Aamir Khan’s arrival, Danny’s pleasure

Aamir Khan made it to the premiere of Slumdog Millionaire at the J W Marriott much to the astonishment of his fans and critics. When Danny Boyle, the film’s director, called Aamir he could not refuse and arrived at the venue. Those who joined the celebrations soon after the show were Aamir,

Danny, Anil Kapoor, Javed Akhtar and Shabana Azmi, Shekhar Kapur, Vidhu Vinod Chopra and wife Anupama, Sudhir Mishra and Baba and Tanvi Azmi.

Courtesy: behindwoods.com

Rahman named best music director at IIFA

A.R. Rahman was named the best music director for his score in "Guru" at the International Indian Film Academy (IIFA) 2008 awards here Sunday night, while the Shah Rukh Khan starrer "Om Shanti Om" swept a number of technical awards.

Shreya Ghoshal won the honours for the best playback singer (female) for "Barso re" from Mani Ratnam's "Guru", which film also bagged awards for the best background score (Rahman) and best song recording (H. Sridhar).

The best playback singer (male) award was bagged by Shaan for "Jab se tere naina" from "Saawariya".

Veteran Javed Akhtar was named the best lyricist for "Om Shanti Om", which also garnered awards for best special effects (Red Chillies Entertainment), best art direction (Sabu Cyril), best costume design (Manish Malhotra, Karan Johar and Sanjeev Mulchandani) and best makeup.

The award for best screenplay was won jointly by Anurag Basu ("Life in a Metro") and Jaideep Sahni ("Chak De! India").

"Chak De! India" also took home the trophy for best cinematography.

Imtiyaz Ali was named the best dialogue writer for "Jab We Met".

Courtesy: indiainfo.com

How Rahman made Jodhaa Akbar's grandest song

One of the highlights of Jodhaa Akbar is the song, Azeem Shaan Shahenshah, which has spirited choreography and grand visuals.

The number follows Akbar's success in consolidating his hold on the empire. It is sung by Mohammad Aslam, who has performed for many A R Rahman tracks in Tamil and Hindi. Joining him is Bony Chakravarti.

The song is unlike any other Rahman composition but the maestro admits that he has used a similar number and orchestration in a Tamil film.

"But the song in Jodhaa Akbar is far better," Rahman says. "And it is used very well in an important part of the film."

The song sounds like it has voiced by a dozen voices and a raft of musical instruments.

"There was a lot of percussion, drums and voices mainly and chorus here and there," Rahman explains. "There wasn't a lot of orchestration. It is a drum-and-voice song. Therefore, we did not want to use violins or other instruments in it."

One of the most popular songs from the film, Jashn-e-Bahaara, is heard in snatches as we see Akbar trying to woo his headstrong Rajput wife.

It is sung with enormous appeal by Javed Ali, a comparatively new singer. Rahman gives credit to Gowariker for spotting Ali's talent.

"He was one of the voices in a qawali type, elaborate song that we had recorded for the film, with Udit Naryan and Alka Yagnik doing most of the singing," Rahman adds. "It is a beautiful, haunting number but Ashutosh started wondering if he could do justice to it in the film. Finally, he decided not to use it in Jodhaa Akbar. He said he would use it in his next film.

"But he suggested we use Javed's voice for Jashn-e-Bahaara. I have used many upcoming singers. But this song sounds very special not only because of Javedsaheb's romantic lyrics but also the fine singing. I expect him to have an excellent career," Rahman says.



Courtesy: Rediff.com

Jodhaa Akbar: A royal love story

Cast: Hrithik Roshan, Aishwarya Rai, Sonu Sood, Kulbhushan Kharbanda

Direction: Ashutosh Gowarikar

Music: A R Rahman

Production: UTV Motion Pictures
A love story, sweet and romantic. An interpretation of the rich history of a great Mughal emperor. A visual treat. Choose any one of these or all three, for Jodhaa Akbar is all in one: this is carefully crafted, meticulously executed high-class cinema. Ashuthosh Gowariker has proved his mastery over his craft beyond doubt. Handling the nitty-gritty details of history can be a bit irksome, and there are quite a few creative liberties taken in Jodhaa Akbar - not everything is straight out of the textbook. (This is told to us right at the start with an unconventional disclaimer). But then, that is the only way to keep a movie from turning into a documentary.

Jodhaa Akbar begins at a period when Humayun has just passed away and a 13-year-old Mohammad Jalaluddin is forced to ascend the throne and recapture Delhi from a barbaric looking king. Amitabh Bacchan’s baritone voice takes us through the early years of the young king till he emerges a man, with a dream of unifying all of India under the Delhi sultanate. He sets forth trying to realize the dream that generations before him have nursed. And learns that just battalions cannot win over the people of a country and that’s when one of the Rajput kings, driven to desperation by dynastic politics, offers his daughter’s hand to Jalaluddin in return for protection and amnesty. That’s where the beautiful and very different love story begins. Beautiful, because it is not love that begins in courtship and goes through romance, it is born instead out of compulsion and blooms out of companionship, respect and mutual admiration. In short, it is an arranged relationship turning romantic; the way wine matures in barrels over years.

Jodhaa Akbar shows how even an emperor is still a humble learner when it comes to love, how he evolves as a man after discovering love, how he begins to despise battle, embrace peace and become a better king. All this is captured amidst the grand and sometimes opulent settings of Mughal India, the splendor of court life, the high life of the royalty, the thrill of battle and the complex alliances and conspiracies that run rife in the politics of the empire. The first hour is all about setting the pace and building the characters. If you feel like yawning in the first hour or so, don’t feel disheartened: things pick up and never slow down from then on. That is around the time when Jodhaa and Jalaluddin start discovering their admiration for each other. From then on, right till the end the script moves at a brisk pace, not giving any room for boredom.

Moving on to the other aspects: the set design has to be definitely admired for successfully transporting us back to the 16th century. You don’t have to be a historian or have a thorough knowledge of different styles of architecture to appreciate it, it looks good and you are certain to admire it.

The settings of the Rajput palaces in Rajasthan look better and more colorful than the palatial rooms of the Mughals. Costumes are another high point of the film: Jalaluddin looks resplendent and majestic, and a lot of attention to detail has been showered on every character appearing in the film, all of whom look genuinely period. The cinematographer too has done a fine job, especially in the opening battle sequence, the scale of which really sets the tone for the film. Rahman’s score is another highlight of this movie. You don’t really notice the songs; you feel them as they waft in and out of the movie with ease, Jashn-e-bahaara stands out while Shaan-O-Shahenshah thunders with its drumbeats as Akbar’s reign grows in power and popularity.
Jodhaa Akbar

Certain scenes in the movie will remain with you long after you leave the theatre. The battle scenes, the climatic one-on-one fight, both the sword fights involving Aishwarya (she must have worked really hard at them), the ‘elephant taming’ scene and some sweet moments of veiled, subtle romance between the lead pair, whose chemistry is really excellent. Also memorable is the scene where Aishwarya herself cooks for the king. The point where Jalaluddin is adorned with the title Akbar (The Great) is a key moment.

Moving on to the cast- Hrithik has lived the role, he looks majestic and is always in command, except when in front of Aishwarya who has given one of her best performances (right up there with Hum Dil De Chuke Sanam and Guru), not to mention how good she looks. All other members of the cast add to the impact, with Sonu Sood and Ila Arun in particular doing well.

On the flip side (not really negatives), the first hour as mentioned earlier might put you off, there are certain scenes, right at the beginning and at the fag end that remind one of Troy (the Brad Pitt, Eric Bana starrer). If you are a stickler for historical accuracy, then you might find the movie a bit trying. Also, don’t expect an Akbar Nama or anything of that sort. You won’t find any of Akbar’s famous contemporaries like Birbal or Tansen in this movie, it is set in a slightly earlier period of his life; Todarmal is the only familiar name in the list of characters. You might need some patience to hear a thoroughly detailed narrative that lasts three and a half hours; people with edgy feet might get restless.

Where Jodhaa Akbar scores is that it remains true to its theme. It is a love story first and the life of an emperor next. The soul of the movie lies in the relationship, and Ashuthosh Gowariker had dealt with it superbly. It’s the kind of movie whose fate is a bit difficult to predict, but whatever the result, Ashuthosh Gowariker deserves a great round of applause for his guts and vision, which only a handful of directors in India possess. A sequel showing the rest of Akbar’s reign might not be a bad idea.

Verdict: A visual feast, an intoxicating love story



Courtesy: Behindwoods.com

The Mughal Ear

A weekend trawl through AR Rahman’s scores for period films — in anticipation of his soundtrack for Jodhaa Akbar — resulted in an answer to a question I never knew existed: What would Apur Sansar look like gussied up in mainstream garb, with stars and songs? The scene where Apu wakes up and discovers his wife’s hairpin in bed and toys with it, possibly recalling the events of the night that caused the trinket to slip away in the first place — couldn’t it be scored to Dheemi dheemi from 1947: Earth? When a soundtrack first makes its way into the world, it is bound so inexorably to its parent film that, short of a lobotomy, it’s impossible to listen to a song and not think of the way it plays on screen. But then the years pass and the film is left behind in the half-hidden recesses of memory, and that’s when the song, if it’s any good, assumes a life of its own. That’s when it snaps the threads that ground it to a particular film, that’s when it becomes a universal encapsulation of its essence. When we listen to Abhi na jaao chhod kar today, doesn’t it appear to have been crafted to express not Dev Anand’s entreaties of love so much as ours? And isn’t Dheemi dheemi a perfect musical analogy to the thoughts running through Apu that dreamy postcoital morning: Tu jo paas hai, mujhe pyaas hai, tere jism ka ehsaas hai?


Art is often described as abstract because solid, mathematical evaluation criteria cannot be applied to matters of discernment and taste, but a simple application of ratio-proportion to the soundtrack of 1947: Earth shows you concretely — at least, it showed me — that this is one of Rahman’s most successful soundtracks: the number of songs that have survived the wear-and-tear of overlistening (and time) is the same as the number of songs in the album. It’s a perfect one — as are two others, the magnificent soundtracks for Water and Mangal Pandey (okay, Dekho aayi Holi apart), and this makes me wonder if Rahman has, in his studio, a secret vault of everlasting goodies he opens only for filmmakers named Mehta, namely Deepa and Ketan (and perhaps, on rare occasion, for a Benegal and his Zubeidaa; rediscovering Saiyyan chhodo mori baiyyan and Dheemi dheemi gaaoon were the other highs of my weekend). A Gowarikar, on the other hand, appears way down on the period-film list, for I found that the songs from Lagaan sounded better when echoing nostalgically in the confines of my head than when leaking out of the speakers in the present day. O re chhori was every bit as folksy and lovely as I remembered it, but the rest of the album shone only in parts. I perked up at the rousing four-line openings of Baar baar haan and Ghanan ghanan, but the songs subsequently meandered away from memorableness. And while Lata Mangeshkar’s of-a-certain-age voice conveys a palpable ache in the bell-jar rise-and-fall of the line Chanda mein tum hi to bhare ho chaandni, O paalanhaare was otherwise a bit of a chore to get through.


Rahman and Gowarikar were far more successful when they collaborated on the contemporary soundscape of Swades. Yeh jo des hai tera is still one for the ages, and I’d forgotten what a beauty Saawariya saawariya was, with the closing portions of its stanzas taxiing down the tarmac before achieving blissful liftoff at Bhooli hoon main jaise apni dagariya, after which the tune gracefully descends to the mellower altitudes of the mukhda. And now, with Jodhaa Akbar, the composer and the director go back in time for another stab at another period, and after a few listens, the album seems to hover between their earlier efforts — though, thankfully, closer to Swades in terms of achievement. I feel it will age better than Lagaan, but unlike Swades, what appears to be missing here is that undefinable, perhaps even unknowable, aspect of the creative process capable of nudging an album from solid goodness into flat-out greatness. In other words, a perfect one this isn’t. The craftsmanship is extraordinary, and yet, as a whole, it’s only intermittently that this soundtrack worms its way into your soul. Perhaps it’s just that we’re too greedy, too demanding when it comes to this composer, or perhaps Gowarikar simply needs to eavesdrop on his music director’s sittings with one of the Mehtas.


The percussion heavy Azeem-o-shaan shahenshah extrapolates to an entire number the love-in-the-time-of-war feel in the interludes of Ilayaraja’s Sundari kannaal oru seidhi, from Thalapathi. I was instantly hooked by the rhythm patterns — all pounding drums and clashing steel — and it’s a superb touch that the staccato lines of melody, the unvarying ups and downs intoned with almost military precision, gradually segue into a pattern of notes that flows more organically, more tunefully, as if hinting at the warrior-emperor’s impending transformation at the hand of love and in the arms of his queen. But beyond that conception, there isn’t much to hold on to in the number, which wears its welcome out by the second stanza. This sense of gradually diminishing returns isn’t as pronounced in Kehne ko Jashn-e-bahara hai, the first of the love songs (nicely sung by Javed Ali, who sounds as if Sonu Nigam’s throat had been roughed up, just a bit, with sandpaper), but if the number feels less than what it could have been, it’s due to the strangely truncated second interlude (especially in light of the first one, filigreed with exquisite work on strings). But the tune is gorgeous — the instrumental version, with a delectable flute replacing the voice, bears this out — and Ali glides through it admirably. If I had to pick a nit, I would wish for a little more variation, perhaps emotion, in his singing. It’s as if he mapped out the high notes and the low notes and set about conquering them with a mountaineer’s diligence rather than a musician’s grace — but, again, the melodic lines are so stirring, I couldn’t help returning for a fifth, or a fifteenth, listen.


The other love song is the magical In lamhon ke daaman mein, one of Rahman’s most structurally ambitious compositions and easily this album’s standout. Hearing Sonu Nigam (with the backing of a robust chorus) seesaw expertly between crescendo and decrescendo, between moody meditation and defiant declaration, it’s as if a committed, if weak-willed, lover grew a spine of steel through the course of the song, then flopped lovesick on his mattress again, then roused himself once more, then decided it wasn’t worth the trouble and slipped back into supine romantic longing. There’s so much character in this song, it’s as if stage directions were written into its crevices. I felt this especially when Madhushree begins the second antara with humming that sounds almost absent-minded, as if she walked into the recording studio lost in her own thoughts and snapped out of her reverie just in time to ready herself for the unexpected contours of the end of the stanza, beginning with ki prem aag mein jalte hain. The anticipation to see this number play on screen is at once thrilling and terrifying. What a canvas to mount a picturisation on... but what if they aren’t up to it?


The mood of this pair of love songs finds interesting contrast in a pair of equal-opportunity devotional numbers, making this soundtrack, if nothing else, some sort of secular triumph. Khwaja mere khwaja, sung by Rahman, begins with a number of overlapping dissonances that find somewhat pat resolution almost instantly. There are interesting rhythm patterns and a great snatch of interlude music that goes on to colour the subsequent stanzas, but this isn’t a patch on — to take a loose genre equivalent — Al maddath maula from Mangal Pandey. But the instrumental version is a drop-dead stunner, veering into bylanes uncharted by the original and coming off like Pachelbel’s Canon in D reconfigured for strings and an oboe. There’s a breathtaking purity of purpose in this piece that’s unmatched by anything else in the album — or perhaps only by Bela Shende’s exquisite cry from the heart that kicks off Manmohana. The soulful mukhda is a thing of beauty, the orchestral tapestries are lushly woven with alternating flute and strings, but the stanzas are disappointingly one-note. Javed Akhtar, however, compensates somewhat with an extremely startling line as Shende drops to a murmur near the end, as if exhausted by the fervour of her full-throated devotion. “Bansi ban jaoongi, in honton ki ho jaoongi,” she whispers, and in wishing that she were a flute in service of those Lips, she reminds us that bhakti and shringar, the spiritual and the sensual, are oftentimes one and the same. And that’s true of great music too, which operates as much on the pleasure centres of the brain as the strings of the heart — and there are times the soundtrack for Jodhaa Akbar comes tantalisingly close, but it’s no hookah.

Courtesy: NewIndpress.com

Untimely effort - A.R. Rahman fails to capture the nuance of the period on this album

After hearing and reading director Ashutosh Gowarikar say that the theme of the movie didn’t require impressive music tracks, one wasn’t expecting too much from this overdue album. And as it happens, low expectations mean the listeners will not be too disappointed by this UTV presentation produced by Gowarikar, with music by A.R. Rahman and lyrics by Javed Akhtar.

In Jodhaa Akbar, there are five songs in the genre of praise, devotional and romantic. But one cannot understand why the flavour of the period was not maintained for the music. In the 16th century, the style of music was raag-based classical music followed by a slowly evolving thumri-dadra culture. If the costumes, jewellery and sets of a film can ape a time period, why can’t the music? Are listeners not able to discern and appreciate these subtleties?

Simply put: Couldn’t the songs have been more Indian? This epic could have done without the predominant Western arrangement, Turkish and Japanese drums, keyboards, et cetera. How about some unadulterated Dhrupad? Or just the form of music that Mian Tansen sang for Akbar? Rahman’s sense of aesthetics is good, and his presentation and packaging styles are benchmarking Indian music standards, but this music does not fit a period film. Any song from this film could easily be used in any modern-era film situation. And the songs are too long.
The silver lining is the use of several new voices such as Bela Shende, Madhushree, Javed Ali, Mohammed Aslam and Bony Chakravarthy. Having sung for the big boss of Indian cinema music, these singers can surely hope for a bright future. Rahman himself has fabulously sung Khwaja mere Khwaja, a peppy hummable qawwali number. Sonu Nigam excels in the pleasant but ordinary creation, In lamhon ke daaman mein—never heard him sound as sexy as he does in this love song.
Bela Shende does a Lata Mangeshkar in Mann Mohanaa. Here is a sweet, thin, high-pitched voice, but the singing is superficial. It’s obvious that she is following Madam M’s style, but that trademark punch of the prima donna is missing. This is something all female singers of the day need to note and work on. But what is this overdramatic bhajan doing here in the first place? It not only fails to sustain, it just goes on and on! Azeem-O-Shaan Shahenshah and Jashn-E-Bahaaraa are easy on the ears and will be accepted by fans of the Chennai music-maker.
The slight use of classical taraana-type pieces and two miniscule sitar works are some efforts to bring in the flavour of the subject—a stark contrast to an otherwise Western-influenced Rahman submission.
But pick up the album, definitely for the fantastic photographs, designing and printing of the CD. UTV Music distributed by Sony BMG, Rs 160.

Courtesy: Livemint.com

Star-studded music launches are back!

Jodhaa Akbar

The music of UTV Motion Pictures and Ashutosh Gowariker Productions’ Jodhaa Akbar was formally released by the Royalty of Jaipur (who are the direct descendants of Jodha) - His Highness Maharaja Bhawani Singhji and Her Highness Maharani Padmini Deviji of Jaipur and His Highness Maharaja Brajraj Singhji of Kishangarh.
Present in the magnificent Royal Tent, especially erected for the unveiling, were singers Sonu Nigam, Javed Ali and Bela Shende along with the cast and crew of the film including Hrithik Roshan, Aishwarya Rai Bachchan, A. R. Rahman, Javed Akhtar, Punam S. Sinha, Sonu Sood, Ronnie Screwvala and Sunita and Ashutosh Gowariker . Cinematographer Kiran Deohans, action coordinator Ravi Dewan, production designer Nitin Chandrakant Desai, costumes designer Neeta Lulla and character artistes Raza Murad, Ila Arun, Kulbhushan Kharbanda and writer and character artiste Haider Ali were present. The other guests who attended the launch included Amitabh Bachchan, Shatrughan Sinha and Sonakshi Sinha, Sanjay and Zarine Khan, Zayed Khan, Amar Singh and others.
Said Ashutosh Gowariker, “The experience of producing the music of Jodhaa Akbar has been fascinating, exciting and unique. One of the pleasures of working on a film is repeating your team. And if that team happens to be Javedsaab and Rahman then the process of creating music is all the more wonderful and joyous.”
Speaking on the music, A R Rahman comments, “It has always been a pleasure to associate with Ashutosh on his projects. We started off with Lagaan and then Swades, both of which gave me immense creative satisfaction as a composer. It was an honour that Jodhaa Akbar was offered to me.”
The music of the film marks the launch of UTV Music and UTV chief Ronnie Screwvala said, “A film of the magnitude and calibre of Jodhaa Akbar with its outstanding music compositions is the perfect vehicle for the launch of UTV Music.”

Courtesy: ScreenIndia.com

Jodhaa Akbar music review

Composing for a period film in present times is no easy task. One has to walk the tight rope and balance the musical moods of the era bygone with the present taste of music buffs, which, unfortunately, is heavily inclined towards anything techno and rap.

AR Rahman walks the thin line. His compositions in ‘Jodhaa Akbar’ have a mere glimpse of what would have been the musical culture in Mughal times. And it also attempts to cater to the present popular tastes. This way, the music album of ‘Jodhaa Akbar’ ends up neither here nor there. The compositions are good, but they are not great.

Azeem-O-Shaan Shahenshah is a powerful song hailing the Mughal emperor Akbar. The number, sung by Mohammed Aslam and Bonnie Chakraborty, is heavy on beats and has a pleasing orchestra in the background. Rahman shows his musical wizardry with sounds that create images of rattling swords and chains. Also unmistakable in the song is the theme melody of ‘Lagaan’ that plays a number of times.

Jashn-e-Bahara could have been a much better song had Rahman chosen a better singer than Javed Ali, who surely sings the right notes with skill, but doesn’t have much emotive appeal in his bland vocals. Still, the song, set on an Arabic tempo, carries Rahman’s subtle magic. The tender notes of rubaab, mandolin and santoor form the backdrop of this soft romantic track, set to poetic lyrics by Javed Akhtar.

However, the Jashn-e-Bahara instrumental version on flute is a delight to the ears.

AR Rahman is back to what he does best in Khwaja Mere Khwaja, a sufi qawwali with a dash of techno touch. The song, an ode to Khwaja Moinuddin Chisti of Ajmer, has Rahman himself wielding the microphone and jarring the senses of a listener with his emotive and evocative vocals. Though the song relies liberally on tabla and harmonium, the techno flavour ruins the purity of this devotional track.

The instrumental version of this song takes you by surprise. How Rahman keeps the same melody but changes its timing and structure just slightly to suit the Oboe and accompanying orchestra shows his command as a composer.

In Lamhon Ke Daaman Mein is a lilting track about the gradual passing of intimate moments. Sonu Nigam and Madhushree’s impressive singing adds to this slow-paced song a mellowness that is broken by raucous chorus. Javed Akhtar’s words paint the imagery of two lovers sharing their most special moments together. It is a song that makes an impression only after repeated hearing.

Mann Mohanna is a devotional track addressed to lord Krishna. Supported by tabla and heavy orchestration, this song, sung by Bela Shinde, is a plea to the lord from a despondent woman.

All in all, the songs of Jodhaa Akbar are below the usual standard of a genius like AR Rahman.

Courtesy: Apunkachoice.com

Jodhaa Akbar's music: A musical conquest

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.

Also read: Ash and Hrithik's post Valentine tryst!

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.

Courtesy: Rediff.com

Jodhaa Akbar - Music Review

This man works wonders, album after album, and never fails to disappoint listeners. Music maestro A R Rahman has done it again.
He returns after Guru to compose the soundtrack of Jodhaa Akbar that has already been showered with praises.Packed with two instrumental numbers and five tracks, Jodhaa Akbar has the makings of a hit.

Elaborate arrangements include the trumpets and the drums in Azeem O Shaan Shehenshah. It is a wonderful composition and Mohammad Aslam and Bonnie Chakraborty, who have sung it, have done justice to the song.
Lyrics by Javed Akhtar are up to the mark.Sonu Nigam and Madhushree render a romantic piece titled In lamhon ke daaman mein that initially seems like any other track until it picks up pace.Javed Akhtar pens noteworthy lyrics while Rahman's music keeps the standard you expect from the maestro himself.
Jashn-e-bahaaran, sung by Javed Ali, comes next. The soft, serene and romantic piece displays an ideal fusion of Ali's vocals with string music. There's also a Jashn-e–bahaaran (instrumental), which gives the flute a key position in the track. Rahman finally makes his presence felt in areas other than compositions by singing Khwaja mere Khwaja.
His rendition coupled with the harmonium, tabla (percussion) and claps make for marvellous music. One begins to wonder how a qawwali could impress to this extent that it ensures immediate gratification to everyone.
Khwaja mere Khwaja (instrumental) is as good as the previous instrumental number belted out. Mann Mohana comes in the end as an average number.This track, rendered by Bela Shende, is not too bad but after listening to the other numbers in the album, one would prefer placing it at the bottom of the six.
Rahman has once again proved that what he composes is of a completely different genre, standard and calibre. He stands in a place where there can be no competitors; his is a level that cannot be matched.

Courtesy: Ndtvmusic.com

Jodhaa Akbar - Music Review

Now this one is supposed to be big. Really BIG! And why not? After all Jodhaa Akbar has:
a) Ashutosh Gowarikar's labour of love finally getting ready to be unveiled after going through gruelling shooting schedules.b) Hrithik and Aishwarya Rai Bachchan coming together again after Dhoom 2, albeit in a different avatar.c) A R Rahman and Javed Akhtar saab collaborating with Ashutosh for the third straight time after Lagaan and Swadesd) A true historical being brought to celluloid after ages.
No wonder, everything about this film is expected to be flawless and studied to the minutest details. This is why one looks at the music with great expectations. However, it all turns out to be anticipation in vain as Jodhaa Akbar turns out to be the first major disappointment of 2008.

In the praise of Shahenshah Akbar comes the opening track Azeem-O-Shaan Shahenshah. High on orchestra, the track has ‘grand’ written all over it and deserves an opulent treatment to it. Crooned by Mohammed Aslam, Bonnie Chakraborty and Chorus, the track hails Akbar for creating an empire where there is peace, harmony, and great life all around. The song doesn't belong to the kind which could be sung around or played loud at home but would do well when seen on the big screen, provided the picturisation is as lavish as Rahman's efforts.
Javed Ali, who has been trying to make his mark over last 3-4 years, gets a big break in the form of Jashn-E-Bahaaraa. Sounding quite close to Sonu Nigam, Javed does well in his rendition of this slow track that is in complete contrast to Azeem-O-Shaan Shahenshah in its treatment. Javed Akhtar saab's poetry is in full flow for this love song which comes close to the style of 60’s in it's tune and flow.
However, one misses the kind of punch as expected from the first romantic song of the album and the final outcome turns out to be little lackluster with not much in the song pulling a listener for a repeat hearing. Towards the album's end, a 'Flute Instrumental' version of the song is heard as well, which works better as a core background piece which could be enjoyed with lights switched off.
Kashif written Khwaja Mere Khwaja is a devotional track, which is strictly for Rahman fans. Rendered by Rahman himself, it has the kind of arrangements as heard in Kehna Hi Kya [Bombay]. With minimal instruments in play, Khwaja Mere Khwaja has its strength lying in it's lyrics but that too has minimal target audience due to the track's genre and setting. Overall, a situational piece that seems like an unlikely candidate to make much headway into current crop of audience. An 'Oboe Instrumental' piece for the same track comes at the album's end and yet again has the kind of treatment, which hardly promises a popular reach out.
In Lamhon Ke Daaman Mein that comes later turns out to be most laidback of all and just doesn't ignite the kind of spark that one had been hunting for in this soundtrack so far. It's one thing to be slow and another to be just plain and simple drag (if boring is too harsh a word here)! By this time, one seriously starts wondering if Rahman was asked to work on the album really-really hard or did he actually finish the job in a jiffy? In spite of presence of Sonu Nigam and Madhushree, the song just doesn't click at all and in the end what one gets to hear is a number which fails to impress and ends without making any impression.
On the lines of O Paalan Haari (genre wise) comes Mann Mohanaa, which is yet, another devotional track after Khwaja Mere Khwaja. This time around, it is Bela Shinde's turn to sing a number for Lord Krishna as the character of Jodha played by Aishwarya Rai turns over to God. Just like the rest of the album, this one too doesn't go any further than being ordinary and ends without creating any place in the heart (or the music collection) of the listener.
Special attraction of the music album of Jodhaa Akbar is a bonus DVD that includes a 4-minute long theatrical trailer of the film along with a few posters, story and cast and crew details of the film.
The album kicks off well with a high adrenalin title song but beyond that there isn't much to look forward to. Jodhaa Akbar would work with a miniscule segment of audience and that too only in certain big cities. It is expected to take a good start at the stands due to high credentials involved but a sustained stay at the charts may only be possible only if the film is a success.
Jodhaa Akbar disappoints, and how! Though the music of Lagaan was good (catching on more after the film's success), Swades was always a few steps behind. However, Jodhaa Akbar does not have much to cheer about and fails to go an extra distance.

Courtesy: Sify.com

Jodhaa-Akbar - Music Review

At long last! After months of delays and countless rumours, the music for Ashutosh Gowariker’s monumental Jodhaa Abkar (JA) has finally been released. As you will no doubt be aware, the epic portrayal concerns the life and times of the 16th Century Mughal emperor Zalaluddin Akbar and in particular his romance with a Rajput Princess, Jodhaa. Never mind the movie, there has been just as much anticipation for the soundtrack but why all the hype you may ask? Well it’s all to do with the magical partnership of the Director / Music Director and their previous successes.
Based on the critically acclaimed Lagaan and Swades, no one can doubt that he (Ashutosh) has been inspirational in pushing the bar as far as Indian cinema is concerned. No stone was left unturned in these projects. So when it comes to producing the music, it’s no surprise that he turns to his favourite composer, the undeniable genius that is AR Rahman (ARR). Globally recognised as an inspirational musician, his work (including that of Lagaan and Swades) has often stirred widespread debate and criticism but to his credit, it’s mainly been subject to widespread praise and popularity.

To his fans of which there are many including this writer, ARR is the epitome of the absolute finest that Hindi music has to offer and has been for almost two decades now. Apart from ‘how does he do it’, the biggest question on everyone’s lips is ‘can he produce another blockbuster soundtrack befitting the undoubted quality and grandeur expected of the movie?’ Well listeners, I am delighted to say that with JA the answer is a resounding YES and the partnership of Gowariker / Rahman has delivered another inspirational score to resonate in your ears for years to come. Here is why…
As if to make up for lost time for his fans and music lovers alike (let’s face it his last soundtrack Guru was disappointing), ARR makes an immediate and quite mind-blowing impact with the opening track Azeem-O-Shaan Shahenshah. Bellowing horns and thundering drums commence proceedings for the introduction of our emperor Akbar and what follows is a remarkable background piece that portrays his stature, aura and power in 16th Century India. Whilst the horns and drums remain intact for the majority of the track, they fade intermittently with the introduction of several unique but incredibly crisp arrangements composing of instruments used in battles e.g. sword thrusts etc which, when combined into one harmonious tune, have the potential impact of taking your breath away! And then you suddenly realise the stirring vocals by Mohammad Aslam, Bony Chakravarty and Chorus but such is the impact of the music you barely notice their presence. Javed Akhtar’s lyrics are very suiting of the occasion. Suffice to say this is ARR at his very best and proves yet again why he is the master of periodic / thematic compositions, quite simply awe-inspiring work here!
As if one gem wasn’t enough the maestro then offers another in the form of the absolutely dazzling Jashn-e-Bahaaraa. This extremely addictive and heart-warming romantic number blooms with the sound of a sublime string based instrument (guitar variant). If the soft harmonic resonance created by this instrument was not bewitching enough ARR goes one step further and brings in multiple string instruments to add further colour and texture to the orchestration…at one point they all collide together creating a most joyous effect on the ear! The slow but richly soothing melody is underpinned by a delightful percussion which flows through your soul as if to relieve your inertia, leaving you to hit the repeat button time after time.
As for the singing, well it sounds very much like Sonu Nigam but if you listen closely you will surely hear what turns out to be Javed Ali’s finest performance to date (one that Sonu would have been proud of himself), his soft and subdued vocals a testament to his underrated talents. And how can one forget Javed Akhtar’s poetry? It will make you cringe in sheer amazement! This track is another winner all the way and a love song that is befitting of life, love and emotions of any century, any time, any place. That’s the true quality of this composition. It’s a timeless classic.
As is the case for many of his soundtracks, ARR always enjoys a bit of singing and has proved to be extremely effective behind the mic (Yeh Jo Des Hai from Swades, and Roobaroo from Rang De Basanti being two examples).
For JA, he sings with verve and energy for the next track, the fabulous qawaali based Khwaja Mere Khwaja. This lengthy track starts with the sound of a harmonium and a short verse recited by ARR heralding the presence of the emperor Akbar...suddenly the delicious and uplifting sound of an organ interwoven with strings sweeps you off your feet and ushers your thoughts onto a different planet altogether- can a qawaali based song really sound this good (and more importantly perhaps sound this good to a non-qawaali listener?). Well just remember if ARR has blessed the composition anything is possible!
The underlying arrangements are typical of any qawaali based song, strong tabla and harmonium but what makes it distinct and enjoyable is the fusion of melodious ‘alaps’ and hand clapping provided by the chorus that attracts your attention until the very end. The lyricist (Javed saab) provides for simple but attractive poetry. All in all, this is an extremely satisfying qawaali track (arguably the best since Allah-O-Ali from Thathatsu) and unquestionably another highlight of the soundtrack, ARR is clearly in top form here!
The opening of the penultimate track, Inn Lamhon Ke Daaman Mein, still sounds like the blooming Jashn-e-Bahaaraa from a few tracks ago! The soothing strings and percussion return for a second offering however do not be dismayed because if you give it time and effort, you will hear how it eventually blossoms into something potentially even better! Whilst Jashn-e-Bahaaraa was slow paced throughout, this love duet provides much more variety, energy and emotion, in particular listen out for the sudden upsurge in orchestration and the contrasting whisper quiet lulls. Sonu Nigam renders another emotional piece, proving why he is a favourite playback singer of ARR. Madhushree provides supporting vocals later and sounds talented. The lyrics by Javed saab are top rate as usual! Reviewing this track is like dissecting multiple songs that have been intertwined with a golden thread i.e. it sounds fabulous but you don’t know how the maestro has managed to keep its structure and melody intact. Nevertheless it sits proudly as one of the best offerings of JA.
The final track by the name of Mann Mohanaa is a situational song and definitely the weakest effort of the entire album. That’s not to say it’s bad, on the contrary; however it’s a notch or two below the benchmark set by the rest. Another slow and soothing number, this one relies on the catchy combination of the percussion and the tabla to give it melody and to lay the foundations for other instruments such as the flute to make an appearance. Bela Shende (last heard in Paheli) sounds like an accomplished singer but on this rare occasion the lyrics by Javed Akhtar are not up to par with his other contributions here. Overall this track is average by ARR standards.
The immense soundtrack ends with two ingenious pieces, Jashn-e-Bahaaraa (Instrumental), which concentrates on the flute and Khwaja Mere Khwaja (Instrumental) which highlights the oboe. These two tracks come with the highest recommendation possible and should not be disregarded. ARR’s approach to focus on specific instruments confirms his inspirational mind and attention to detail that is rarely matched by fellow composers. Each instrumental provides a unique alternative to the original. A must listen!
With only five full tracks, there was a risk that Jodhaa Akbar’s music would fall short of expectations and alongside all the delays; music fans were rightly getting frustrated. However the cliché ‘the best things come to those who wait’ is very fitting as the Gowarikar / Rahman dream partnership has pulled off another blockbuster score (after Lagaan and Swades). Let’s hope the movie can now pull it off as well!
In conclusion however it must be said that ARR triumphs where other composers have failed since his last major releases (Meenaxi and Swades); his JA compositions are magical, spectacular, invigorating and above all a wholesome experience you rarely get in soundtracks these days. When you cannot pick a favorite you know the benchmark has been set consistently high. Indian music has just added another soundtrack to its eternal treasure. I am sure you will join me in congratulating AR Rahman on his latest Magnus Opus which turns out to be an early but strong contender for best soundtrack of 2008 - more awards clearly await this phenomenal talent who simply never ceases to amaze!

Courtesy: PlanetBollywood.com

A Few Tidbits about Jodhaa Akbar's Music

Along with the near frenzy of anticipation for Jodhaa Akbar, the movie, the soundtrack is also very eagerly anticipated. The music had a grand launch last week with stars Hrithik Roshan and Aishwarya Rai Bachchan in attendance. Though not in the stores until this week, the music has all ready attracted notice. It is being played on the radio much to the delight of fans and the song's promos have gotten rave reviews from all who have seen them. To hold you over until you get your hands on the CD we thought we would share a few facts about the music.

Despite rumors there have been no songs cut from the film, Director Ashutosh Gowariker said, “There are only five songs recorded for Jodhaa Akbar and we've retained all of them. I treasure every song that I record and wouldn't dream of cutting them for length. Even if we had nine songs only two would wind their way into the charts. We have five songs and I've worked on making each hummable.” He is very pleased with how the songs have been accepted, “The response to the first two songs has been surprisingly positive. People were expecting archaic songs, but they seem to have liked the modern adaptation of the 16th century sounds.”

Originally for the song 'Mann Mohana', they wanted Aishwarya to lend her voice to the track. Bela Shende recorded it first and then the plan was that Aishwarya would come and sing it later. However, the timing for her to record could never be worked out. Composer AR Rahman said, “Ashutosh strongly felt that Aishwarya could record the song in her own voice, as a bonus for her fans. So, we got Bela to record the track and waited for Ash to come and dub it. It’s sheer bad luck that when I was free, Ash was too busy and vice-versa. Meanwhile, we got so used to hearing Bela’s voice that we decided to retain it.”

With music by AR Rahman and lyrics by Javed Akhtar, Javed Ali, Sonu Nigam, Bela Shende and AR Rahman himself perform the songs. "Jodha Akbar is a romantic story about a king falling in love with a princess and I have tried to keep the music contemporary so that it satisfies both critics and the music lovers," Rahman said.

At the launch Rahman said, "Jodhaa Akbar is going to change the mentality of Indian people, no matter which religion they belong to. It is going to bring love."

On a side note another interesting tidbit was revealed at the music launch; Amitabh Bachchan is part of the film as the narrator.

As soon as we get a copy of the soundtrack our reviewer will get to work, so be sure to check back here often to see how many stars he gives it!

Courtesy: Bollyspice.com

Royal treats

For those who believe in omens, here is a good one. A R Rahman brings in the new year with some awesome music for Jodhaa Akbar. Now, hopefully, the rest of the composers can keep up.

To say that the music of the film matches the theme and the grandeur of the film would be an understatement. Like his other compositions for Gowarikar, there is a variety in them, and each is as compelling.

In Jashn-e-Baharaa, Jaaved Ali has delivered the song of year. Soft and melliflous, the song stays with you for a long time.

Rahman takes to the microphone for Khwaja Mere Khwaja, a sufi qawwali, that’s at once devotional and soothing. The ease with which Rahman hits the high notes gives the whole song an exalted feel.

Mann Mohana is again a devotional song, sung by beautifully by Bela Shende. Javed Akhtar’s lyrics are complete mastery, while Shende’s voice leaves one with the memory of Chitra in her numerous renditions for Rahman

Inn Lamho ke Daaman mein sees Sonu Nigam and Madhushree excelling in a song that demands restraint and passion. Azeem-o-Shaan Shahenshah is a paean to an emperor, and every bit as regal.
The instrumentals are in keeping with Rahman’s class. A wholesome experience, this.

Courtesy: Mid-day.com

Pat on the back for Gowarikar from 'Rajputani'

Ashutosh Gowarikar has none other than Maharani Padmini of Jaipur to vouch for the authenticity of his yet to be released period film "Jodhaa Akbar".

The Jaipur Maharani, who flew to Mumbai for the music launch of "Jodhaa Akbar", was accompanied by a host of her relatives.

At a function in a suburban hotel Wednesday evening, Rani Padmini chose to speak about her take on the star-studded movie, which depicts the love life of Mughal emperor Akbar and his wife and the Rajput princess Jodha.

"I have watched parts of the film and I can say that Gowarikar has presented the Rajput viewpoint regarding their links with the Mughals without any distortion," Maharani said.

She told the gathering that both UTV's Ronnie Screwwala and director Gowarikar were in touch with her during the making of the film.

"A period film about an important chapter of Indian history could not have been more authentic," Maharani Padmini said with a girlish enthusiasm.

Hrithik Roshan and Aishwarya Rai-Bachchan, who play the roles of a young Akbar and nubile princess Jodhabai respectively, were welcomed with loud cheers at the venue.

Accompanying Hrithik were his designer wife Suzanne, in-laws Sanjay Khan and Zarine Khan and actor brother-in-law Zayed Khan. Aishwarya came with her father-in-law Amitabh Bachchan, who was also the special guest at the event.

Shatrughna Sinha came with his wife Poonam, who essays the role of Akbar's mother in the movie.

"Jodhaa Akbar", billed the most expensive Hindi movie made at a cost of Rs.450 million (Rs.45 crore), is slated for release worldwide Feb 15.

Veteran lyricist Javed Akhtar has penned the songs and maestro A.R. Rahman has composed the music.

Courtesy: Mangalorean.com

UTV launches music label with Jodhaa Akbar

Releasing the music of Jodhaa Akbar, UTV launched its new music label UTV Music. The music was released by Maharani Padmani Singh and Maharaja Bhavani Singh of Jaipur.

UTV head honcho Ronnie Screwvala said, "After a presence in production and distribution, it was now time for us to launch our own music label. It is a proud moment to launch our first album with A R Rahman, Javedji and Ashu. Jodhaa Akbar is a kind of film that India has not seen in a long time."

UTV's music label will be looked into by the company's executive vice president marketing, communication and distribution Siddharth Roy Kapur. "UTV's home video will leverage UTV distribution network of the new music label. For our very first product Jodhaa Akbar we are taking distribution assistance from Sony BMG. But going forward we will handle it ourselves."

The audio CDs of Jodhaa Akbar will hit music stores on 15 January. The music has been composed by A R Rahman and the lyrics have been penned by Javed Akhtar. Aishwarya Bachchan, Hrithik Roshan, Ashutosh Gowariker, Ronnie Screwvala, A R Rahman and Javed Akhtar were present at the launch.

"Jodhaa Akbar is going to change the mentality of Indian people, no matter which religion they belong to. It is going to bring love," said Rahman at the launch.

Complementing the efforts of the crew Hrithik Roshan said, "Jodhaa Akbar has the best crew I have ever worked with. I am grateful to have worked with such talented people."

Eminent personalities like Amitabh Bachchan, Amar Singh, Vrinda Rai, Shatrugan Sinha, Poonam Sinha, Sanjay Khan, Zayed Khan, Zarina Khan and Akbar Khan were also present at the event.

Courtesy: Businessofcinema.com

Jodhaa Akbar music on UTV's own label

Jodhaa Akbar, the much awaited film of Ashutosh Gowaikar is the talk of the town. Besides, the biggest star cast comprising Hrithik Roshan and Aishwarya Rai, the music of the film boasts of its composition by A.R Rahman. Oddly enough, BIG Music, which had acquired the rights of the music, has backed out. And, now it is UTV Motion Pictures, the producer of the film, which will launch the music company of its own to secure the music rights of the film.


Confirming the news, Siddharth Roy Kapur, the COO of UTV Motion Pictures, said that UTV along with AGPPL (Ashutosh Gowaikar Productions Private Limited) came down to this conclusion that UTV music would not have gotten a better launch than the perfect combination of A.R Rahman, Javed Akhtar, Ashutosh Gowaikar, Hrithik Roshan and Aishwarya Rai. He also added that Jodhaa Akbar was the apt platform for UTV to launch its music company.

Also, Kulmeet Makkar, the head Honcho of Big Music, admitted about their back out from the project since UTV was not providing enough time for the promotions. UTV will now promote the music with their own label.

Nevertheless, the music director of the film, A.R Rahman, does not stop raving about the music and said the music of Jodhaa Akbar is contemporary so that it satisfies both critics and music lovers.

Courtesy: IndiaFM.com

9X's Mission Ustaad theme changes to Khwaaish

After last week's performance where husband-wife duo Roop Kumar Rathod and Sunali Rathod won the Ustaad Jodi title for the week, 9X's Mission Ustaad is all set to enter the next week with a new theme.
On 14-15 December at 9 pm on 9X, the theme is Khwaaish, which symbolizes the desire to reduce disparity. Starting the episode in the patriotic spirit, feature writer and poet extraordinaire Javed Akhtar will recite a poem which he recited on the occasion of India's 60 th year of Independence.


Kick starting the Friday episode will be winner of last week- Roop Kumar and Sunali, who will belt Ruk Jaana Nahin Tu from the movie Imtehaan, followed by the next jodi comprising of Kailash Kher and Mahalaxmi Iyer who will lend their voices to sing Tere Mere Sapne. Naresh Iyer and Shweta Pandit , who make up the third jodi, will together croon Dil Chahata Hai and the fourth Jodi comprising of Vasundhara Das and Mohit Chauhan of Silk Route fame will end the evening with Adnan Sami's hit number Lift Karade.

Also, the viewers will see the jodis perform on popular. The youngest singer duo - Naresh Iyer and Shweta Pandit will kick start with Lagaan's Mitwa, followed by Vasundhara Das and Mohit Chauhan's Do Deewane Sheher Mein. Kailash Kher and Mahalaxmi Iyer will sing Yuhi Chala Chal Rahi from Swadesh while Roop and Sunali will sing the track Aa Bhi Ja from the movie Sur.

The four jodis will be judged by A R Rahman, Javed Akhtar and Lara Dutta to vie for the 'Ustaad Jodi' title.

Courtesy: Businessofcinema.com

'If you have the talent, you will go far' - A.R. Rahman

The Musical Maestro, A.R. Rahman feels excited to be a part of the Musical Reality Show Mission Ustaad on 9X. Here is A.R. Rahman talking about music and everything related to music..

He had a brief affair with Channel V’s Super Singer as judge. And then A.R. Rahman didn’t bite the bait for any of the reality TV shows that followed. Though


music is his passion, he always made it clear he had nothing to do with those on the small screen. But then 9X made it possible as it roped in the music maestro to be on the jury of their recently started Mission Ustaad.

Mission Ustaad, an Endemol-UN-9X collaboration brings together four singer jodis – Sunali and Roopkumar Rathod, Mahalaxmi Iyer and Kailash Kher, Shreya Pandit and Naresh Iyer, Vasundhara Das and Mohit Chauhan – who will make their own songs. But since the UN is involved, the songs will have an inherent message too. Each week,the jodi will get judges’ marks and audience votes, but there won’t be any elimination. At the end of 13 weeks, the scores of each pair would be accumulated and those with the highest marks will be declared the Ustaads.

Ask the reticent Rahman why he chose to take up this particular show when he might have been offered others in the past and he says, “Yes, I was, but a few months ago I had composed an anti-poverty anthem for the UN. The video had been appreciated and that’s when the concept of doing something more musically came up to talk about their millennium development goals. India had pledged with the UN to fulfill the goals of removing poverty, ensuring education to each and every child and other such issues by 2015. Since we haven’t had too much progress on that front, it was time to remind everyone about those goals."

"Just talking about them would have been boring, preachy stuff, but when you combine them with music and turn into an entertaining show, we just might get the people to listen in”, adds Rahman..

Unlike other music shows, in Mission Ustaad the ratings of the jury will matter more than the voting public. So was that another reason to accept it? “Yes, that too. I haven’t watched other reality shows, but I have heard that when the judging is left to the viewers, the judges’ position doesn’t hold any importance, the good singers tend to get affected and voted out and everything becomes a mess.”

Reality shows are often marked by heated arguments among the jury. Has he had any differences with the other judges, Javed Akhtar and Lara Dutta? (Laughs) “Yes, I believe they do, but in our show though we have different opinions, there are no pretensions to get the TRPs.” Does he think reality TV shows do any good to talent especially when it tends to get overshadowed by judges, gimmicks and controversies? “To me, more these shows, the merrier. When we see so much of violence, hatred and negativity around, in our everyday lives we can definitely watch shows with new talent, and which do music a lot of good. That alone is the saving factor, not the bickering judges or the unfair audience vote.”

Today’s films have hardly any music. Hasn’t it then become a case of too many singers and too less to sing? “I agree with you completely. There’s too much of a clutter there but at the same time, it’s no longer about anybody just making it. You have the talent, you will go far. Nothing more than that.”

His presence on the show was touted to be his grand debut by the channel. Has he enjoyed all the attention? Will he take up more television? “(Laughs) I enjoyed it more than I expected. Actually, if it’s music then I definitely feel excited. I will take up other shows if it’s going to be any good for music or if it takes music to the next level.” He says he liked “a couple of songs from Om Shanti Om and Saawariya and I liked them…though I didn’t sit and analyse what was right or wrong with them, I enjoyed listening to them.” Coming up next is Ashutosh Gowariker’s Jodhaa Akbar, “Jaane Tu Jaane Na which Aamir Khan is producing, it’s a young love story and a film called Ada. They all should come out in the next three four months,” he signs off.

Courtesy: India-forums.com

 

A R Rahman's 10 best compositions

Recently, A R Rahman was asked, by The Hindustan Times, to shortlist his 10 best compositions. These are the films he chose:

Roja

The film starring Arvind Ramaswamy and Madhu made Rahman the darling of Bollywood. He was already a star in South India, but Roja marked his debut and led to a long-lasting impact on the Hindi film industry.


Rangeela

Urmila Matondkar redefined fashion for heroines with her gorgeous costumes in Rangeela. Aamir Khan was at his best, and Rahman's music was outstanding. Unfortunately, the film lost most awards that year to Dilwale Dulhaniya Le Jayenge.


Bombay

Mani Ratnam and Rahman paired up once again after Roja. Unfortunately, this film was mired in controversy as it explored the relationship between a Hindu boy and Muslim girl. Sonali Bendre, despite her brief appearance, will always be remembered for her Humma Humma.

Dil Se

Lyricist Gulzar and Rahman teamed up for this, one of the best albums of the 90s. The train song, Chhaiya Chhaiya, rendered by Sukhwinder, established him as a singer overnight. Unfortunately, the film was a disaster at the box office despite the music and Shah Rukh Khan playing the lead role.

Taal

It was an association between a Bollywood showman and the Mozart of the East. Subhash Ghai was riding high on the success of Pardes and paired up with Rahman instead of Nadeem-Shravan, who had composed songs for the earlier hit. The songs were huge, but the film did average business.

Kandukonden Kandukonden

It was a marriage between Bollywood heroines and Kollywood. The film had Aishwarya Rai, Tabu, Ajith and Mammooty. It was directed by Rajiv Menon and the songs were outstanding.

Zubeidaa

Directed by Shyam Benegal, this film yielded actress Karishma Kapoor's best performance to date. It was soon forgotten by audiences, but the songs continue to mesmerise.

Lagaan

The only Indian film to be nominated for a Best Foreign Film Oscar in recent memory. Lyricist Javed Akhtar and Rahman gave it their best.

Rang De Basanti

Only a genius like Rahman, coming from Chennai, can make singer Daler Mehendi sound the way he did in Rang De Basanti. A slow track from Lata Mangeshkar, Lukka Chuppi Bahut Hui, was also soothing.

Guru

In November 2006, when Aishwarya did Umrao Jaan with Abhishek Bachchan, there was no obvious chemistry between them. Three months later, when Guru was released, the couple performed a miracle at the box office. Guru became the first big hit of 2007, and the song Tere Bina sung by Rahman went on and on during the Abhi-Ash wedding.

14 years after Roja, Rahman proved once again there was no one quite like him.

Courtesy: Rediff.com