Music Review: O Kadhal Kanmani (OKK)

Back after two years, almost to the date! Sorry to take so long to write, but I hope to finally be more regular with this. And with that, on to business!

I heard O Kadhal Kanmani (OKK) during a journey and, within the day, had heard it 4-5 times again - such was the power of the album. ARR has done an excellent job of bringing together a classical base with a very modern feel, and it works wonders here. I was completely inspired to write about it (and had time to kill too!) so here's the detailed review:

Kaara Aattakkaara: The song starts the album on a fresh and high note. The refrain is immediately catchy, and the hiphop portions and rapping get your feet and hands tapping! Aaryan Dinesh Kanagaratnam, Darshana and Shashaa Tirupati do a great job of giving the song the right feel. There is also one very small instrumental piece around the 2.25 mark, which I absolutely loved! The entire piece has put together so well.

Aye Sinamika: The beauty of this song is evident within 30 seconds of Karthik's singing. A simple guitar strum (with a small flute portion) builds up as it goes to the refrain "nee ennai neengaade" till it has full-fledged beats - it is just magic. The structure of the song is also very different, and these three words are repeated with so many variations, yet it never bores (which is saying a lot because it is repeated for about a minute!). The chorus pieces in between are very good too.

Parandhu Sella Vaa: The song has a background sound created from a bass guitar and voices. Wikipedia tells me that it was composed using the iPad app 'Loopy' to have the continuous background sounds playing. It is so interesting though, what has been done with the foreground sounds in the song - the tune does not follow the exact beats; instead it takes on a shape of its own, and combines different kinds of sounds to give it a fusion feel - a little classical, a little reggae! Shashaa Tirupati and Karthik are excellent.

Mental Manadhil: The minute the first techno beats played for Mental Manadhil, I was hooked. The lyrics are written by ARR himself, with Mani Ratnam, and they are very 'chill'. Sung also by ARR, with supporting vocals by Jonita Gandhi, the song is already a huge hit. The power and appeal of the song, though, comes from the instrumentation more than the singing - it is just imaginative and different. A fun, peppy number!

Naane Varugiren: Sung by Shashaa Tirupati and Sathya Prakash, the song has a Carnatic base, and gives Shashaa ample scope to show off her singing chops. The beginning of the song combines excellent singing from her with a funky, modern beat that leads to the part sung by Sathya Prakash, that just lifts the song even more. The composition is complicated, the beats are eclectic, the lyrics are eloquent, and when the full impact of the song hits, it hits hard!

Theera Ulaa: The song builds with building techno beats and a sound like waves, with ARR singing the refrain in a vocoded voice. Nikita Gandhi joins in to make it a superb harmonization, which is further enhanced when it delves into a Carnatic based segue, sung by Shashaa Tirupati. The use of instruments and background vocals is brilliant. It is an intricate composition - utterly imaginative in its treatment, and it ends on the same high note as it began.

Mental Manadhil (Female): This is the female version of the song, sung by Jonita Gandhi. The variations she has brought in here are so exciting and keep the song different from the male version, while retaining the same tune. Jonita sings with a sort of abandon that gives the song an even more free feel.

Malargal Kaettaen: Pulling back to the classical base is this beautiful song. I think this would rank as one of my top favourites sung by K.S.Chithra - and there are so many of her songs I adore. The flute use along with the ganjira is extremely beautiful. The composition is simple and focused on melody, and the lyrics are so poetic too. ARR sings too, at the end of the song, and he has done a superb job with the classical singing (much better than I thought he could sing, to be honest!). Overall my pick for favourite from the album.

Maula Wa Sallim: A traditional Sufi number sung by ARR's son, A.R.Ameen, sounds like a prayer. The structure is simple, with mild choral singing backing the lead. The young man does an excellent job of the Urdu lyrics, and the elegance of the prayer works very well.

Overall, OKK might not be an ARR classic in the same mould as a Bombay, Taal or Rockstar, but it is a solid album with some very nice situational songs. ARR's introduction of new singers works well, but Malargal Kaettaen by Chithra is the best song of the album. The experimentation with newer instruments is also a hit with me!

Rockstar: Music Review

I must say this right off – A. R. Rahman has really created a masterpiece with Rockstar. The passion, the feel, the musical essence – they are all there perfectly. The other person to whom this album belongs is Mohit Chauhan. He’s really hit his stride with this album that covers different kinds of songs and gives him range and the ability to play around. His voice has been used for all songs for singing for Ranbir Kapoor, and I count this as a huge plus point. Irshad Kamil has penned the lyrics, and they also lift the songs to a different level.

We start off with the gorgeous Phir Se Ud Chala – starting off with simple music and a chorus playing in the background, and then Mohit’s voice that comes to the fore. You can literally feel the music picking up in the background as if it’s a slow morning waking up. “Itne saare sapne, kya kahoon, kis tarah se maine tode hain, chhode hain kyun… phir saath chale, mujhe leke ude yeh kyun…” asks Mohit. The electro-pop beats begin – “rang birange vehemon mein main udta phiroon…” The chorus fits in beautifully, uplifting, completing the song from where it began.

Jo Bhi Main is, I would say, a soft rock song, without precisely being rock. The audience sings “oh ya ya” back at Mohit, and you can imagine performing the song on stage (or maybe listening to it being performed on stage). I’d also say that the electric guitar in the background lends a cachet to the song – it is so understated that you barely hear it in parts, but it is what makes the song what it is. And then when it is brought to the fore in the interludes, it really shines. I loved the lyrics too – so simple, but so effective. “Maine yeh bhi socha hai aksar, tu bhi main bhi sabhi hain sheeshe, khud hi ko hum sabhi mein dekhe, nahi hoon main, hoon main toh phir bhi… sahi-galat tumhara-humara… mujhe paana, paana hai khud ko…”. I know a lot of people who think this really is the song of the album, with the soft music, perfect lyrics and general ‘rock’ feel. They wouldn’t be too far off – it’s definitely a must-listen.

Katiya Karun is a song I adored from the moment I heard “Ting-a-ling-a-ling-a-ling”. I think Imtiaz Ali loves his Punjabi folk songs – there is one in each of his films if you think about it. And Harshdeep Kaur sings this song so well, with such ease, that it is actually a real shock to you when you try singing it and realise how tough a song it actually is. Sapna Avasthi joins in for the interlude and does a really good job as is her wont. There is a dholak beat running through the song which is so catchy that I dare you to not tap your feet to the beats of the song when you listen to it. And when you think it’s so predictable how the song is going… there comes along that light music and the ending lines “kattan roon… main saari raat katiya katiya karoon…”. Applause for Harshdeep for excellent singing and for Rahman for such a simple appealing song.

The divinity of Rahman really stands out in the sufi numbers he composes, like Piya Haji Ali, Khwaja Mere Khawja and Arziyan. Kun Faaya Kun is no less – it actually almost ties with Khwaja as my favourite of his sufi songs.  Javed Ali joins Rahman in rendering the major portion of this song. Very beautifully written lyrics as well. The part that gives me real goosebumps though is the place just before the interlude comes in – “Sadaqallahul Aliul Azeem…”. There is mostly a simple harmonium and an Indian beat going on through most of the song. The guitar notes add to the song very well, and Mohit Chauhan chips in, presumably for Ranbir on screen, and sounds very good too. Javed Ali has sung really well, with his classical voice taking over for a number of the nuances. There is a Godliness to this song, which carries it to a completely different plane of understanding and feeling. “Sadaqalluhal Aliul Azeem… Sadaq Rasoolun Nabiul Kareem…”.

The first time I heard Sheher Mein, I was bemused. It’s obviously a situational song, with a music director chipping in from time to time, correcting the “sur” and “dhun”. Karthik and Mohit have such different styles and voices, and it is highlighted so beautifully. It’s a little hard to imagine a singer would improvise so much from the original, but I guess that’s the beauty of the song – that you are meant to imagine how modern or how different Mohit’s style and voice are from the others around. The music also sounds simplistic, but if you listen carefully, you can hear how many instruments are playing in the background along with the voices. The instrumentation for this piece was something I really appreciated. All in all, a break from the emotional roller coaster of the album.

I fell in love with Haawa Haawa also the minute I heard the prelude music. My album cover informs me it’s based upon a Czech folk legend “Sleepy John” about a queen who goes out dancing with the devil and wears out twelve pairs of shoes in a night, and Sleepy John who follows her and reports it back to the king. Interesting. The music is very foreign, with a Spanish guitar starting the song off. I can almost imagine Mohit enjoying singing this song – I love singing along. The song does not have a structured approach – it’s quite like a story telling. This is what Rahman really excels at – weaving together a song that has such diverse elements. The musical interlude in the middle is so brilliantly done. And then the scale change for the chorus (the chorus is completely in a European language too – I’m not sure which one though). You will find yourself going “pown pown pown” along with Mohit for sure! Amazing song and a complete must listen at all costs.

Aur Ho is the song that caught my fancy for the lyrics and the sheer pathos that drips off it. As with a lot of sad songs, this is one song I can listen to (and have listened to) multiple times on loop. Alma Ferovic, a Bosnian singer, begins the prelude with her soulful voice. Mohit then starts “Meri bebasi ka bayaan hai, bas chal raha na is ghadi…”… The beats hit as his voice hits a crescendo “Is lamhe kya kar doon main, jo mujhe chain mile aaram mile… Aur ho, aur ho, saans ka shor ho, aanch bhi aur badhe…”. Mohit has managed to capture the feel for the song very well indeed – many times when I hear the song I am almost brought to tears. Irshad Kamil’s lyrics are brilliant to say the least – there is a melancholy that settles upon you when you listen to the song, which is probably exactly the effect wanted. The end especially – “roke se na ruke, yeh na thake, aandhi si jo chale in saanson ki… pata bhi na chale, kahan pe kya jale… hain darr se, tan-man ki, sihran se, hasrat ki, sulgan si, bhadke aur… shola-shola jale-bujhe dhuan dhuan ho… dhuan-dhuan lage mujhe, dhuan-dhuan ho… meri bebasi ka bayaan hai…”. I guess beyond a point, I’m speechless about this song. Just letting the lyrics do the talking here. But this is an absolute must listen song as well.

The instrumental piece Tango For Taj is interesting. It’s quite a European symphony piece. You can hear the lovely piano base with accordion and violin notes interspersed. You can imagine it being played in a concert somewhere by a large orchestra – very beautiful.

Tum Ko is sung by Kavita Subramaniam (nee Krishnamurthy) and this made me realise how much I missed hearing her voice on the records for quite some time. The song itself is a simple soulful piece with just a tabla beat in the background through most of it. The lyrics are once more really well done, keeping to the simple and poignant. But somehow it never rises to the inspirational levels of the other songs of the album. Kavita has sung it with her usual lush voice, and clear tones and that’s really what gives the song a lift.

Among the two instrumentals, I liked The Dichotomy of Fate much better. It is Rahman at the best of what he does – fusing the music from two different instruments to provide a musical treat. The shehnai is so fantastically played. Then the Spanish guitar begins, and it just works so well together, that you end up wondering – how have these instruments not been combined before? The table in the background brings context and a melding feel to the whole song. This is really a Rahman number in the truest sense. Listen to it to see what I mean.

Nadaan Parindey is a song which, to me was a bit of a mixed reaction to start off. There was a fairly rock-ish start that made me expect a song along those lines, so when Rahman’s voice started off (with some completely amazing beats) I was a little surprised by the way the song went. But as I heard it, I loved it (as is the case with a lot of Rahman’s music, I must say). There is still a ‘rock feel’ to the song because of the instruments – drums, bass guitars, electric guitars – and that really makes the song, especially the drums where Sivamani has really outdone himself. I loved the softer part of the song too which Mohit sings – “arjiya re, khaiyon na tu naina more, piya ke milan ki aas”. There is something extremely appealing about how Rahman once again ties in parts, which do not really seem to fit together, to create a full song that stands out in our memories.

Tum Ho is again sung by Mohit Chauhan and it is, I think, the only real out and out (happy) love song in the album. It sounds a bit like Tum Ko, but is kind of like its more romantic cousin. There is a dreamy quality to the song which is accentuated by Suzanne D’Mello, who hums in the background.  It’s really the singing that catapults this to “aww so beautiful” levels though. The music is well done but again, it’s not as different or as inspirational as the other songs in the album.

And then I think: O Rahman. How do you do it? Saadda Haq is so brilliant. There is absolutely no structure, once again. There are a lot of people who also think the lyrics are a little on the meh side, but I’d say listen to the whole song, especially the beginning: “Tum logon ki is duniya mein, har kadam pe insaan galat… Main sahi samajhke jo bhi karoon, tum kehte ho galat… Main galat hoon toh phir kaun sahi…”. Wow. By the time the music builds it up to the point where Mohit goes “Saadda Haq, Aithe Rakh”, you are ready to scream along with the slogan. I just love the guitar playing along as well. The song wouldn’t be a quarter of what it is without that absolutely awesome guitar. You can imagine cheering loudly when the riff plays on that guitar. You can imagine head-banging with the beats. You can imagine jumping in front of the stage. This is the real ‘Rockstar’ song of the album. And it is sung with such gusto, such vigour, such biting meaning by Mohit. He’s really excelled himself in this song – he’s just taken off and enjoying himself, looks like. What a song – everything just comes together so well to (almost) close the album on such a high note.

The actual close of the album comes with The Meeting Place, which features Ranbir reciting a poem with a simple background note playing. The poem is by Rumi and goes “Pata hai, yahan se bahut door, galat aur sahi ke paar, ek maidan hai… Main wahan miloonga tujhe.” The music fades away…

Rockstar features Rahman at his absolute best. There is not one song that you want to skip or have a feeling of “what was he thinking when he was composing this?”. Instead there are some absolute gems in this album. There is also a fantastic blend of very western music with an Indian feel to the core. You love each song for a different reason, and the different songs fit so beautifully well to create a rich and full tapestry. The music entertains; it takes you to amazing heights of freedom and to the deepest wells of despair, and provides a real wholesome listening experience. Atleast a 4.5 on 5.

Vinnaithandi Varuvaayaa

Vinnaithandi Varuvaayaa has some of the most beautiful music I have heard in a very long time. The magic of ARR’s music just takes you to a different plane with some really lovely melodies – so lovely that I just felt I had to write about them! I would recommend that everyone listen to this album regardless of language barriers!

Aaoromale: What a song! With the beautiful rock-like refrains combined with violins adding the Indian classical touch, this song really stands out for me. A perfect fusion of western and Indian, it can be listened to many times over. Singer Alphonse does a good job, but it’s really the instrumental pieces (especially that guitar!) that are the main draw in this song.

Vinnaithandi Varuvaayaa: A simple acoustic-guitar accompanied song that really brings out Karthik’s skills. I love the harmonies most of all, with the main voice – they are really well done. They sound just a little off-chord at times – simply fantastic experimentation! Harmonies actually seem to be the main theme of the album – whether between the voice and music, Indian classical and western, or harmonies in the true musical sense of the word.

Hosanna: I love this song, which is almost completely in a hip-hop style. You find yourself humming this song at times just like that! The chorus is the stand-out to me for this song. The other is Vijay Prakash’s singing. And to think it’s supposed to be a sad song! Blaaze’s rap also adds to make it a complete foot-tapping number. Suzanne’s westernized humming is also perfectly put together. All in all, this song is a BIG time winner!

Omana Penne: The most intriguing song of the album to me. It’s rather synthesized in terms of voice (Benny Dayal) but the music is FABULOUS. There is a running classical sound in the background combined with that synthesis which is why I call it intriguing. The beat is at a good pace, and when Kalyani Menon takes on the classical bit, it’s just so perfect! But the real magic of the song is the nadaswaram piece at the end, which is pure Carnatic – so blessedly peaceful. This song is a beautiful exercise in simple imagination.

Anbil Avan: The idea of this song is to bring together Hindu and Christian marriage elements in the song to get a full-fledged fusion. Rahman has achieved this beautifully – the nadaswaram beginning and the Wedding March in the middle are blended so well into the song. I also love that there is a mridangam beat throughout the song which is combined with a very “choral” hand clapping to keep the beats going. Chinmayee sounds really good – a little better than Devan Ekambaram. This was one of those songs I had to listen to a bit more to like, but nevertheless it’s a really good song!

Kannukkul Kannai: I like the cello music of this much more than the song itself to be honest. It’s quite a techno based song, and the lyrics are also interesting. The catchy pace and Naresh Iyer’s voice are very appealing, but that cello music really takes the cake in this song!

Mannipaaya: Coming to my favourite song of this album! Mannipaaya starts off with a vocal piece by Shreya Ghoshal (who is just killer in this song by the way!) and then the soft music starts up… “One day I smiled, the next day I was frustrated, I buried you without killing you” – so true of a lot of couples I know! She begs him – “will you forgive me?” All of this is in a soft piece. And then ARR’s voice starts off, the pace picks up and a drum beat is introduced. The whole song is so unstructured, it’s beautiful. And just then comes the choir singing Thirukkural. This just takes the song to a different level according to me. I also love the second stanza – Shreya’s sung it just so melodiously with just the right amount of piteousness when she begs the guy “will you forgive me?” And then finally – a soft piano piece to end with her humming. WOW. What a song!

Many people might have to listen to these songs a few times to like them the way I do (I have heard it on endless loops many times!) but I am sure you will fall in love with the songs I have too! Definitely Rahman’s best album of 2010.

Margazhi Raagam

I am watching 'Margazhi Raagam' on DVD for the first time since watching it in the theatre. And it gave me the push I needed to get back on this blog!
 

The idea of Margazhi Raagam is to present a Carnatic music concert on film for people to appreciate in the comfort of the theatres - to get a modern feel of one of the oldest art forms in the world. To that end, the artistes chosen are also those who are considered "modern" while retaining the old-world charm and traditions of Carnatic music as it is meant to sung. The whole presentation is in the 'concert' form with the artistes singing on beautifully constructed sets that give you a view from various angles with some wonderful camera work that captures the divinity of the music as well somehow.

The first song "Maya teetha swarupini" set in Mayamalavagoula is sung by Bombay Jayashree set against light orange and yellow settings and puts the listener in the mood immediately. She keeps her eyes shut most of the time, as if internalising the music that is meant for the outside world as well. Her swarams are done so effortlessly! She next embarks on the 'evening raga' Nilambari - Amba Neelayadakshi - which I must admit I have a soft corner for, since it is one of my favourite songs. And does she do justice to it or what! When I found myself humming along, closing my eyes to the beauty of the darkly lit set that captures the mood of twilight - that was the moment of magic for me. That gorgeous rendition - I admit - is what remained with me the most when I had watched this in the theatre. There is a certain feeling of Godliness that manifests itself in it that appeals to a Carnatic musician or listener. She is unostentatious - whether it be in her simple attire or her simple yet soothing music. The third song she did was Janani Ninnu Vina in Rithigowlai - starting with an alapanai which will make you melt, the song itself (which is one of the loveliest songs I have heard in Rithigowlai) and a neraval and swaram done so expertly that you catch yourself counting the taalam unconsciously, as if you can't help yourself. This rendition of Janani is one of the best I have heard. Everytime she stops on a 'Ma' you feel like it's resonating in the air. Bombay Jayashree has that something in her voice that takes you to a different, spiritual plane - and it is showcased beautifully here.

There is then a tani-avartam with the two mridangam artistes and the kanjira - and then a switch over to T.M.Krishna who finishes the Janani Ninnu Vina and then takes us through a jaavali in Behag 'Saramaina maata' - which changes the flavour of the concert immediately. You get drawn into his completely contrasting style of involving the accompanying artistes, carrying on conversations with them in body language and with his appreciation - he's a person who is enjoying his music and that comes across very strongly. He then switches to Khamas in which he renders Sitapati - with a neraval and swaram. His hand movements mimic the wonderful ups and downs of his voice as he negotiates the nuances with his finesse and wonderful voice. You can see the animation in his face as he creates swarams and presents them and finally converges with the violin's music to finish in an exquisite finale before moving back to the song. His next rendition is in Varali - a Ragam Tanam Pallavi. The ragam alapanai captures the inherent pathos as well as the 'plays' that are possible with the range of the raga. His voice moves like a finely-tuned instrument, making you stare in awe as he takes you on a marvellous journey. The tanam is interspersed with the violinist's phrases which are almost as interesting as the singer's. The pallavi is very well done as well - showcasing the range of the singer.

The singing stalwarts get together then for something like an unplugged. Beginning with Bombay Jayashree with Vatasya Patrasya and then T.M.Krishna with Kapi - Jagadodharana - and then moving onto a Ragamalika of Vande Mataram, that is sung with all artistes wearing white against a lovely blue background, which caps the journey that we undertake with them on a fantastic note.

A word for the supporting artistes. Both violinists are excellent - Embar S Kannan with Bombay Jayashree and R.K.Shriram Kumar with T.M.Krishna - both as accompanists as well as while they are playing their solo pieces. The percussionists (Patri Satish Kumar and K.Arun Prakash on the mridangam, and B.S.Purushotham) are also first class - and their tani-avartam captures that marvellously well.

All in all - a must buy for those who are into Carnatic music.

P.S. Watch on a home theatre system to get the best effect!

Luck By Chance

Another great album from Shankar-Ehsaan-Loy. They are definitely the second most bankable music directors (after ARR of course :P). Luck By Chance is directed by Zoya Akhtar and has lyrics by Javed Akhtar and is a great album for listening to over and over (ask me or Akil!)

So here goes...

Yeh Zindagi Bhi: Loy Mendonsa and Shekhar Ravjiani

Wonderful meaningful lyrics. The music is lovely - the kind of song that appeals to your ears immediately. The chorus "Chhoone hain taare ise..." is the part I loved most. The overall package of the song is quite brilliant.

Pyaar Ki Dastaan: Mahalakshmi Iyer and Amit Paul

I wonder if this is the Indian Idol Amit Paul. If so, he has come a long way - he was always really good, but this is REALLY well sung. The part where Mahalakshmi starts off is very nice. The interludes are very good. It's the kind of song that makes you smile and sort of go "awww". My only complaint is that I feel like we've heard a lot of songs like this in the recent past.

O Rahi Re: Shankar Mahadevan

Akil's nomination for the best song in the album. Marvellous singing by Shankar Mahadevan. I can never get tired of saying that. He's simply AWESOME. When he sings "Bol tera hai kaun sa rasta" at different parts of the song, it's simply superlative. Background music is also lovely. Interludes are simple guitar tunes which appeal immediately. The lyrics are fabulous. What a song.

Sapnon Se Bhare Naina: Shankar Mahadevan

My nomination for best song. What a guy Shankar Mahadevan is. Listen to this song. It'll give you goosebumps. It's got a fast-ish background beat. Listen to the part after the first stanza. It proves why Shankar Mahadevan is who he is. He sings so effortlessly. And listen to the end of the song. And the lyrics. They are out of this world. So simply put but touch you in some part of your heart. I can't say anything more about this song - you just have to listen to it for yourself.

Baawre: Shankar Mahadevan, Loy Mendonsa & Rajasthani Ensemble

Love at first hear! From beginning to end this is just a FABULOUS song. Singing, lyrics, music - all absolutely superb. S-E-L described it as "Rajasthani on acid" and it's the perfect way to describe it! The beginning of the second stanza makes you smile and believe in romance, just for the way (once again!) Shankar sings it. Got to listen to this. Play it on repeat on your playlist. You still won't get bored.

Baawre (Remix): Shankar Mahadevan, Loy Mendonsa & Rajasthani Ensemble

The remix is funky, it completely takes you by surprise at parts. I still think the original song is better, but the remix is really good too. The beats are very well done.

Yeh Aaj Kya Ho Gaya: Sunidhi Chauhan

The guitar strumming throughout the song is lovely. The lyrics are marvellously imaginative, though simple again. Sunidhi Chauhan has done a fantastic job. I kept humming this song for three days on and off - and I totally want to sing this sometime on stage!

Luck By Chance should be on repeat on your iPod. As one review said, it restores your faith in good music.

Delhi 6

I cannot think of a more apt way to start this blog than with a soundtrack composed by A. R. Rahman. The lyrics are by Prasoon Joshi. The movie is Delhi 6, directed by Rakeysh Omprakash Mehra.

Here's my take:

Rehna Tu: A. R. Rahman, Benny Dayal and Tanvi Shah

Great song! Lovely beginning, nice lyrics. A very calming song. The instrumentation is wonderful. A beautiful mix of old-world feel with modernistic background music. The interlude is beautiful after the first stanza. But the highest point of the song for me is the end of the song where they take off in a complete Carnatic way! It's abso-freaking-lutely brilliant!

Noor: Amitabh Bachchan

Just a couple of lines - very well written. Nicely rendered. Nothing else to really comment on it.

Dil Gira Dafatan: Ash King and Chinmayee

The beginning is purely English. I don't know any other way to describe it. Another very calming song. Ash King has sung it very well. It's a pretty unstructured song - you keep expecting one thing to happen and something else happens! Again the interludes are pure magic and totally unexpected. Just listen to this one quietly to get the whole feel of the song.

Delhi 6: Benny Dayal, Blaaze, Claire, Tanvi Shah, Vivinenne Pocha

Appeals to the ears immediately. I love the guitar thing going in the background. There is a complete techno feel to the song also, which I really like. The chorus in the background is also really well done.

Hey Kaala Bandar: Bonnie Chakraborty, Karthik, Naresh Iyer

The instrumentation again - really good. The lyrics are really weird the first time you listen to them. (I mean, come on, it's called Kaala Bandar!) But I read this blog on how there's a deeper meaning to the song - about finding the inner 'bandar' in you. Listen to it again keeping that in mind. Again I found it really unexpected in terms of what happens in the song.

Arziyan: Javed Ali and Kailash Kher

If you like "Khwaja Mere Khwaja" from Jodhaa Akbar, you'd probably like this. A typical Qawwali song. Lyrics are also really good. Both singers take it to a different level altogether.

Aarti: Kishori Gowariker, Rekha Bharadwaj, Shraddha Pandit, Sujata Mazumdar

A small bhajan type song. A quiet song which doesn't really stick around in your mind, but I loved the tambura playing in the background - it's the most beautiful sound in the world.

Masakalli - Mohit Chauhan

AWESOME song. You keep humming it after listening to it. Highly imaginative lyrics (it's about a dove I believe!). The stanzas are lovely and listen to the background beats - great work! And Mohit Chauhan sounds fab. The interludes are superb too. I am running out of superlatives for this song!

Genda Phool: Rekha Bharadwaj, Shraddha Pandit, Sujata Mazumdar

It sounds like a sangeet song. I fell in love with the beat that starts around 47 seconds into the song. The main singer is very good - Rekha Bharadwaj. That beat brings it to a different level and makes it into a funky fusion piece. And listen to the part that starts around 2 minutes 10 seconds into the song. Again I think that makes the song tick.

Bhor Bhaye: Ustad Bade Ghulam Ali Khan & Shreya Ghoshal

One of those songs I want to sing at some point. I am no one to comment on Ustad Bade Ghulam Ali Khan so I won't even try. But a word for Shreya Ghoshal. She's so marvellous in this song, I can't write it here. She's the best singer of this generation for sure. Her voice sounds so pure in this. I am amazed anew at her versatility and this song just proves why she's in so much demand.

All in all - this is an album which captures the essence of various kinds of music. One of those albums you will love and keep playing on and on.