Music. The word that can bring time to a standstill.
Music has the power to enchant the human soul and create ripples of joy in the heart of the listener. It's amazing how seven basic notes can be tweaked and merged to create something so beautiful, so magical.
Which is why it's tragic when unimaginative plagiarists abuse the very seven notes which provide them with their daily bread. It's a stark fact that Indian music is on the decline. Remixes and lacklustre tunes are brought out by the dozen. Agreed, there are certain composers who are the saviours of the Indian music scene, yet, the spark is missing. The spark of an R D Burman. Or S D, for that matter. Add Salil Chaudhari to that list. And Madan Mohan.
The Late Madan Mohan may have left the world almost three decades ago, but his genius lives on via his songs. Be it Woh Kaun Thi, Mera Saaya or Mausam, Madan Mohan's tunes possess an endearing simplicity which is his greatest forte. Kudos must be given to the director who has attempted to recreate the unused tunes of a genius composer, as Yash Chopra presents Madan Mohan's compositions to his forthcoming directorial venture Veer-Zaara.
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Tere Liye:
Although it is one of the simplest instruments to play, the piano has an enchanting feel to it. The simplicity of the notes flowing up and down cannot be reproduced by other instruments to the same effect. And finally, here is a song, whose piano intro can give serious competition to Pehla Nasha. Coming from a self-confessed Pehla Nasha freak, the sheer comparision of the intro is the greatest compliment that can be offered. The notes flow like a river and tug at your heart-strings ... a perfect music piece, if there can ever be one. And yet, this song has more. Much more. I was never a diehard fan of Lata Mangeshkar (alright, kill me, but I always have always preferred Asha), but I just love the way she has sung this track. Roop Kumar Rathod is beautifully controlled as well, in a style which sounds quite similar to Bhupendra. A word for Javed Akhtar's lyrics - a sublime expression of sweet pain. Undoubtedly, the song of the year.
Main Yahan Hoon:
Alright, so six months ago, Shah Rukh Khan told us that he is there. Now, he says that he is here. Main Hoon Na. Main Yahan Hoon. Sung expertly by Udit Narayan, this lilting melody is enhanced by some great use of instruments. The use of the guitar and the santoor in succession during the second interlude is particularly brilliant. Also used as a part of the first interlude is a popular Punjabi folk tune which was also used in Dilwale Dulhania Le Jayenge.
Aisa Des Hai Mera:
Folk music has never been my first preference, but I cannot deny that this folk number has a very simple and nice tune. Lyrics are well-written, with the characters describing the beauty of their respective countries, and the remarkable similarities between the two cultures.. With an interlude of Morya Re Bappa Morya Re, this might just be the song you may want to play this Ganesh Chaturthi.
Yeh Hum Aa Gaye Hai Kahan:
The first out-and-out happy and romantic number of the album, this song is starkly different the similarly titled number from Silsila. Good lyrics and vocals, especially those of Udit Narayan are a feature of this song, but the USP of the song is undoubtedly the catchy tune. If you are looking out for pleasant melodic verses, there is no need to look further.
Do Pal:
Do Pal is the third among the lilting duets which are the prime feature of this album. While Lata sings well again, it's Sonu Nigam who steals the show this time. The tune is extremely slow and melodious, while the lyrics are powerful again.
Kyon Hawa:
And again! Sonu Nigam has come on leaps and bounds especially since the past three years. After Do Pal, Kyon Hawa is another song which Nigam absolutely dominates. Sublime vocals, an extremely catchy tune and poetic lyrics from Akhtar's pen, this number has it all. The only negative factor is the commentary by Yash Chopra. The commentary is extremely poetic, but Yash Chopra is no Amitabh Bachchan, is he?
Hum To Bhai Jaise Hain Vaise Rahenge
The only question I would wish to ask is this song is why it is the way it is. The first negative factor of the album, the tune is fast-paced, yet lacks the zing, while Lata sounds totally out of place in this song, somehow.
Aaya Tere Dar Par
If Main Hoon Na presented the quawali with a 2K+4 flavour, this quawali goes back to the tried and test style of quawalis. The vocals by the two Hussains are adequate, but the song doesn't have much to rave about.
Lodi
After a long time, we have a Punjabi number which is bereft of jarring beats or inane lyrics like 'That's The Way' or 'Let's Do Balle Balle' (What next? Let's do Bharat Natyam, let's do Kuchipudi?) Udit Narayan and Gurdas Mann gel together well and the Punjabi mould surrounding the boy-girl one-upmanship sounds good. Somehow though, the chorus is quite reminiscent of Chahe Chale Churiyan from Kabhie Kabhie.
Tum Paas Aa Rahe Ho
This track is not a part of the film, it has just been recreated for those who savour Madan Mohan's music. And thank God that it has! Ghazal maestro Jagjit Singh teams up with Lata to create a haunting melody. Like many other songs of this album, the beauty of the song lies in the sheer simplicity in its tune. Strong on melody, great vocals and meaningful lyrics, what more do you want?
Jaane Kyon
I am partial to songs which use the guitar, and the introduction of this one employs the six-string. Another beautiful melody, which reminds you of music of the '60s and Lata is in fabulous form, with this one. A classy number to round off a classy album.
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Veer-Zaara is not for everyone. It is after a long time that a Yash Raj film soundtrack does not stick to the stereotype music which was first used in Dilwale Dulhania Le Jayenge. Nostalgic and portraying deep emotions and moods, the music is very much like art - beautiful and enchanting.Soft, soothing songs which may be extremely slow, but are melodious to the core. In the age where melody is thrown out of the window, Veer-Zaara is the kind of album which is truly refreshing. There is the odd jerk as one or two songs aren't as good as the rest of the album, but overall, this album deserves all the accolades it will get. And more.
When he made films like Silsila and Lamhe, Yash Chopra proved that he was a visionary, who was ahead of his times. One hopes that this step of his is followed by other directors as well. Until then, as another fine composition by The Late Madan Mohan goes,
Dil dhoondta hai, phir wahi, fursat ke raat din, baithe rahe Veer-Zaara sunte huey ...
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Heyheyheyheyhey, is film mein mere naam R-r-r-r-Raj nahin hai, lekin phir bhi R-r-r-r-Raj ke r-r-r-r-review pe k-k-k-k-k-k-k-komment kar lo haan!
