Raanjhanaa : Music Review

Tan thirke thirke mann behke behke - Yes, that's exactly how I felt after listening to this album. After that disappointment of JTHJ, I was absolutely sure that in Raanjhanaa, ARR is going to create magic, again. Given the director's choice for music (Tanu Weds Manu), and the setup for the film - Banaras, high expectations were obvious. And all of them are fulfilled.

Dreamy prelude starts Tum Tak and once Javed Ali steps in this semi-classical number, it absorbs you in the sound of the Ganga ghaats. Manjira, dholak, tabla and shehnai creates solid earthy experience. Add brilliant climax at 3:07 and excellent wordplay penned by Irshad Kamil. Javed Ali along with Keerti Sagathia and Pooja (who sounds so much like Sadhna Sargam) are in top form making this ear worm go on loop mode.

Title track, Raanjhanaa Hua starts on low key only to get picked up so well that makes you move your feet to the sound. Fast paced dholak sound is the star of this track. Shiraz Uppal and Jaswinder Singh's is an interesting combination for this one. Both of them perfects upbeat mood of mad lover. And very easily they croon those tricky lines. Oh and that inimitable Sitar piece by Asad Khan !! Madly in love with this song already.

Borrowing few verses of Amir Khusrau, Tu Mun Shudi makes an interestingly different composition that you can't categorize. At first it easily reminds of Rang De Basanti. Rabbi powers the vocals part along with Rahman himself. A word of warning : Do not listen this on any ordinary speakers. Get a pair of nice headphones or something else.

Filled with eargasm caused by classical elements fused by flutes, tablas, sarangi, sitar - Banarasiya is a gem that only Shreya can sing this way, aptly backed by Meenal Jain and Anwesha. Prelude is amazingly worked out with Sarangi, and later by sweetest flutes and equally fantastic conclusion with Sitar. Words by Irshad, immersed in flavor of Banaras, strikes the chord instantly in the heart.

When you hear that ni ni sa sa ni ni sa sa in the prelude, and when you get goosebumps by first few seconds itself - you know its going to be a grandeur ahead. Piya Milenge takes you to that sufi trance in a way that ARR has mastered. Sung proficiently by ever dependable Sukhvinder Singh and KMMC Sufi Ensemble, the track reaches a new height at 3:38 - indescribable moment !

Another classical treat with four fabulous singers - Madhushree, Vaishali, Chinmayi and Aanchal Sethi-  Ay Sakhi is that giggling girlish tune (that reminded me of Eli Re Eli, flavor wise) sprinkled with teun teun, pe pe pe and what not. What stars here is Irshad's word, especially last paragraph. Loved the wordplay.

Dreamy Nazar Laaye has flavor of JTYJN. Filled with guitar strings, this duet by Rashid Ali and Neeti Mohan is easily a loveable one (despite of that much used word 'Mahiya'). The overall cuddly softness lingers in the mind. Another such song is Aise Na Dekho which is pretty much in league of JTYJN title track. Blame it on 'saxy' arrangements and ARR singing it for himself. But what makes this more endearing is the accordions and the whistles. Also, is it just me or mouth organ is there too?

Final one, The Land of Shiva is a wonderful ensemble of the sounds from the ghaats. Temple bells, conchs and heavy percussion. Everything is grand but too short the track is, it leaves you wanting for more.

As I told in first para, Rahman sir has blown away my speakers already, with the awesomeness of the earthy-classical-modern touch. (sorry, but in absence of proper words). Raanjhanaa is a real treat. Thank you Rahman sir. Thank you Anand L Rai for giving him this freedom.

My Picks : Tum Tak, Raanjhanaa Hua, Banarasiya, Piya Milenge, Tu Mun Shudi.

Tags: Rahman, raanjhanaa, raanjana, sonam kapoor, irshad kamil, abhay deol, rabbi, freedom song, tu mun shudi meaning, tu man shudi meaning, dhanush kolaveri first bollywood, Raanjhanaa music review