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 Ada, Jaane Tu Ya Jaane Na, Yuvvraaj, Ghajini, Slumdog Millionaire, Sakkarakatti…2008 was a dream come true for all Rahmaniacs. The beautiful dream is NOT shattered with the end of 2008…January 11, 2009: Rahman wins the Golden Globe award for Best Original Music Score for Slumdog Millionaire…and now we witness the release of another simply outstanding Rahman OST—Delhi-6. I’m sure those of you who looked at the soundtrack listing of Delhi-6 prior to the release of the OST thought your eyes would pop right out of your eye sockets—Rekha Bharadwaj! Ustad Bade Ghulam Ali Khan!! Yes, I know, your readings on the excitement meter must have set records. And, it is with those very unprecedented excitement levels that I approach the 10 tracks of Delhi-6, knowing that when it comes to music, Rahman will never let us down.
While not exactly a song per say, Noor (0.49) is a very poetic 49 second spiritual/sufiyaana exploration of love, delivered by Amitabh Bachchan, who perhaps has one of the most powerful voices in the Hindi film industry. Seriously, how can your ears not pay attention to his deep, yet gentle voice? Backed with very soft twinkling sounds, conjuring up a fairy-tale-like atmosphere, symbolic of the intoxicating state of love, Prasoon Joshi pens down some very meaningful lines: “Zarre zarre mein usska noor hai. Jhaank khud mein, woh naa tujh se door hai. Ishq hai uss sey, toh sab sey ishq kar. Ishq hai uss sey, toh sab sey ishq kar. Iss ibaadat ka yehi dastoor hai. Iss mein, uss mein, aur uss mein hai woh hi. Iss mein, uss mein, aur uss mein hai woh hi. Yaar meraa har taraf bharpoor hai.” Waah! Kyaa khoob likhaa hai, Prason Joshi! While I really enjoyed Mohit Chouhan’s rendition of Tum Se Hi in Jab We Met, I also felt kind of bad for him as most of the songs he received since then kept him stuck in the JWM mould. In Masakkali (4.50), Rahman let’s Mohit break out of that mould, let his voice soar free and reach unexplored heights much like the dove the song is being picturized on. Mohit sings this song without any inhibitions. The sounds of the accordion, rain shaker, tabala, harmonium, bass is breathtaking. The carefree and folk-style accent with which Mohit sings is amazing. His pronunciation of “Masakkali”, “Matakkali,” “Phur Phur Phur” is attention-grabbing. He sounds like he is thoroughly enjoying singing for Rahman (who wouldn’t enjoy working with Rahman?!)—he sings khul ke. This is just one of those songs, like Jai Ho from Slumdog Millionaire, which is inspiring and lifts your spirits when you are feeling down: “uddiyo, naa dariyo, kar mann maani, mann maani, mann maani, badhiyo, naa mudiyoo, kar naadaani.” Two innovative phrases in by Prasoon Joshi in Masakkali which I would like to highlight are “gagan ki baansuri” and “pawan ki guftagoo.” Get groovy with the title track, Delhi-6 (3.35)! Full of energy, techno and hip-hop beats and sounds, this is a song bound to appeal to youngsters. Who could be better to sing this song than the quintet of Blaaze, Benny Dayal, Vivienne Pocha, Tanvi and Claire? All you Delhiites can sing this song with pride and attitude— “Basti hai mastaano ki Dilli, Dilli, Gali hai deewaano ki Dilli, 6!” Heard the saying, Dilli dil-waalo ki hai? No one gets that message across better than Prasoon Joshi— “Yeh Dilli hai mere yaar…Bas ishq, mohabbat, pyaar….Yeh shehar nahin, mehfil hai!” I like how 16 seconds into the song, it picks up beat and pace. The incorporation of French lyrics is an interesting choice.
Ustad Bade Ghulam Ali Khan Saahib in Bhore Bhaye (3.18)…OMG!!! And, Shreya Ghoshal, also! This is an absolutely mesmerizing, awe-inspiring classical composition (Raag Gujri Todi) relying on Shreya’s mithaas-filled vocals, the harmonium and tabalas. This must be one of the most challenging songs in Shreya’s career so far, and she does a marvelous job with it. It isn’t easy having your voice juxtaposed with Ustad Bade Ghulam Ali Khan Saahib. The combination of Shreya’s clear voice with the sound of Ustad Bade Ghulam Ali Khan’s voice blending into the background (I can imagine someone having an old cassette on and doing riyaaz along with it) is so astonishing. I just can’t get over the beauty of this song. The way Shreya’s voice suddenly becomes clearer 50 seconds into the song also comes across as a very pleasant surprise. It’s so great to hear Ash King make his film debut with Dil Gira Dafatan (5.39). This is one very, very romantic composition, and Chinmayee provides wonderful vocal backing, turning this into a splendid duet. Ash King’s sings with such softness, such tenderness…it’s so soothing….so calming. I haven’t heard such a beautiful, romantic number in quite a while. The outburst of bagpipes and violins reminds me of Irish river dance (around 2.22 into the song). Celebrate the joy of being in love! Prasoon seems to have a fascination for images associated with water in his love songs (remember Kaise Mujhe from Ghajini?)— “seepeeyo” “motee” “samandar lehero ki chadar odh ke so rahaa hai.” Aarti (Tumre Bhavan Mein) (3.01) is a very beautiful bhajan. Rahman really is the best at composing devotional songs…Qawaalis, Shabads (Ik On Kar from Rang De Basanti), Bhajans…Heck! He’s the best at composing everything! (NO, don’t you dare suggest I’m exaggerating). The composition is unique as the four singer’s voices—Rekha Bharadwaj, Kishori Gowariker, Sraddha Pandit, Sujata Majumdar—blend in with each other as they sing in unison as the sitar vibrates. Experience divine bliss while listening to this composition.
All of us Rekha Bharadwaj fans are really thrilled that we get to hear her singing for A.R. Rahman. Hearing Rekha Bharadwaj’s traditional voice, folk-style lyrics with hip-hop style beats and bird chirping in Genda Phool (2.50) is quite an interesting and enjoyable experience. Shraddha Pandit and Sujata Majumdar provide nice vocal backing in this sasuraal song that touches upon saasu maa, saiyyan jee, devar jee and nanand. 47 seconds into the song, hip-hop and techno elements are incorporated…who says bahu raani can’t have fun in her sasuraal? Interestingly enough, Rajat Dholakia is also credited for this song. Alas! Rahman himself takes the mic along with Benny Dayal and Tanvi for Rehna Tu (6.51). Another Rahmantic song with romantic lyrics by Prasoon: “Rehna Tu Hai Jaisa tu. Thoda saa dard tu thodaa sukoon…Tujhe badalnaa naa chaahoon ratti bhar bhi sanam, Bina sajaawat milaawat naa jyaadaa naa hi kam…Mujhe teri baarish mein bheegna hai, ghul jaana hai… Mujhe teri lapat mein jalna, raakh ho jaana hai …Dariyaa…doob ne de mujhe dariyaa…” While other MDs may get caught in the music-factory type approach to their work, Rahman, “Rehnaa Tu Jaisaa Tu”—continue to generously shower music lovers with such excellent and magical compositions. Each and every song in Dehli-6 upholds the high standards Rahman has set. Romantic numbers (Dil Gira Dafatan, Rehna Tu), upbeat compositions (Delhi-6, Genda Phool, Hey Kaala Bandar), uplifting tracks (Masakkali), devotional numbers (Arziyan, Aarti—Tumre Bhavan Mein), a full-fledged classical number (Bhor Bhaye) and a short and sweet poem (Noor), Delhi-6’s OST has plenty of variety, and songs to suite everyone’s musical tastes. 10 out of 10…perfection doesn’t deserve any less!
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Oh, God! Remember the Monkey-Man scare a few years back? Hey Kaala Bandar (5.52) revisits those memories. This is such a fun-filled and upbeat song sung by Karthik (Behka from Ghajini), Naresh, Srinivas and Bony Chakravarthy. We hear police sirens, English rap interludes, and the spooky beeen-type sound just makes you smile. I’m really looking forward to seeing how this song is picturized in the film. The comparison of “kasamein khaanaa” to “moongphali khaanaa” is quite clever. Prasoon isn’t ‘monkeying’ around with the lyrics—there is more meaning to them than one initially notices, as the “Kaala Bandar” is a reference to the negatives of society…. “taank jhaank, taank jhaank…kabhi dil mei bhi jhaank le.” 
Wow! Javed Ali and Kailash Kher are singing together in Arziyan (8.41). Such a beautiful fariyaad—how can maula not listen? Maula ko toh pata nahin, I, for sure, am all ears! Oh, and please DON’T ruin this song for all of us by trying to compare it to Khwaja Mere Khwaja, Piya Haji Ali, etc. Khwaja Ji was Khwaja Ji. Piya Haji Ali was Piya Haji Ali. And, Arziyan is Arziyan. Enjoy ‘em all! Also pay close attention to Prasoon Joshi’s touching lyrics: “Arziyaan saari main chehre pe likh ke laaya hoon. Tumse kyaa maangoon main? Tum khud hi samajh lo, Maula, maula, maula, mere maula,” “Pyaas le ke aaya thaa dariyaa woh bhar laayaa, noor ki baarish mein bheegtaa saa tar aayaa,” “Jab teri gali aayaa, Sach tabhi nazar aayaa,” “Sajde mein rehne do ab kahin naa jaaoongaa. Ab jo tumne thukraayaa toh sanwar naa paaoongaa,” “Jab tu rubaroo aaya nazarein na mila paaya, Sar jhukaake ek pal mein maine kya nahi paaya.”