If you look up the meaning of the word ‘beautiful’, it can be described through a number of adjectives including ‘delightful’, ‘charming’, ‘wonderful’, ‘exquisite’, ‘superb’ and ‘magnificent’ etc yet after digesting the sounds of Ada (note to truly digest a Rahman score, at least five to ten listens are recommended to save embarrassing yourself for jumping to early conclusions!), why does one struggle to find an adjective to match the spectacle of beauty on display in what must rank as one of the most astonishing musical journeys ever created by Rahman? ‘Musical divinity’ has already been used to describe it and is possibly the fittest description to date but in reality no superlative exists in this reviewer’s opinion. Because the music of Ada is an opulent masterpiece that encapsulates our inner souls on multiple levels; our affections, our desires, our emotions and dare I say it, everything else we stand for…

Six years since the journey started (2001 to be precise), a delayed project would put off many music directors diverting their attention onto other things but it appears to have had the opposite effect on Rahman who has arguably produced his best in years even eclipsing his own Jodhaa Akbar! If that is an overstatement, then here are a few reasons to justify it, and for arguing a case for Ada being the soundtrack of the year 2008 thus far…

Music of Ada

Ok this is what its all about listeners; the sounds, the melody, the arrangements, the structure, the orchestration and above all its uniqueness…The last point (uniqueness) is the most important because that is what differentiates one song from another and gives it the appeal over hundreds if not thousands of others…that’s in the short term (instant appeal), medium term (memorable) and long term (classic).

And Ada undeniably has awesome unique selling points right the way through the album. The difficulty is where do you start with such an epic of a soundtrack? All tracks hold an enchanting quality that will appeal more to one listener from another….but let us be clear there is something here for all serious music lovers.

How about the incredibly eerie and peculiar music of Ishq Ada to the delightfully uplifting santoor play of Gum Sum? Or if you prefer a vintage old school feel why not try the decelerated but rewarding Hai Dard or the fabulously haunting duet of Milo Wahan Wahan? Perhaps you’re in the mood for a little bliss? Well everything on the album will give you that but none more so than the percussion of Hawa Sun Hawa and the mesmerizing piano piece in Meherbaan, the best track of the entire album (backed by an equally superb instrumental by Sanjeev Thomas). Gulfisha and Tu Mera Hai provide further variety to round off a complete soundtrack.

All arrangements in Ada are crisp but then again that’s the minimum you expect from Rahman. No, what actually makes them stand out is the quality of the sounds, the melodic foreplay, the captivating rhythms all achieved in the main, through the use of AUTHENTIC instruments including the flute, piano, santoor, tabla, dhol and many more unrecognizable instruments to our inferior ears.

But it’s not just their selection otherwise many musicians could pick up a santoor and appreciate its basics; moreover it’s the way this composer pays particular attention to detail and the manner of execution, par excellence! That is why the music takes time to grow on you, eventually hitting an agreeable chord with your brain cells that say ‘yes this is musical divinity!’ and then giving you satisfaction beyond compare…Notwithstanding the qualities of the obvious winners on the album let’s take a look at some of the tracks that may not be instantly likeable:

1. Ishq Ada; it simply feels strange upon first, second and third listen. The music doesn’t seem to fit or have any consistency but if you stick to it, you will appreciate its underlying appeal…it is a fusion of mystical sounds and perverse rhythmical paradigms and undoubtedly attractive underneath it’s apparent oddity…

2. Hai Dard; does this one appear to drag making it uninteresting? To appreciate its finer quality you need to pay particular attention to the structure and the way Rahman moves from an impact building start of a dhund (fog) style setting to move onto explain the reasons for the remorse. Note the interlude at 3.06 when the atmosphere of sorrow seamlessly switches to a rendez vous with the goods times…ending the track on a feeling of distant hope...magical!

Melodically, Ada is the essence of music with wonderful textures of sound emitting an orchestral rainbow of flavours…weaved together magically by Rahman.

Singers of Ada

The importance of vocals cannot be underestimated and Rahman has proved time after time that he has the best ears on the ground when it comes to selecting singers…whether that’s established singers or newcomers. In Ada, we have a mix of the old and new. But never mind their experience it’s how the composer is able to get the best out of the singers that perplexes the mind, he simply takes their singing onto a different level altogether, such that they themselves lift the song to new heights. Let us illustrate this through some examples…

Firstly, for the doubters of Alka Yagnik (including this reviewer), Rahman proves why she is still a force to be reckoned with, in fact she is nothing short of a revelation in Ada! Whether that’s in the gorgeous love duets of Hawa Sun Hawa and Gum Sum or the tearful Milo Wahan Wahan, she performs at the peak of her abilities. After hearing her performances one can do nothing but congratulate her, well done Alka!

It is with huge regret to note that Udit Narayan’s career appears to be ending too because the man still has incredible vocals to offer as proved in Ada with the heart-wrenching and emotional rendition of Hai Dard. Not only does he sound as fresh as ever but the way he captivates his audience is extraordinary through almost mechanised vocals (in particular his control of highs and lows).

For the newcomers it must be a nervous time to mark a debut with Rahman but to his credit, he clearly gives them the time and respect to allow them to perform to the best of their abilities. Rashid Ali is the find of the year whichever way you look at it. His performance in Ada (Ishq Ada) is not a one off because he performs just as admirably in Rahman’s other new release Jaane Tu Ya Jaane Na. Other singers including Naresh Iyer and Parul Mishra make important contributions, something which should give them a good platform for the future.

A R Rahman proves in Ada why his own vocals should not be taken lightly. As with many composer come singer, he has always enjoyed singing but his rendition of Meherbaan shows how he has improved over the years. His soft but ‘non-glossy’ almost rustic vocals are perfectly suited to the surreal atmosphere of the track and gives it an earthly feel…as if it was me or you singing it to our loved one. So what would appear to be shortcomings in his singing on the surface can also be seen as an attribute not only a weakness.

How can we end such a section without a mention of the outstanding performer of Ada….Sonu Nigaam, who proves once again why he is Rahman’s trump card. No one else on the entire planet could have made the same impact as Sonu has in his three contributions for Ada (Hawa Sun Hawa, Gum Sum and Gulfisha). Yes he is comfortably the most talented singer in India but for some reason he always seems to reserve his best performances for Rahman, maybe he is a Rahmaniac! In Ada, he is a match for his counterpart in each of the duets but arguably adds more emotions and spice:

1. In Hawa Sun Hawa, the most serious of the love duets, Alka performs out of her skin but his vocals are just that bit more sincere, subdued and emotive. Simply wonderful performance in arguably one of their best duets ever!

2. In the more upbeat Gum Sum, Sonu adds flavour to his vocals by giving it a laid back (almost drunken) feel whereas Alka does not experiment so much and consequently sounds less ‘gum sum’ in comparison.

3. In the playful Gulfisha he is up against the stunning (high octave) vocals of Sunidhi Chauhan but outperforms her through his sharper pronunciation and end-offs (e.g. “Gulfisha-ha” and “Adha-aa”) giving a more rounded feel for the passionate tone of the track…although admittedly her crooning around the 3.48 mark is the seductive highlight of the track!

Overall, Rahman’s selection and directing of singers for Ada is commendable. (Note special mention also for Jayachandran's superb contribution to Milo Wahan Wahan).

Lyricists of Ada

It would be grossly unjust to end the analysis without due regard for the writers of Ada. Indeed lyricists rarely get the credit they deserve these days even though we all know that without words, there would be no singers or a song for that matter! In this reviewer’s opinion the writers for Ada deserve the award for the best lyrics of the year (admittedly they could be eclipsed in the remainder of 2008 but it’s unlikely). Nusrat Badr and Raqueeb Alam may not be household names but their poetry for Ada is sublime and at times awe-inspiring. Here are the highlights of their work for this reviewer:

Tu hai zubaan, mein hoon bayaan

tu hai nihaan, mein hoon hayaa

tere bina mein hoon be-zameen

tere bina mein be-aasmaan

tu hai nadiyan, mein hoon sangam

tu nayaa saal, mein pehla mausam

meherbaan….

(Raqeeb Alam, Meherbaan)

And...

Mujhe milo wahaan wahaan jahaan pehle mile

chalo chale wahaan wahaan jahaan kal the mile...

jahaan suraj nikaltha tha, jahaan se dil machaltha tha

jahaan se bus guzarthi thi, jahaan pe rail rukthi thi

jahaan pe tum utharthe the, jahaan tum roz milthe the

jahaan wade iraade the, jahaan bhaandein woh dhaage the

wahin ek baar aajao…

(Nusrat Badr, Milo Wahan Wahan)

Suffice to say, the writers are equally praiseworthy for their respective contribution to the soundtrack.

Closing remarks

The soundtrack makes reference to “A Musical Journey by A R Rahman” and upon hearing it one can appreciate why; it’s not merely a selling point for the CD cover! You see the album appears to be more about the composer than it is about the movie, he does not appear to have been restricted by themes (as good as Jodhaa Akbar musical score was the composer was restricted by the period of the movie and the themes that prevailed within), put simply this is an unfettered Rahman doing what he does best. One cannot pick out too many clues from the movie about its nature (well apart from romance, love, passion and heart wrench but they are too generalized themes!). It has arguably been his brain child for six years (not saying it took him that long to compose!), the movie has had stops and starts but he continued with his journey and to his credit it has turned out to be a fine achievement. And how often is it that someone of Rahman’s standing gets to spend so long on a soundtrack? Or for that matter make a project his own journey? In years to come we will remember his efforts and rekindle our love for Ada…A truly soulful masterpiece. And all this reviewer would like to end with is a big thank you to A.R. Rahman for letting us share one of his most memorable journeys to date….

It's always a rare treat to reap the pleasures of a complete Rahman soundtrack. And after 2004, in which he released a whopping four [Hindi] soundtracks, we've merely been getting quick glimpses of the musical phenomenon either once or twice a year. That's all about to change, as we have TWO back-to-back Rahman albums releasing simultaneously...JAANE TU YA JAANE NA and ADA. If you add in January's release of Jodhaa-Akbar, then we already have THREE Rahman soundtracks in a short span of just five months. Let's take it one step further, shall we? IF (and that's a big if) release dates are expected to remain constant, then by the end of the year we may very well witness the release of two additional Rahmantic scores in GHAJINI and YUVRAAJ. Now, if you told me a few years ago that in 2008 the Industry would listen to the music of Rahman in five separate and complete soundtracks, I would have said you're crazy!

Nevertheless, today we're zoning in on just one...ADA...A Way of Life. The music of ADA is intriguing to me for a couple of reasons. When you look at Rahman's resume (1998 and onwards), barring just a few cases, all his projects have been highly anticipated scores. ADA is definitely not one of them. If you clicked on this review thinking it's just another low-budget disaster with forgettable music only to soon realize, in a dazed and confused state, that the music credits read A.R. Rahman, I guarantee you're not the only one. In fact, the music of ADA was conceived and recorded some six years ago, while the film was still in its prime. ADA, a film that had seemingly joined the countless other projects sitting on the backburner has now been given new life with the release of its music on May 20, 2008, six years later!

"The music of the film actually took six years to make because the film started six years back in 2002. The music has a very old school melody feel. But it also has other tunes so it does have a color of different genres in it."...A.R. Rahman [CNN-IBN]

It will be interesting to experience what Rahman terms as "old school melody." Since he's always maintained a very distinct class of melody, ADA will give listeners the perfect opportunity to witness a live progression in melodic genres first hand. It's also refreshing to see Rahman stop on a dime to compose for a more modest film (which he hasn't done in years) after just delivering music for one of India's grandest films, Jodhaa-Akbar. Lyrics are provided by Raqueeb Alam (Water) and Nusrat Badr (Devdas).

Rahman packs a peppy punch in the very distinctive Ishq Ada IMale Version). From first-hand experience I can tell you that the number one struggle for composers and arrangers who are trying to get ahead now a days is the ethereal fusion of universal appeal with avant-garde sound. Rahman isn't the Madras Mozart by fluke, he has mastered this union to provide us with both soul-stirring melodies and foot-tapping beats, while maintaining that never-before-heard sound. Ishq Ada is a pure synergy of both elements.

Let's first look at Element 2: Rhythmic Background. Rahman differentiates the rhythm from the very get-go by commencing the number with an instrumental rhythm, as opposed to the more conventional percussion rhythm. The catchy rhythmic riffs of the guitar immediately bring the playful atmosphere to the forefront of the composition. As the melodic lines progress, so does the rhythmic build-up, as Rahman casually throws in some arabic percussions to give more spice to the musical aura, while the instrumental rhythm remains beautifully camouflaged beneath the percussions and melody.

Element 1: Melodic Foreground. Although I don't quite see the "old-school melody" in this composition, I definitely can say that Rahman has dabbled quite a bit with experimentation while conceiving this franticly cool tune. Despite having numerous variations of the same melodic structure, Rahman surreptitiously strips the piece of differentiated stanzas. Normally this would be devastating, but it's Rahman's versatile melody that keeps masking itself to keep you hooked! Rashid Ali is perfect in his rendition of the relentless tune. His vocals are just as playful as the melody itself, as he balances his performance with emotion and poise. Lastly, the only other instrumental performance, apart from the guitar rhythm, is the harmonium, which makes short timid appearances between melodic riffs. It's Rahman's way of adding a simple touch to a relatively simple song. Raqueeb Alam's short and snappy reflections on love fit the mood of the piece with perfect lyrical harmony. Verdict: Let the soul-tapping beats and stylish tunes of Ishq Ada flow through you...grow on you...

We are in true Rahmantic heaven with the absolutely gorgeous duet Hawa Sun Hawa. I know I may catch a lot of flack for this, but this has to go down as one of Sonu Nigam's and Alka Yagnik's greatest duets...and that's saying something! It all begins and ends with Rahman's golden melody. I can perhaps see shimmers of old-school layers here, but it is an extremely pretty piece nonetheless. The rhythm is another spectacle of sound courtesy Rahman, who gives us his unique version of an Indee-pop ballad. Also look out for the invincible integration of the tabla during the interlude as well as towards the end of the song...it's musical divinity. Adding to the touch of grandeur and simplicity all at the very same time are the Bansuri and piano add-ons, not to mention the strong atmospheric presence, all filling the gaps beautifully. Nusrat Badr is at his romantic best with his eclectic poetry on undiscovered love. But the highlight here is undoubtedly Rahman's melody and the vocal chemistry between Sonu and Alka. Verdict: My vote for best duet of 2008 so far. Excuse me while I rendezvous with this beauty a few times more...

Rahman throws out an earthy upbeat track in the form of Gum Sum. Another Sonu-Alka duet that clearly pales in comparison to the magic we heard in Hawa Sun Hawa. Perhaps this is the old-school melody that Rahman was referring to? Nevertheless, the melody doesn't quite fit within Rahman's boundaries, resulting in a tune that won't easily dance on your lips. However, it's the foot-tapping rhythm that saves this number. Special mention to the Santoor-inspired instrument (if not the Santoor itself) which puts forth a wicked performance throughout the composition. It's also worth pointing out the organ riffs that are added towards the end since Rahman hardly uses the instrument! Nusrat Badr's lyrics are a bit more conventional than one would like to hear from a Rahman track. Verdict: Check this song out for the rustic beats and wicked Santoor riffs!

Gulfisha is special because for the first time Rahman is featuring one of India's hottest singers...Sunidhi Chauhan...along with Sonu Nigam. There's another first for Rahman hidden here as well...the Italian flavors. Melodically the song is much more chilled-out than the previous three compositions, aspiring towards the younger crowds, indicative of the decision to bring on Sunidhi. Hinging on a synthesized atmosphere and some catchy clap beats, the melody really flourishes as the song progresses, with both Sunidhi and Sonu shining bright. Nusrat Badr's lyrics take a back-seat to the heavy vocal presence but do complete justice to the animated number. It's interesting to note: If in fact this song was recorded four, five, or even six years ago, why hasn't Rahman hooked up with Sunidhi again? There have been plenty of opportunities to feature her vocals. Makes you wonder... Verdict: Plug this frisky tune into your car and cruise to the stylish sounds of Gulfisha.

The tuned out chordal play of the piano nudges the soulful light-pop number Meherbaan into play. It's almost a safe bet to say that if a track is rendered by Rahman himself, it's probably because it is amongst the best, if not the best song on the lot. Meherbaan features Rahman's moving vocals amidst a light-pop ballad with caressing acoustic highlights. The peacefully pure melody will give you complete rest, as Rahman's soothing voice takes this number to cosmic heights. With Meherbaan, Raqueeb Alam clearly proves himself the better of the two lyricists. His poetic phrases depicting the relationship between two joint-souls through metaphor completes the simplistic musical trinity with grace and integrity. It's quite astonishing, and I've rarely experienced this myself, but the passion of the melody and the emotion of the vocals enhance the lyrical meaning of the song without actually changing any words. Verdict: If there were ever any doubts that music is in fact potentially a metaphysical incarnation of peace and purity, one exposure to A.R. Rahman's Meherbaan will put all that to rest.

Ahh, and the addictive catch factor returns in grand form with the electric Tu Mera Hai. There's so much going on at each and every moment of the song, yet never do you feel that the composition is crowded or cacophonic. The rustic rhythm is the first element of this rich and sultry song, paving way for the addicting catch line of 'Tu Mera Hai Mera Mera Hai,' rendered exquisitely by veteran Chitra, a Rahman favorite. Naresh Iyer's smooth vocal undertones of 'Ya Rab' add to the immense catch factor. Sukhwinder Singh, another Rahman favorite, provides perfect support for Chitra's power-house performance. While the tabla adds to the culturally rich heritage of the striking rhythm, the unrelenting play of the strings next to the vocal melody animate the composition with tremendous musical energy. Again, Nusrat Badr's lyrics are quite competent, but the make-up of the song pushes the lyrics to the background and the melody/rhythm to the foreground. Verdict: Vintage Rahman, who once again weaves his magic over a song that liquefies the perfect blend of mass appeal and avant-garde sound.

Hai Dard tends to shy away from having mass appeal. The melody, although extremely poignant, seems to be slightly lacking the creative department. Nevertheless, there is melodic ethos. Rahman's arrangements are quite non-engaging when compared to the rest of the soundtrack, and that contributes the most to my being disappointed overall. Udit Narayan delivers a fine rendition. Badr this times writes on...you guessed it...despair, but does so with little gusto. Verdict: Due to its situational characteristics, it will be better appreciated on the big screen rather than on audio.

Ishq Ada (Female Version) more than makes up for any shortcomings the previous track may have had. This is the exact same song as the opening piece, but has been completely rewrapped in brand new arrangements. It's no coincidence that Rahman lightens up the background with a higher octave play of the rhythmic guitar and adds lighter bass lines...all these adjustments are characteristic of the female version not only with respect to vocals, courtesy debutant Parul Mishra, but also with respect to sound. Verdict: Just as stylish and breezy as its counterpart, I still tend to lean in favor of the Male Version. And that's no coincidence either!

Milo Waha Waha, rendered by Alka Yagnik and Jayachandran, is a soft-spoken semi-orchestral love duet. Belonging roughly to the same genre as Hai Dard, the piece has a very steady rhythm throughout with slight variations in terms of the decrease and increase in percussions used. The hauntingly romantic melody blossoms towards the stanzas (pay special attention to Jayachandran's chorus at the 5:10 mark, it's eerily beautiful!). The song will appeal mainly to the lovers of ghazals, but if you give the song a chance it will surely grow on you. Alka Yagnik is a true revelation. Nusrat Badr's poetic lyrics are finally given a chance to shine in glory, as he escapes the wraths of clichés to write a remarkable song. Verdict: More attractive than the aurally similar Dard Hai, Rahman conspires to give this song complete poetic justice.

Another reason why Rahman is so great is because he takes pleasure in even the smallest of things. Where 99% of composers would merely replace a male singer with a female singer, keeping everything else constant, Rahman saw the opportunity to give the entire composition a more feminine touch in Ishq Ada (Female Version). And yet again we witness the man's humble approach to composition with Meherbaan (Instrumental) featuring guitarist Sanjeev Thomas. Although the song maintains the same sound as the vocalized version, the acoustic riffs and improvisations fit the composition beautifully. In addition to the acoustic guitar, we also hear the electric guitar throughout the stanzas, which adds to the sound value immensely. Verdict: Obviously not a substitute to Rahman's tremendous vocals, but this instrumental version has its own flare of innocence and beauty. Enjoy!

The soundtrack of ADA may not be amongst Rahman's best, but it surely is an admirable welcome to any music collection. Along with Jodhaa-Akbar, it's one of the best scores the year 2008 has seen. With only Dard Hai slightly slacking, the music of ADA surely backs up Rahman's statement of it having a color of different genres, with quite a bit of experimentation thrown in. And if you're picky enough to pass on this Rahmantic score, than you don't have to wait long to sample the next one...Jaane Tu Ya Jaane Na is already on stands everywhere.
Long live Rahmania!

By Joginder Tuteja, May 20, 2008 - 15:12 IST

Would it be Qayamat Se Qayamat Tak once again with the arrival of Jaane Tu... Ya Jaane Naa? This is the first feeling one got the moment the first look of this Aamir Khan production was out. Marking the launch pad of his nephew, Imraan Khan, Jaane Tu…Ya Jaane Naa seems to be another innocent love story in the offering sans any unnecessary mush, hence going truly with contemporary times. With pretty girl Genelia D'Souza opposite Imraan in this campus flick and A.R. Rahman as the composer, this Abbas Tyrewala debut directorial venture (he also doubles up as a lyricist here), JTYJN, is a promising flick arriving this summer. Does the music hold up to the promise? The answer is - Yes!

First things first - when the best of the best of 2008 would be written down, the number 'Kabhi Kabhi Aditi Zindagi' would definitely find a mention. Crooned by newcomer Rashid Ali who is being introduced by Rahman on Bollywood musical arena, the song is beautiful from the word GO, the moment guitar strings mark the song's beginning.

Rashid's voice is just perfect for an actor who is being launched in a youthful romantic entertainer and the singer utilizes the big platform to the fullest. While Abbas' lyrics go truly with contemporary times, it is a nice change to hear a Rahman composition in a truly mainstream cinema rather than the historical/period/issue based films for which he has been creating music for quite some time now.

In true Rahman style, he gets together a bunch of singers for the track 'Pappu Can't Dance'. Well, this is the track which is supposedly a spoof on Salman Khan's on and off screen image and has been making news in last few days. The song's beginning has a rhythm which has formed a part of the racy proceedings in the first teaser of Jaane Tu…Ya Jaane Naa that had kick started the film's promotion a few weeks back.

Anupama, Benny Dayal, Blazee, Tanvi, Darshana, Satish Subramanium and Aslam come together to sing about this character called 'Pappu' who has seen all the riches in his life. Since the day he was born, he roams around in the best of the cars, has a body to die for, boasts of an impeccable style, but alas, can't dance to save his life. Hence the title - 'Pappu Can't Dance'. A fast moving fun song, which has a campus setting to it and also appears in a 'remix version', 'Pappu' is a song which should be fun when watched on the big screen.

It's a new sound at the very beginning of 'Jaane Tu Mera Kya Hai (Aditi)' that hooks you on instantaneously. This very rhythm stays throughout this song which is crooned for the female character of the film, Aditi, by yet another relative newcomer Runa. If the song's haunting tune wasn't enough, the way Runa renders the track makes it one as the sad theme of the song conveys what the protagonist is going through. A number about a girl remembering the times gone by with the boy she loved, 'Jaane Tu' is composed in a style, which is similar to that of 'Zara Zara' [Rehnna Hai Terre Dil Mein] and hence can be expected to grow over a period of time.

The song is later heard in a version meant for the film's male protagonist Jai and is titled 'Jaane Tu Meri Kya Hai (Jai)'. This time around the beginning is even more somber and takes it's own time to reach the stage where Sukhwinder Singh comes around to hold the center stage. The pensive mood is conveyed well yet again though this time around the version is even more somber.

Guitar is at play once again in the number 'Nazrein Milaana Nazrein Churaana'. The best song to arrive after 'Kabhi Kabhi Aditi Zindagi', 'Nazrein' deserves to be the next song in line for promotion. Packed with youthful energy, the number has a Rahman stamp all over it and goes in perfectly well with the film's campus mood. In fact just one hearing and you are sure to carry the number along for your next camp fire outing.

Yet again, it's an array of singers - Benny Dayal, Satish Chakravarthy, Naresh Iyer, Darshana, Shwetha, Tanvi, Bhargavi, Anupama - who come together but never once does one feels like trying to find out the singer behind a particular line. A complete team effort which reminds of the number 'Sama Yeh Suhaana' [Goonj] when it comes to it's setting.

The album continues to become better with every passing song, especially so the moment the title song arrives. Surprisingly, instead of 'Jaane Tu…Ya Jaane Naa', it is titled 'Tu Bole Main Boloon', which are the opening words of the song. Sung by Rahman himself, the song is a funny take on how this guy and the girl have two different perspectives to everything, even though at the end what they mean is just the same! A bona fide jazz number with soft drums, saxophone and other associated musical instruments in tow, 'Tu Bolev' has an international feel to it in the way it's entire arrangements are done.

After a brilliant 'Kabhi Kabhi Aditi Zindagiv', Rashid Ali returns with 'Kahin To Hogi Ho' where he has Vasundara Das for company. Yet another beautiful number which carries an Indi-pop feel to it, this love song has such a serene feel to it that one can't help playing the number on a repeat mode. This is a kind of a soft romantic number that you wish to preserve in your iPod and play it your loved one at the first given opportunity. A brilliant number which makes it two out of two for Rashid Ali!

The soundtrack here is unlike a conventional Bollywood score and instead introduces a style, which goes with the contemporary youthful setting. Jaane Tu…Ya Jaane Naa is an album, which deserves to be bought this season. With Jannat being the only album which is registering good sales and no other album from past or present matching it's performance on the stands, Jaane Tu…Ya Jaane Naa by A.R. Rahman comes as welcome relief.

Sukanya Verma

May 22, 2008 13:33 IST

Four summers ago, when I spoke to Abbas Tyrewala -- the prolific writer of Munnabhai MBBS, Maqbool and Main Hoon Na -- he appeared rather reluctant to direct a movie.

Today, this 'one-man army' is ready with his maiden venture, Jaane Tu... Ya Jaane Na -- a generation Z musical cum love story produced by Aamir Khan .

Besides a story to tell, Tyrewala is also assigned the responsibility of introducing Aamir's nephew, Imraan Khan in the best possible way, as well as showcasing Genelia D'Souza (Tujhe Meri Kasam , Masti). What's more, the man has written the lyrics too, against A R Rahman's zingy score.

Though the soundtrack is undoubtedly fresh and zippy, it would be ridiculous to expect an overwhelming cousin of Jodhaa Akbar or Guru, which is both a welcome change as well as reminiscent (not in tune but spirit) of his compositions for mushy-themed campus capers like Kadhal Desam (also known as Duniya Dilwalon Ki), Boys and Lakeer.

So how good is is Jaane Tu...Ya Jaane Na? Well, for most part, I'd say 'Encore!'

Here's what it has to offer:

The exuberant fragrance of teenage-hood serenades the air with the infectious beats of the opening track -- Kabhi Kabhi Aditi. Rashid Ali's funky rendition and Rahman's stylish and rhythmic pace makes this a case of love-at-first-sound.

Also, as it often happens with the Carols (Oh Carol by Neil Sedaka) and Alices (Living next door to Alice by Smokie) of the world, there's nothing cuter than having a song that sings your name. And so all the girls who go by the name of Aditi, get ready to have a gala time soaking in the Hey Aditi dedications at a jukebox near you.

Up next, there's the naughty 'n' nutty Pappu can't dance. Indeed, Pappu might be a lousy mover, but the song, overall, is one hot-stepper. Then again, its mocking lyrics, which are allegedly aimed at Aamir's Andaz Apna Apna co-star Salman Khan poke fun at his -- disguised as Pappu -- love for fast cars, designer accessories and rippling muscles. While Sallu fans might be none too pleased, Pappu and his left feet are a rocking entertainer on their own. It's remix by Krishna Chetan is a pleasant add-on!

All of a sudden, the album slips into a grim mode in the restless and uncertain notes of Rahman and romance with Jaane tu mera kya hai. While its female version, in the husky tones of Runa, boasts of an eccentric electronic arrangement and tangent strain, the darker and desolate alternate interpretation by the reliably dramatic Sukhwinder Singh is sufficiently emotional if not necessarily heart-wrenching.

The capricious melody of Nazrein milaana, nazrein churaana reflects the playful, dreamy and perplexed state of young 'uns with warm results. The mercurial tempo of the album continues with a nifty Rahman jazz-up the scene, quite literally and lovingly, if I may add in Tu bole... main boloon. It's a wonderful experiment and introduction in the Bollywood music scene and deserves much applause.

Rashid Ali, accompanied by an exquisite Vasundhara Das, makes a surreal return in the soundtrack with the waltzing glory Kahin to. If you enjoyed Danish boy band Michael Learns To Rock, whose uncanny influence is echoed in Kahin's notes, this is definitely your cup of tea.

Looking for a soulful, uncomplicated, pleasant music? Rahman's frothy tonic of vibrant and breezily-tempered creations in Jaane Tu...Ya Jaane Na should certainly catch your fancy.

Sukanya Verma

January 22, 2008 13:14 IST

It's a curious combination. A great emperor and a spirited princess. He's Mughal, she's Rajput and it's the 16th century. A politically motivated alliance brings the two together as man and wife. Battles form a backdrop and budding romance the core of this seemingly -- if promos are any indication -- fragile love story.

Ashutosh Gowariker changes genre yet again after exploring triumph of spirit in Lagaan and an NRI-mind's nationalism in Swades with his lavish costume drama about historical figures Jalaluddin Mohammad Akbar and Jodhaa Bai.

The super hot pair of Dhoom 2 -- Hrithik Roshan and Aishwarya Rai slip into royal shoes to delve into a new side of their chemistry in Gowariker's eagerly anticipated film, Jodhaa Akbar. As in the case of Lagaan and Swades, for his latest too, the filmmaker repeats the successful music director-lyricist team of A R Rahman and Javed Akhtar.

To find out how the final product turns out, read on:

The palpable energy and marching dynamism in the Rahman-helmed regal grandeur and Javed Akhtar's salutations of the heroic Mughal Emperor is both bewitching and befitting in Azeem-O-Shaan Shahenshah. And while the clarion sound that features intermittently through the track, is a fond reminder of the Lagaan instrumental -- Once Upon A Time In India, the charged chorus and melodic alaap ensure a triumphant opening into the soundtrack.

The knife-on-butter quality to Javed Ali's ultra smooth and sharp vocals lends Jashn-E-Bahaara an exquisite edge. As always, Rahman waves his musical wand to infuse enticing proportions of magic and beats, enhancing Javed Akhtar's poetry, which eloquently waxes on the charming uncertainty and growing anxiety of a blooming romance. Its instant appeal is likely to evoke a spontaneous singer in many of us. Consider the flute-based instrumental of Jashn-E-Bahaara a karaoke-friendly answer to your prayers.

A Rahman soundtrack wouldn't be dubbed complete without the man wielding the microphone as well. And so the maestro puts up a spectacular show in the Sufi symphony, Khwaja Mere Khwaja. The high-pitched reverence and pulsating devotion in Rahman's plea (penned by Kashif) perfectly syncs with the blazing graph of this feverish creation. An Oboe-themed instrumental of the same has a riveting impact on both -- soul and senses.

Sonu Nigam and Madhushree's ethereal rendition of In Lamhon Ke Daaman Mein shifts its tone from a gentle love song to a dramatic chorus whilst celebrating the intimate union of its titular protagonists.

Even as the leisured pace is most beguiling, the additional roaring of vocals breaks the momentum and mood of this otherwise winsome duet.

Following the tradition of fervent prayer offerings as seen in the last two Gowarikar films -- O Palaanhare (Lagaan) and Pal Pal Hai Bhari (Swades). Here too, despondency and anxiety looms large in the essence and Bela Shende-voiced implorations of Mann Mohanaa. As opposed to the aforementioned pieces, this one, with its linear outline and noticeable monotony, falls pale in comparison.

Having said that, Jodhaa Akbar deserves a round of applause for its faithful adherence to melody, vibrant lyrics and musical detailing. At the same time, Rahman and his visionary sensibilities make their presence felt by and large in every note and rhythm. And that's what makes the soundtrack of this history-inspired romance a musical conquest

by Tanushree Saha

Alas! The wait comes to an end. The music of the most awaited release of the year ‘Jodhaa Akbar’ directed by Ashutosh Gowarikar starring Hrithik Roshan and Aishwarya Rai is out with splendor and perfection.

Director Ashutosh and music director A.R. Rahman have had excellent partnership and produced hit music earlier.

Composed by music maestro A.R.Rahman, Jodhaa Akbar’s music is magical, spectacular, bracing, pleasant and different from the tunes and beats of the contemporary style of music.

The first track Azeem-O-Shaan Shahenshah starts off with roaring horns and booming drums as we are introduced to our emperor Akbar, his power and stature.

With the incredible crisp arrangements of 12 different kinds of percussion instruments in the song, A.R has composed a masterpiece and the effect of the song is just wild.

The singers Mohammad Aslam, Bony Chakravarty voice’s are just perfect for this score. A.R. Rahman is quiet simply at his best with this song.

The heart-warming romantic track Jashn-e-bahaara is enticing, making you hit the repeat button several times.

The slow but richly soothing melodious tunes of string variants and tabla just flows smoothly into your ears as if to ease your soul.

Javed Ali’s tone of voice blends rightly with the tunes creating a most joyous effect on the ear! Pure unadulterated music - a winner!

After two beautiful love songs, its time to go spiritual with the Sufi qawwali, 'Khwaja Mere Khwajaa'.

Rendered by the maestro A.R. Rahman himself, its an authentic qawwali, the kind heard in the shrines and dargahs.

As is well known that Akbar visited the shrine of the famous saint Salim Chisti (Fatehpur Sikri), wept, pleaded and prayed there to be granted a son who would inherit his empire.

The qawwali also has an instrumental version, and the instrument predominantly used is the oboe, a woodwind instrument (modified version – bassoon) played to perfection by Leighann Woodard.

From praises for the emperor you are taken to the world of two lovers with In Lamhon Ke Daaman Mein.

Once again with the soothing tunes of strings interwoven with the beating of drums, the song is dipped in passion and is just breathtaking.

Sonu Nigam renders another emotional track with Madhushree providing supporting vocals.

The tunes, the voice and the chorus vary in energy with the proceedings and the final outcome is a stunning melody by A.R. This is the best romantic track that proudly tops the charts of JA.

The final track Man Mohana sung by Bela Shende is yet another soft track with tunes like that of a bhajan.

It’s is a situational track that might not be pleasing to all but even in this the blending of various instruments is just mind-blowing.

In the context of the movie, the number will serve an important purpose in showing that Jodhaa was a woman of substance and she stuck to her own faith and religion and the emperor respected her faith.

So those were our impressions of Jodhaa Akbar, the audio album which finally hit the stores after many postponements, but when it did, the wait was definitely worth it!

Rahman has done it again and his fans are savoring his masterly compositions.

But isn't that always the case, even when it is served on time? Definitely and surely a must buy, as it may not be a classic, but will surely become one in the days to come

Hollywood + Bollywood?  By Golly wood!

Review by Christopher Coleman

One of 1998's surprise hits was director Shekhar Kapur's ELIZABETH.  The visually pleasing film with solid acting performances by Cate Blanchett and Geoffrey Rush help to earn the film 7 Oscar nominations.  Even composer David Hirschfelder's score was nominated for an Oscar, but ultimately lost to Nicola Piovani's LIFE IS BEAUTIFUL.  Fast forward some ten years and part-two of the rumored trilogy, ELIZABETH:  THE GOLDEN AGE brings back Kapur, Blanchett, and Rush...but this time with composers CRAIG ARMSTRONG and A.R. RAHMAN.

While ELIZABETH was met with both critical and popular acclaim, the second part has not faired as well.  Much of the criticism lies within the art of the story falling prey to the art of editing suite and the costume and set department.  Of course with the great technological strides made since 1998, the visual appeal of ELIZABETH: THE GOLDEN AGE could be argued as being even greater than it's predecessor.  Ah...but a good film digital tricks doth not make, eh George?

Although his website dubbs him "Australia's Leading Film Composer" David Hirschfelder hasn't been attached to a major film since ELIZABETH, which begs the question as to what happened to such this promising composer of the late 90s.  Reportedly, director Kapur's original impulse was to go for a dark, brooding type of score as ELIZABETH had, but later changed his mind wanting the film to be a bit more diverse.  This choice inevitably effected the type of score the film would have to have.  THE GOLDEN AGE ended up a modernized film demanding a modern-edged-score.  For it to be handled by Armstrong and Rahman seems fitting. 

Actually, an even more intriguing than the absense of Hirschfelder was the coupling of CRAIG ARMSTRONG with A. R. RAHMAN.  While either one would likely have been able to do an ample job for the film on their own, Kapur chose to bring on two composers with vastly different backgrounds.  How the two and their styles would mesh would be a signficant question to address. Since the mid-nineties, composer Craig Armstrong has become fairly well-known with film scores for projects such as:  PLUNKETT & MACLEANE, THE BONE COLLECTOR, MOULIN ROUGE!, THE QUIET AMERICAN, and WORLD TRADE CENTER.   A.R. RAHMAN is less known in the west, but is a mega-star in India and other parts of Asia.  While he may be better known for his work in other music genres, Rahman started to make a name for himself with his score for the Chinese film, WARRIORS OF HEAVEN AND EARTH (2004).  Going far beyond his Indy roots, Rahman proved in WARRIORS that he could manage a highly textured, fully orchestral score. ELIZABETH: THE GOLDEN AGE became an unlikely melting pot of the two talented composers vat of style and technique.

This collaboration ends up working.  The confluence of Armstrong and Rahman's music forms a river of highly entertaining music.  Unless you are well versed in each composer's body of work, you might find it difficult to tell where Armstrong ends and Rahman begins.   That said, there are moments where it is clearly Armstrong or clearly Rahman.  Tracks like "Immensities" (5), "Smile Lines" (11), and "Love Theme" (16) are strong cousins to the understated beauty from WORLD TRADE CENTER.  Likewise, A. R. RAHMAN's signature middle-eastern vibe comes to the forefront in "Divinity Theme" (17).  Despite having two composers, the score maintains a single personality. 

ELIZABETH:  THE GOLDEN AGE is an monarch or two beyond what DAVID HIRSCHFELDER established some ten years ago in ELIZABETH. Instead of a dark, periodish score, this time around director Shekhar Kapur chose to contemporize things utilizing the considerable talents of two composers.  The film may not find itself called out as often on Oscar Night this time; however, it certainly wouldn't be far-fetched to hear A.R. Rahman and Craig Armstrong's names among the nominees.  Their collaborative work here is a detailed and textured score that is surprisingly contemporary.  It flows from thematic heights to simplified romance to pulsating battle-action. 

The marriage of the film's visuals and score may not be a match made in Westminster Abbey, but spinning in your CD player, ELIZABETH: THE GOLDEN AGE should reign for sometime

So the 2007 sequel did not enjoy the rave reviews garnered by the first movie. The 1998 David Hirschfelder soundtrack was well-reviewed and was also nominated for an Oscar (but lost to Nicola Piovani’s “Life is Beautiful”). So by getting two composers to score the sequel, how will this soundtrack fare against its predecessor?

Craig Armstrong, known for his sentimental works on movies like Love Actually (2003) and World Trade Center (2006) teams up with acclaimed Indian composer AR Rahmen, who has scored highly-praised Bollywood films like Water (2005) and Guru (2007) to compose this soundtrack of, to simply put it, epic sounds. From the moment the violin begins playing in “Opening”, leading to a crescendo of brasses and chorals, you know that the 48-minute album is going to be a regally enjoyable listen.

There are both tenderly loving moments and epically grand sequences in the album. With slow and flowing string accompaniments, tracks like “Horseriding” and “Bess and Raleigh Dance” evoke feelings of affection and warmth. And listen out for “War / Realisation” and “Horseback Address” for their intense and engaging orchestrations of brasses and percussions with the occasional woodwind solo.

The grand and soaring moments come during tracks like “Destiny Theme” and “Love Theme”, where you’d be swept away by the string ensemble. Then there are the nice touches of the contemporary electronica in “Battle” and the Eastern touches (courtesy of Rahmen) in “Divinity Theme” which act as little pleasant surprises along the way. In the three-minute “Storm”, the pulsating effervescence of the chorals and orchestra aptly brings out the movie’s climatic scene on the seas.

Hence, what’s the verdict for this score? Although it won’t blow you away with memorable themes and innovative sounds, it’s still an epic collaborative piece of work that deserves to be celebrated

Review by John Li