Raanjhanaa Music Review: Works Quite Well As A Packaged Affair

An A. R. Rahman score for a story which is set in Benaras? Sounds like quite an interesting idea since Rahman's music has time and again carried a Sufi flavour to it while one associates a different sound altogether when it comes to the Holy city of Benaras. Nevertheless, given the fact that Aanand L Rai is one of those filmmakers who is trying to bring in a new grammar on screen while Irshad Kamil's lyrics have time and again worked well with varied composers, there are high expectations from what Raanjhanaa has to offer, especially considering the fact that it has Dhanush and Sonam as a lead pair.

A.R. Rahman, who has always experimented with different voices, pulls in Jaswinder Singh and Shiraz Uppal for the all important title song Raanjhnaa Hua Mein Tera. A song that carries a trademark Rahman touch to it with Irshad's lyrics weaving the magic once again, it starts off well, only to lead to a very impressive 'antra' portion. In fact this is the part of the song which actually plays during the theatrical promo as well and hence there is an instant connect as well. There is certain purity in the song and that works well in setting the stage for Raanjhanaa.

Indian classical music forms the base for Banarasiya which follows next. If the first hearing leads to a sense of being surprised, repeated hearing of the song takes one back to the late 90s and early 2000s when Rahman composed quite a few songs on these lines. It is good to see Shreya Ghoshal being roped in for this rooted number that also has a devotional touch to it, albeit quite subtle. A song that ensures that the flow of Raanjhanaa is maintained, it is a happy outing for the female protagonist (Sonam Kapoor) and carries a classy feel to it.

For the first time in the album, Western arrangements come into play with Sukhwinder Singh taking a subtle route with Piya Milenge. A song about self-realisation, this one soon gets into a Sufi zone and is the kind that blends the philosophical flavour with that of devotional. By this time, one does get an impression that Rahman is pretty much maintaining the kind of essence that was expected from him to begin with, especially considering the setting that Raanjhanaa enjoys.

With Indian classical music continuing to be the core of Raanjhanaa, it is time for Madhushree, Chinmayi, Vaishali and Aanchal Sethi to come together for Ay Sakhi. A song which has a bunch of female friends coming together in a vintage mode as if the stage was set 100 years back, 'Ay Sakhi' should do well for the situation in which it plays on screen during the narrative.

There is a quintessential love song that follows next in the form of Nazar Laaye. A song that reminds one of the kind of sound that the music of Delhi-6 carried, especially during it's softer outing, this duet between Rashid Ali and Neeti Mohan is a beautiful love song that deserves to be played in a repeat mode. Of course, this isn't the kind that goes on to set the charts on fire but play it as a part of the soundtrack and one gets a wholesome musical experience.

The one that should gain instant attention though is Tu Mun Shudi which has a revolutionary feel to it, which is further complimented by a very impressive montage of visuals. Carrying a thump to it while maintaining a stamp of A.R. Rahman all through it, this one works further due to the maestro coming together with Rabbi Shergill behind the mike. Play it on a loud volume and have some good fun, especially during the middle portions which remind one of the title song of Dil Se.

A love song follows next in the form of 'Aise Na Dekho' which yet again reminds one of 'Delhi 6'. The song in question is 'Rehna Tu' and this time too it is Ramna himself who is heard. Smooth sailing, easy on ears and the kind that passes by as a breeze, this is a soft number that is yet another good inclusion in a soundtrack that comes across as one big musical piece. This is followed by a vociferous piece 'The Land Of Shiva' which lasts a mere 70 odd seconds but leaves an impression.

The one which leaves the biggest impression though is Tum Tak which incidentally arrives at the very end. The flagship number of Raanjhanaa which could be the one sung for the one you love or the almighty, it has Javed Ali as the singer. The youngster does well yet again and justifies the faith and confidence that Rahman has shown in him time and again. This well written song also marks the arrival of Pooja AV as the female singer who does quite well along with Javed Ali who is later joined by Kirti Sagathia towards the mid point. A chartbuster all the way.

There were good expectations from the music of Raanjhanaa and they are pretty much met (and at places even exceeded) with A.R. Rahman, Irshad Kamil and their singers coming together well to meet the shared vision that was spearheaded by the makers. While there are songs that would go all the way in creating added curiosity and visibility for the film, rest would ensure that as a part of the overall package, they do well as much relished ingredients.

Our picks:

Tum Tak, Tu Mun Shudi, Raanjhnaa Hua Mein Tera, Banarasiya

Joginder Tuteja tweets@tutejajoginder