Courtesy:
IndiaFM
Wednesday,
November
22,
2006
Coming
together
of
Mani
Ratnam
and
A.R.Rahman
is
always
special.
Whether
it
is
their
first
ever
special
Roja
or
Dil
Se
followed
by
Yuva,
the
music
has
always
been
spellbinding
and
something
special.
Add
to
the
team
a
legend
by
the
name
of
Gulzar
and
you
can
hardly
settle
for
anything
less
than
exceptional.
No
wonder,
the
desire
is
to
be
just
all
ears
as
soon
as
one
lays
hands
on
the
album.
Is
it
really
Shreya
Ghoshal
singing
the
song?
That's
what
you
question
yourself
and
recheck
the
album
credits
as
soon
as
she
begins
her
crooning
of
'Barso
Re'.
Her
voice
sounds
completely
different
from
what
we
have
been
used
to
hearing
since
her
'Devdas'
and
'Jism'
days
and
though
she
has
seldom
disappointed
over
the
years,
with
'Barso
Re'
she
scales
new
heights
altogether
as
she
goes
completely
carefree
in
her
rendition
of
this
'rain-coming'
song
that
is
as
different
from
'Ghanan
Ghanan'
[Lagaan]
as
the
setting
of
Lagaan
was
different
from
that
of
Rang
De
Basanti!
Uday
Mazumdar
is
heard
for
just
a
line
or
two
in
the
middle
of
this
song,
which
belongs
to
Shreya
all
the
way.
Gulzar's
lyrics
continue
to
be
poetic-n-entertaining
as
well
while
the
arrangements
deserve
special
mention
since
they
keep
the
song's
momentum
on
a
lively
pace
with
the
beats
along
with
the
sound
of
'na
na
re'
making
'Barso
Re'
a
treat
to
hear.
If
you
have
been
craving
to
hear
something
new
all
this
while
then
'Tere
Bina'
is
the
one
for
you.
What
makes
the
song
special
is
A.R.
Rahman
coming
behind
the
mike
to
sing
a
full-fledged
number
with
regulars
like
Murtaza
Qadir
providing
the
background
vocals.
A
love
song
with
a
'big'
difference
due
to
the
way
the
entire
song
has
been
paced
and
arranged,
it
is
an
amazing
fusion
of
sufi
and
Indian
classical
mix
that
makes
'Tere
Bina'
a
new
hearing
experience
altogether.
There
is
a
rural
India
feel
to
the
entire
composition,
which
also
reflects
in
the
lyrics
and
takes
you
to
a
dream
journey.
The
journey
is
only
made
much
more
authentic
with
arrival
of
Chinmayee
who
has
a
considerable
role
to
play
in
the
second
half
of
the
song.
Unlike
numerous
Rahman
numbers
that
take
their
own
time
to
catch
up
with
a
listener,
this
one
gets
you
hooked
on
right
away
and
makes
you
wait
for
rest
of
the
songs
to
come.
Rural
mood
continues
with
'Ek
Lo
Ek
Muft',
which
turns
out
to
be
a
huge
speed
breaker
after
two
absolutely
awesome
numbers.
A
song
picking
up
it's
theme
from
'Buy
one
get
one
free'
schemes
that
are
prevalent
in
the
consumer
market,
'Ek
Lo'
is
a
situational
number
that
just
doesn't
appeal
audio-wise.
Though
Ratnam's
picturisation
may
bring
some
spark
to
this
song
that
seems
like
a
fun
outing
on
screen,
what
is
surprising
is
Bappi
Lahiri
being
hardly
THE
Bappi
Lahiri
that
one
had
expected
behind
the
mike.
He
croons
for
a
man
who
is
drunk
and
though
he
does
well
in
creating
that
right
mood,
it
still
sets
one
thinking
about
the
entire
thought
process
of
choosing
him
ahead
of
any
other
singer!
Chitra
joins
in
later
and
she
too
sounds
completely
different
from
the
way
she
has
been
heard
over
the
years.
Tanvi,
Saloni,
Boney
and
Jaidev
provide
background
vocals
support.
The
song
moves
on
a
leisurely
pace
with
minimal
music
instruments
and
has
a
South
Indian
style
of
composing
and
arrangements
written
all
over
it.
Thankfully
the
album
is
back
on
track
with
'Mayaa
Mayya'
that
has
a
strong
Middle
East
flavor
to
it.
The
song
is
unlike
any
other
composition
that
one
may
have
ever
heard
in
a
mainstream
Hindi
film
and
Rahman's
special
touch
only
makes
it
irresistible.
Mayyam
Toller
is
the
singer
roped
in
especially
for
this
number
that
is
touted
to
be
Mallika
Sherawat's
item
song
in
the
film.
The
song
has
a
strong
undertone
of
sensuality
that
flows
at
a
lovely
pace
throughout
its
duration.
Chinmayee
and
Keerthi
only
help
in
giving
the
song
an
exquisite
feel
that
makes
'Mayya
Mayya'
a
true
world
song.
An
absolutely
original
number
that
has
some
excellent
programming
and
additional
arrangements
by
Ranjit
Barot,
it
moves
to
an
expansive
musical
drive
towards
the
last
couple
of
minutes.
Also
notable
is
the
way
Rahman
fuses
the
Middle
East
flavor
with
the
Gujarati
folk
music
in
the
end
to
demonstrate
his
class
once
again.
A
grand
number
that
should
look
only
better
when
seen
on
video!
Alka
Yagnik
singing
for
Rahman
does
sound
like
a
unique
combination
and
with
Hariharan
around;
there
are
expectations
of
an
altogether
new
experience
with
'Ay
Hairathe'.
For
a
very
short
while,
there
is
a
distinct
sound
of
'Aage
Bhi
Jaane
Na
Tu'
from
'Waqt'
that
is
soon
forgotten
as
soon
as
Rahman
and
Aslam
Mohammad
begin
the
song
with
their
intoxicating
humming.
Hariharan
arrives
on
the
scene
soon
to
get
into
his
'ghazal'
singing
mode
and
add
on
to
an
overall
classy
feel
of
the
song.
This
is
not
one
of
those
typical
love
songs
that
one
is
used
to
hearing
and
enters
a
different
terrain
altogether.
Though
there
is
doubt
about
the
song
getting
into
the
popularity
zone,
purists
may
find
it
exciting
due
to
it
being
an
unconventional
composition
while
boasting
of
trademark
Gulzar
poetry.
After
number
of
interesting
and
some
unconventional
tunes,
'Baazi
Laga'
comes
as
a
real
surprise
since
it
hardly
sounds
like
a
Rahman
composition
by
any
means.
Though
the
arrangements
along
with
some
additional
programming
by
Ranjit
Barot
try
to
give
the
song
a
carnival
feel,
this
situational
number
about
money
and
playing
gambles
has
an
80s
tune
which
doesn't
come
close
to
Rahman's
class;
well
at
least
at
the
beginning.
Later
into
the
song
the
orchestra
and
the
arrangements
save
the
day
by
enabling
the
song
to
maintain
its
fast
pace.
Madhushree
has
very
little
role
to
play
in
this
song
that
has
Swetha
and
Bhargavee
as
the
background
singers
and
though
Rahman's
touch
starts
becoming
apparent
towards
the
end,
the
overall
impact
is
still
not
of
the
kind
that
would
make
the
track
to
be
one
of
the
most
in-demand!
One
is
transported
to
the
world
of
operas
and
Broadways
with
'Jaage
Hain'
that
has
a
magical
orchestra
as
its
USP!
Though
the
number
is
too
classy
to
find
every
person
on
the
street
humming
the
tune
aloud,
for
those
who
want
their
music
to
be
heard
closely
with
lots
of
finer
nuances
to
be
caught,
'Jaage
Hain'
comes
as
a
gift.
Once
Chitra
sets
the
pace
for
this
situational
track
about
taking
rest
for
a
while
and
anticipating
a
new
tomorrow,
it
is
left
to
Rahman
and
his
team
of
musicians
to
grip
the
listener
with
some
subtle
yet
highly
impacting
orchestra.
Later
Rahman
himself
comes
behind
the
mike
and
does
some
great
rendition
while
going
from
ultra
mild
to
high
pitch
and
in
the
process
Madras
Chorale
Group
too
joins
the
proceedings
to
take
the
track
towards
an
all
time
high
finale.
Classy...simply
classy!
Rahman
fans
only
have
their
hands
full
with
later
when
they
get
to
hear
some
of
his
best
tracks
like
'Rang
De
Basanti'
[Rang
De
Basanti],
'Ghanan
Ghanan'
[Lagaan],
'Hum
Hai
Iss
Pal
Yahan'
[Kisna],
'Dheeme
Dheeme'
[Zubeidaa]
and
'Yeh
Rishta'
[Meenakshi]
that
have
been
added
on
as
a
bonus.
In
the
end,
Guru
leaves
quite
a
classy
impression.
On
one
side
there
are
some
lovable
songs
like
'Barso
Re',
'Bin
Tere'
and
'Mayya'
while
on
the
other
side
there
is
a
track
like
'Jaage
Hain'.
Though
'Ay
Hairathe'
would
invite
mixed
response,
'Ek
Lo
Ek
Muft
and
'Baazi
Laga'
would
have
to
depend
a
lot
on
the
way
they
are
presented
on
screen.
Now
coming
to
a
question
on
whether
the
album
would
turn
out
to
be
more
popular
than
'Rang
De
Basanti'?
Well,
it
all
depends
upon
how
the
film
fares
at
the
box
office.
While
the
music
of
RDB
was
good
too,
it
grew
enormously
with
the
film's
release
followed
by
a
terrific
response
it
garnered
at
the
box
office.
In
case
of
Guru
too
the
songs
are
of
the
kind
that
may
not
become
a
craze
of
the
nation
within
a
fortnight
of
the
album's
release
but
have
all
the
valid
reasons
to
become
further
popular
if
the
film
hits
the
bull's
eye!