Kun Faaya

Now this is the kind of AR Rahman stuff I was waiting for. Many of us can't expect it to be a part of a movie called 'Rockstar'. But these days, the name of the movie no more suggests the kind of music it has. So, let us call it the lightest of the cases.

Anyways, 'Kun Faaya' is a new sufi song from 'Rockstar', composed by AR Rahman, which has a new experiment associated with it. People, Mohit Chauhan is singing in the song (which, again, is a sufi piece)!

As a matter of fact, it doesn't really matter if Mohit Chauhan is a part of the new sufi song. Since Rahman and Javed Ali are already a part of it, its beauty does not get affected by who the third singer is. Same was the case with Arziyan (Delhi 6), in which Kailash Kher was present with his over-dry voice (read 'anti-feel'). But the song was as divine as any of the earlier Rahman sufi.

The history has been repeated, and believe me, you'll get lost in the way Mr. Rahman treated the song this time.

It starts (as expected) with un-instrumented (which means 'well-backed only by keys', in Rahman's case) vocal  by Rahman. And then, the instruments start getting added slowly. There's a very sweet harmonium riff, with which Javed Ali enters. The wetness and flexibility in his singing are as clear as anything. That his voice is miscible with such kinds of music, is pretty much evident.

Mohit Chauhan does some harm to the song's soul. But never mind, it doesn't make much of a difference. And no one should actually care as Chauhan's voice is, apparently, Ranbir Kapur's (in the movie).

What is to be paid attention to, is the sort of composer Rahman has (yet again) proved to be.
Let us just hope that this sabbatical makes him stronger at creation.

Signing off
Nishant Sharma
(listening to Cobain and Rahman)

Rahman, Vishal, Amit

Guy 1- Track Record--- Roja (National Award, Filmfare), Bombay (Filmfare, included in "1000 albums to listen to before you die"), Rangeela (Filmfare), Jeans (Filmfare), Dil Se (Filmfare), Taal (FIlmfare), Rhythm, Lagaan (National Award, Filmfare), Saathiya (Filmfare), The Legend of Bhagat Singh (Filmfare), Yuva, Swades (Filmfare), Rang De Basanti (Filmfare), Guru (Filmfare), Sivaji (Filmfare), Jodhaa Akbar (Filmfare, Background Score), JTYJN (Filmfare), Slumdog Millionaire (Academy, Golden Globe, Grammy, World Soundtrack), Delhi 6 (Filmfare), Ye Maya Chesave, Ghajini, Yuvvraj, 127 Hours.
Quality--- The tunes, the melody, insane chords, great presentation, choice of singers, number of genres his style covers.
Status--- On a sabbatical from Bollywood music.


Guy 2- Track Record--- Maachis, Godmother (National Award), Omkara, Kaminey, Ishqiya (last two nominated for National Award), 7 Khoon Maaf
Quality--- the soft compositions, the newly adapted rock style of composition, awesome style of foreign inspirations.
Status--- still composing for Bollywood, sticking to his original ways of composing


Guy 3- Track Record--- Aamir, Dev D (National Award, Filmfare), Wake Up Sid's Iktara (Global Indian Music Award), Udaan (Giffoni's Best Music, Filmfare for Background, Global Indian Award), Aisha, No One Killed Jessica
Quality--- the Coldplay inspiration, feel good compositions, insanity in chord selections, rhythm, melody.
Status--- in his best form, composing for Bollywood, might be a good replacement for Guy 1.


All the above mentioned composers have been amongst the most promising music directors of Indian history, and the point is they are still to create music for the Indian Music Industry. Without any of the above three, an incompleteness would be felt in the Bollywood music; Guy 3 being the fresh-most of the 3.
The crux of this post is the fact that these three can't be compared, and at each point of time, one proves to be the best.
But, Guy 1 will never be "replaced" totally. Going through his songs would make you believe that.
In the end, although it is all clear:
Guy 1- AR Rahman
Guy 2- Vishal Bharadwaj
Guy 3- Amit Trivedi


Music Rocks!
<lost in audio frequencies>
Nishant Sharma

aNu- the Malik

wIth the RD Burman and Laxmikant-Pyarelal era ending, Nadeem-Shravan and Jatin-Lalit co-existing, and AR Rahman still to make an impact on Bollywood, Anu Malik began making a mark in the Indian Music Industry. His first popular set of compositions was from Baazigar(1992), that got him the Filmfare award for music tracks.
bUt that he entered the industry was long back; around 15 years before he got the Filmfare.
tHe guy had not had an easy life for years at the place, which is bound to register tragic incidents in its notebook. Anu Malik, somehow, failed to register in the same; courtesy some unknown players of Bollywood.
iT was sure that he would be on heights once RD Burman said goodbye. Jatin-Lalit were never doing new stuff, and Mr. Malik was a lot interested in the same. One can say his music was influenced by Bappi Lahri's.
iN one more respect can he be compared to Bappi Da; and that is the one the mass knows- the "influenced" music.
Murder, Jaan-e-Mann, Baazi, etc are the famous influenced lot of his. Anybody, who loves any of the stated movies' songs, can abruptly begin to refuse the fact that he ever liked any of these; all you need to tell him is that he was listening to some stolen shit.
bUt his improvisation with the pre-recorded songs is actually good. You can't fail to admire the sweetness with which he acts a thief.
rEcently, he has done a remarkably crappy job. YPD, Toonpur...., Kambakht Ishq, etc have been appreciably held flop and unsuccessful by everyone who has lent his ears to them.
aNd yeah, one more thing- the guy is no more just a singer-composer, he's a lyricist as well (now, curse the divine). Tinku Jiya is his whole-sole creation (you can notice the female singer trying imitating him).
bUt keeping aside all the blame game, let us recall all good he has done to "the music".
Refugee, Umraao Jaan, Kalyug, Fiza, Paap, etc  are considered to be very fine of his compositions. His melodies are worth being considered treats to your ears. This was what made him the musician when there were not many creators of good bunch of songs. No wonder, Anu Malik still considers himself as the best amongst all the Indian composers (although a person called AR Rahman was simultaneously making his way from Tamil to Hindi music).

sIncerely hoping that Mr. Malik goes through self-realization after what all he has tried to do, and what all has happened,
sIgning off
<non-Malik>
nIshant sharma

7 khoon maaf..

vIshal Bharadwaj- one of the biggest names in Indian Entertainment Industry. The man is a director, a cinematographer, a producer, a dialog writer, a musician, a lyricist, a script-writer, etc.
In short, the guy is a genius. You don't see such people often wandering on the earth.
tHe main concern, here, is to discuss the music of the movie.
lEt us start it with the very famous and promotional video song "Darling".
tHe song id very much salsa beat-ed. It can remind you of song from Guru or the one from Aisha. Its beauty is the way the female singers' style of saying the title word 'Darling'. The stanza knows every way to please your ears. The chorus and harmonies are inexplicable. It can help you very much with trying feeling relaxed.
the second good shit is "O Mama". Let us all welcome KK with this one. No doubts he has been singing many songs these days, unlike Sonu Nigam. But, a very good hit has not been to his credit for a long time. O Mama might be a possibility in this case.
a minute! Did I mention Vishal Bharadwaj is a singer? No? My bad! The guy has sung one song in this film (and many in the history). "Bekaraan" is typically a Vishal thing to listen to. The song has 'Kaise Mujhe Tum Mil Gayi' beats. It sounds almost the same. But, the lyrics are so good that you might "lose" yourself, in case you're addicted to your girl. Gulzar is the man, people!
aNd enters the name again! Master Saleem, the singer of Tashan. The song is called Aawara and is, again, a very typo-Vishal stuff. The lyrics again! The music is wonders. And that it's tough to sing is worth mentioning. :)
sUraj Jagan is the emerging singer with "Dil Dil Hai" in the movie. This is for the rock lovers. Nice drumming is the song's soul.
nOw, the love of Vishal for Mr. Suresh Wadekar is clear. No more questioning and debating on the fact that Vishal respects Wadekar a lot. This song is the one that you have listened to quite a lot. O Sathi Re from "Omkara" had the same expressions.
aNd "Yeshu" is insane. And as usual, Vishal had to get a help from his wife Rekha for doing this. Wherever is the need of executing a difficult, he asks Madame Rekha for it.
iN short, the movie has songs that will entertain you as a set. The variety is highly worth appreciation.
lEt us hope, Vishal Bharadwaj keeps doing this, or who else remains?

sIgning off
<hIgh>
nIshant Sharma

sInger of the time

iT was in 1990 that the man recorded his first song for a movie that never was officially released. They still said he was merely a 'Rafi clone'.

nEver moved by this, he kept trying; and today, we know him as the biggest singer of present Bollywood.

Sonu Nigam is the man of feel in the country. The guy started with 'Achcha Sila Diya' and the song that he has last recorded is from the movie Angel (which, by the way, has torturing trailers).

tHe guy's voice can capture you within the walls of emotions that the song is supposed to build. He knows where and how much to stress a word, so that the expression remains as the word travels away.

Desh Ki Mitti is one of the best he has done with Rahman. For last 13 years, Sonu has constantly been a part of Rahman's pool of vocalists. The only clear reason is that the master of music has every idea as to who can carry his music the best. 'Satrangi', 'Saathiya', 'In Lamho Ke', 'Do Nishaniyan', and many more can be considered his best of works during all these years.

He claims to have changed his Rafi-imitating style to his original one, since he sang 'Ye Dil' from Pardes.
hIs album under the name "Classically Mild" is typically a feel-good album. The sound of every song soothes your senses with generosity. The way he has built the album is strangely awesome. And most importantly, the soul of song never vanishes while the intricacies exist, contradictory to the fact that most of the trained singers are the other way.

hIs is the voice that can be easily recognized from even the worst sources of music (Yeah, I'm talking about the Chinese cellphones).

tHe only problem that Indian listeners have to face in coming times might be that Sonu has cut down on singing new songs these days. Stage shows and concerts are his major targets these days. And the fact that he is trying hard to grow international is very close to creating danger for the admirers of music. There are very few soulful singers remaining; there count is damn very less than that of tigers in the nation!

sIgning off

<listening to the chord of seven notes>

nIshant Sharma


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