Music That Entices. Review on Water Songs

While the nation looses control over Rahman’s frothy Rang De Basanti score, his quiet and serene Water languishes away in oblivion. I am not a Rahman fan, but his few scores have really made an impact with me. Dil Se, Zubeidaa, Pukar, One Two Ka Four, Bombay and Lagaan are my favorites. A point to note – all the above are prior to his current phase where the stress seems to be more on beats, rhythms and sounds than tunes. So, listening to Water came as a very pleasant surprise; till the time I read somewhere that Rahman’s music for Water was scored way back in 2000.

Anyways, whenever Rahman recorded these songs, they are beautiful!

The music is very delicate, like a dew drop; as if touching it would soil its purity. At other times, it’s like a soft drizzle which sends a thrilling shiver down the spine. Instruments are used minimally. You can switch off the light, put on Water’s music, and soak yourself in sheer melodies – extremely relaxing, that’s what Water is!

My favorite number – and I heard it five times on repeat mode after the first hearing – is ‘Piya Ho’ sung by Sadhna Sargam and Sukhwinder. There is this subtle rhythm which keeps flowing in the background, and a tune which cascades in its own curves in an unhurried pace; and over this Rahman places some riveting flute pieces so softly as if he is placing an expensive crystal over rich velvet – but then, that’s what this song is – bright as a crystal, soft as velvet! And it’s the tune which holds attention and not just sounds; a strong harkback to the old era of music. Oh yes, I have to mention the chorus which trails after the mukhda it’s like a soft breeze which ripples over the tranquil river waters! If I am allowed to make one wish on this score, I would have loved to hear Lata Mangeshkar in this number!

Continuing the same mode, but switching theme to Meera’s unfulfilled love, is ‘Naina Neer Bahaye Mujh Birhan Ka Dil Saajan Sang Jhoom Jhoom Gaaye’ – quite similar to ‘Piya Ho’ but has a distinct rhythm and melody. Once again the able Sadhna Sargam at the mic, but this time she is solo. ‘Prem toh hai gangaajal jisme vish amrit bann jaaye’ writes new lyricist Raqeeb Alam. The song encapstulates unadulterated love, alongwith it’s underlying pathos.

Sukhwinder returns, but with a trifle increased tempo in ‘Aayo re sajan sakhi’ – earlier I felt it resembled Sukhwinder’s own Kisna title song. But as the song progresses the difference is stark. In this number Sadhna Sargam joins Sukhwinder from mid-way. A lovely use of Indian instruments like santoor embellishes the song . The song is like the royal sea's tide washing over an expansive beach.

With these three songs itself, the album can be called a dizzying exponent of high-quality sweet music. But there are three more tracks remaining – like the silver vark on tasteful barfi!

This album is definitely Sukhwinder’s crowning glory. Listen to him in yet another Lord Krishna-theme-based semi-classical song Bangri marori saiyan ne meri. I love the way the tune takes a sharp upward curve at the line ‘*Radha ke gal-dori’

The next exquisite track is ‘MoheShaam rang de’* – a Holi number. This is a full-fledged masti song and the heart dances as the singers throw up a vocal flourish with ‘bajale zaraa dhol zor se’. The rang-bhang ka mausam is right at our doorstep now, and this number should be right up there – and it is such a relief after Rahman’s own horrible Holi number in **Mangal Pande. This time the singers are Richa Sharma, Naqeeb Alam and Surjo Bhattacharya - and they create an ocean of riotous merry making with their voices.

The last track is the famous Gandhian bhajan- Vaishnav Jan To sung by Kaushaki Chakraborty. This is a bhajan immortalized by Lata Mangeshkar’s rendition in the bumper hit album Ram Rattan Dhan Paayo. Rahman moves away a bit from the basic framework, and manages quite well overall. My bias will remain for Lataji’s version!

Yes, this is not the score that will be played at parties and discos. But the difference lies exactly there – it does not set your foot tapping, but your head swaying in its lyrical rhythm. And it makes a place permanently in the heart. This is A R Rahman’s very best in recent times.

Do grab it as soon as possible – and while you go to buy it, I will return to have another hear of ‘Piya ho’!