bang with ROJA (1992) that was successfully followed by equally successful albums like BOMBAY (1995), DIL SE (1998), SAATHIYA (2002), YUVA (2004) and GURU (2006). Expectations are huge and so are the credits of this much-awaited musical releases that features favorites of maestro's in the credits. Touted to be one of biggest releases of year 2010, this one promises something innovative as well as experimental in its packaging. Can the music of RAAVAN be as enterprising and challenging as one expects? Let's get straight into its musical facts...!
Ghastly in mood 'n' iconic in narration, A.R Rahman pelts out innovative spell of 'African tribal rhythms and sounds' to exude out the characteristics of lead character in 'Beera'. Gulzar's hot-headed narration is facsimile to his earlier penned 'Omkara' (OMKARA), depicting out 'ten' different facades, moods and phases of 'Beera'. Rahman's creative genius creates different drum sounds in varied pitches and timbres mixing well with prolong synth sounds in flows of electronic dance music. Vijay Prakash and Mustafa Kutaone's gruffly voices range from aggressive to cheerful moods while additional vocals by Keerti Sagathia adds to the gory situational needs. To give it tribal folklore appeal, there are rigorous spells of howling choral sounds in loud pitches to deliver out festive feel in the backdrop. 'Beera' adds to the listing of another valued experimental mode track that unravels new genre (tribal music) and creates hysterical feel about the on-screen happenings. Mani Ratnam's unmatched cinematic zeal will be out there to justify Rahman's genius and will be creating 'word-of-publicity' for the flick.
Tread-milling the path of emotionally volatile tracks like 'Satrangi Re' (DIL SE -1998 ), the next track titled 'Behene De' carries typical Rahman's stamp in its belligerent arrangements, sounds and beats. The highlight of the track is the progressive phili-harmonic orchestral displays at the concluding interludes, emoting out the turbulent phases in love-chemistry. Karthik's likable voice in softer tones has penetrative excruciation that carries out with varied sounds and rhythms with affable support of Mohammad Irfan as back-up vocalist. Rahman plays defined 'conductor' in maintaining equilibrium between subtle toned sounds (soft violin notes, lighter wind chimes and soft-drumming) in initial phases and aggressive orchestral displays in the latter half. Despite carrying situational song appeal, Gulzar's wordings ('Arrey aankh se boondh gira koi, Chingari ka tukda jala koi, Umeed ko aag laga zara, Sehra ki pyaas bujha zara...) metaphors the communicable painful ire of disheartened lover in simple verses. For all Rahman's fans, this one is listening pleasure that adds to the momentum of the album.
Aggression unlimited! The devilish tones of 'Raavan' get louder with daunting melodic metaphors of thumping drumming and shriller percussive moves in 'Thok De Killi'. It's Sukhwinder Singh along with Gulzar's wordings at the helm of affairs and the feel is violently antagonistic in nature. Like previous tracks, this one is too loaded with heavy-duty impulsive sounds and rhythms that give it an intrinsically theatrical appeal. In 'Chhaya Chhaya' (DIL SE -1998), Gulzar introduced 'Bulleh Shah's poetry' base of Sufism that later became trend. It carries forward in 'Ranjha Ranjha', folksy sound number with outset of Punjabi folklore of 'Heer-Ranjha' in its earthen sounding lyrical works. Rahman's relives the euphoric feel of tracks like 'Ni Main Samajh Gayi' and 'Taal Se Taal Mila' (TAAL -1999) with gyrating seductive touches of 'Mayya Mayya' (GURU -2006). Javed Ali sings his heart out along with deep-throated Rekha Bhardwaj while there is added feminine oomph in Anuradha Sriram added vocals. Well suited for grungy forest locations, it bears out skirmish loving charms in its sluggishly roguish tones that are matched with instrumental zeal.
Reena Bhardwaj's soother tones in 'Yeh Rishta' (MEENAXI - A TALE OF THREE CITIES -2004) was blessing to ears. It was A.R Rahman's magic that created prodigy out of her and the magical touches relives again as she shimmers out in her svelte tones in 'Khilli Re'. It works on classical Indian musical base (preferably 'thumri' singing) with mesmerizing flute notes, lighter tabla and 'ghungroo' sounds that are mixed well with enthused chorals. Reena's vocals are the brightest of the lot and so is her immaculate command over modulations and variations in varied emotional singing moods. Unlike the haunting antagonistic feel of the flick, it serenades out soothing musical charms and spells out lighter romantic moments in its sappy packaging.
The last outing comes out for grand opulence for big screen with loud streams of drumming, ear-splitting percussions and folksy singing, mixing together to create commotion of affairs in 'Kata Kata'. Rahman's gets the pack of coarsely voiced singers (Kunal Ganjawala, Ila Arun and Sapna Awasthi) to sing out the tribal-festive feel soundtrack. It's complex and intricate in its formation as tribal instruments, howling chorals and rustic-flavored folksy wordings collage together to give it glitzy multihued splendor. This peculiarly sounded track brings out celebratory feel of 'Rukmini Rukmini' (ROJA -1992) with majestic lavish touches of 'Azeem-o-Shaan Shehenshah' (JODHA AKBAR -2007). Mani Ratnam's experience and intellect is likely to be making this one as everlasting silver screen feast for viewers.
RAAVAN is devilishly experimental and creatively likable album. It's none other than the maestro A.R Rahman himself who can dare to this big challenges of glorifying the ultimate devil ('Raavan') and still delivering out the needful. Despite its intrinsically gruesome and horrifying outlook, the soundtracks fit well in to the situational mood with quality singing and composing. One can expect huge likings for tracks like 'Beera Beera', 'Behene De' and 'Ranjha Ranjha' while rest of them will rise up high with flick's promotions and success. The combo of Mani Ratnam and A.R Rahman had been magical in the past and so will be the future with this music launch. Stay tuned to your radio stations to hear and listen more about these soundtracks...
Raavan Mp3 Songs ( Right click and save target as)
Movie Name : Dostana Year of Release : 2008 Release Date : 14 November 2008 Genre : Comedy, Romance Cast : Abhishek Bachchan, John Abraham, Priyanka Chopra, Bobby Deol Guest Appearance : Shilpa Shetty Music Director : Vishal Dadlani, Shekhar Ravjiani Banner : Dharma Productions Producer : Karan Johar Director : Tarun Mansukhani
Dostana Music Review
After the not so successful Kabhi Alvida Na Kehna (KANK), Dostana is the latest offering by Dharma Productions, the Dostana of 1980 featured Big B and a different story line but this Dostana of 2008 has its own twists and turns. The promos look scintillating with curvy Priyanka, muscular John and stylish Abhishek. Shot in the US the movie seems to have a different story line. The cover has a mild feel to it with simple white and off colors with the three actors in it. It is simple but effective. Let’s introspect what the songs in this compilation have in store. Vishal and Shekhar in this album have put six songs with no remixes different from what they are doing.
“Janey Kyon” I assume can be tagged the anthem track of this album which has a cool groove to it from the word go. Featuring hinglish lyric by Anvita Dutt Guptan it is a song that gets stuck to you head due to the simple composition, catchy arrangement and youthful lyric about friendship. Sung by Vishal, it’s hard to believe it’s his vocals, the duo has done lots of synthesizing in this track for sure which sound artificial at times. The beginning of “Desi Girl” marks the start of a can be item dance number. Effortlessly vocalized by Shankar Mahadevan and Sunidhi Chauhan, this is a fast paced track with India arrangement at start and composition to break a leg. The song’s music takes some retro and synthetic shades in the mid but get back to the conventional instruments. Lyric written by Kumaar depicts he beauty of a desi girl in comparison to “others”. Next “Maa Da Laadla” follows, with a strange starting this track surprises with the vocals of Saleem of the Saleem Sulaiman duo. Lyrics penned by Kumaar again he leaves no stone unturned to criticize marriage. The party feel still continues and the signature Vishal Shekhar speaks louder in this track.
A number that will keep you on your toes is “Shut Up & Bounce”, this is a typical Vishal Shekhar dance track with all the elements to be a party starter. Crooned in a brilliant fashion by talented Sunidhi and well supported by bouncy Vishal this song has the percussion to keep you up all night. Written by Anvita this song is set to be the next disco anthem. After some groovy and disco friendly tracks a light lullaby number “Khabar Nahi” is different from the rest. Effervescent lyric about love Anvita proves her writing skills with two totally different songs. Simple composition and use of acoustic sounds makes this song very easy on the ears but retains a catchy groove. It keeps you up to that extra mile “It’s got to be love coz it’s really got me going” part is really pleasant. Last track is “Kuch Kam” sung by the silk voiced Shaan in a splendid manner. Unbelievable but true over-active Vishal penned such subtle lyrics and the composition compliments the light love favoring lyric. The arrangement is also very minimal yet likable from the first listen.
All in all, Vishal Shekhar prove their mettle in this album with no remixes but the collection of four fast paced tracks and two slow light tracks to end with is first-rate. The singer selection is also very good with the new lyricists the duo has given a different taste in this album. If you liked previous albums by Vishal Shekhar don’t forget to buy this one.
Hope the movie will be good, for now just have a look at the promo of “Janey Kyon”.
Superhero fantasy adventures are the flourishing genre that has still not been explored and conceptualized with optimum finesse on big screen. After the colossal success of KRRISH, Goldie Behl's DRONA dares to be outrageous, creative as well as ground-breaking into foraying into this multifaceted genre. Abhishek Bachchan makes a gusto larger than life appearance as "Drona" and it is the second major solo release after the huge success of Mani Ratnam's GURU.DRONA as the emphasis is primarily on intimidating background sounds and swashbuckling sound effects rather on melody contents. Upcoming music composer Dhruv Ghanekar (of Ashu-Dhruv fame (WHITE NOISE, mp3-MERA PEHLA PEHLA PYAR), a alarming name among advertisement jingles, gets the opportunity of lifetime to prove his mettle as a worthy solo composer in this much awaited sci-fi fanfare. Will DRONA be as musical delight as it promises to be in its eye-goggling VFX impacts?
Sarkar Raj is the second installment of Ram Gopal Verma's Sarkar trilogy. It stars Abhishek Bachchan, Aishwarya Rai, Amitabh Bachchan and Tanisha Mukherjee in major roles. I've been looking forward to this film, and I hope to see it soon. I want to see what RGV has done this time around after the disastrous remake of Sholay.
Music of Sarkar Raj is composed by Bapi-Tutul. Hope you like 'em.
MP3 Songs(good quality) (Direct Link - Right click and choose 'Save Target As')