Rockstar starts with Mohit Chauhan singing Phir se ud chala. The song, that starts with a relatively light mood and gets a breezy effect from Mohit, like the words of the song, gets remixy by the end, actually a nice experiment that will catch on slowly. One very interesting part of the song, though, was the background vocals in the beginning and end.
Jo bhi main kehna chahoon, barbaad karen alfaaz mere. Frankly, I am a fan of this one line written by Irshad Kamil. And then A R Rahman in an experimental mood, composing like there is someone actually singing at a concert. And Mohit Chauhan singing that. I don’t think there was anything more required, but still, the song has a lovely video as an add-on. Seems I wrote a lot just praising the song, but guess it’s worth that. Do listen.
Katiya Karoon. Dangerous words. Rocking music. And superb vocals by Harshdeep. If she has managed to be not famous even after Rang De Basanti, this time Rahman is definitely gonna make her known. DO listen.
Kun Faaya Kun is once again Rahman at his regular divine stuff, sung by him with Javed Ali and Mohit. I sometimes wonder how Rahman is so easily able to create such wonderful songs in the same segment, one after the other, and all of them equally great. Yes, good is a small word here.
The next, Sheher mein, is a Very exceptional number, where one person tells how to sing, that is what to do, followed by lines, followed by Ranbir that is Mohit singing them again. While Karthick sings the song as a regular singer, Mohit takes every line in a stylish mood and you just enjoy the difference.
Hawa hawa, featuring Rahman’s Foreign language gang with Mohit Chauhan, has an Arabian touch in its music and arrangements, while Mohit again sings with some more experimentation. Wondering how much of experiment is going to be there with his voice in just one album. Not a quick catch, may be interesting with a video though, as the song has some interesting words with a conversational style.
Aur ho, the next song, that begins with Alma Ferovic’s voice, is the first true rock number of the album. Even though the background of the song is quite light in most of the song and has a very familiar Rahman touch, but Mohit’s voice gets incredibly high in some places, like an all new rockstar. Do listen for a nice glimpse of that old Rahman.
Rahman and Mohit’s O Naadan Parindey, which is already a lovely composition in itself, has got a LOT of experimentation done by Rahman in background and foreground, and unless you listen to the song a few times you’ll find a song a little difficult to follow. But whatever you do or do not, make sure you listen to Kaaga re kaaga re part sung by Mohit. Lovely, no, Very lovely one.
When I heard the 30 second preview of Kavita Krishnamurthy Subramaniam’s Tumko pa hi liya, I thought of it as a very regular song, and was wondering if Rahman should have given it to Madhushree to making it a little more interesting.
I was wrong.
Rahman makes a lovely slow number with a nice, light Indian-Western fusion with a lot of Tabla, while Kavita just sings the slow, long melody in the foreground. A song that will take some hours to get on, and a lot, lot more to get off.
Next to next after tum ko, comes tum ho, almost the same tune sung by Mohit Chauhan, with all different style and arrangements, so much so that it’s difficult to guess its the same song if you’re listening to both for the first time. Mohit sings the song much more beautifully, but not taking much away from Kavita’s version as what she sings is again equally different.
Tango for Taj, the three minute instrumental, is a common, but nice, and to some extent engaging track that one would actually like to dance on. While Dichtomy of Fame, based on Shehnai and guitars, is one instrumental piece in long time I really liked, even though I don’t think I have much of an ear for instrumental pieces.
The last track, The Meeting Place, is rendition of a single sentence by Ranbir, based on Rumi’s poem. All I have to say is that if they had not given this one, people probably would ask for it after watching the movie.
And if you are wondering where is Sadda Haq, it’s between Kavita’s Tum ko, and Mohit’s Tum ho, but had decided to avoid until the end. Have still to play it.
Orianthi. Superb guitars from the first second.
Besides that, I don’t know much about Sadda Haq aithe rakh. The song is completely anthem-ish. And it gives you a high like it should, even though the best part of the song is already listened by almost everyone, tens of times in my case. The song is expected to do well everywhere, including country, overseas, in Punjab and out of it (talking of the language), on youtube, and probably even on your website if you put it there. You can listen to it while exercising, or getting ready for an exam. If you’re going for some protest, it’s a must have, be it social, political, or emotional. In short, Sadda Haq aithe rakh is a song for many seasons. And you can probably buy the CD for this song alone.