Music Review of DELHI 6 By Aakash Gandhi (9.5/10)

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Delhi 6
Music Review

Source: avstv.com
By Aakash Gandhi
Reviewer’s Rating: 9.5/10

It’s raining Rahman all over the world…and I absolutely love it! If you thought that 2008 was a groundbreaking year for the Madras Mozart (5 Hindi OSTs, 1 Tamil OST, 1 International OST), then you’ll be completely stupefied by how Rahman has lit the blaze of 2009. Last week, Rahman brought glory to the homeland by roping in Hollywood’s prestigious Golden Globe Award for Best Original Score for Slumdog Millionaire. Now, just half a month into the new year, and Rahman picks up right where he left off with another spectacular score in Rakeysh Omprakash Mehra’s much anticipated DELHI 6.

Many believe, myself included, that Rahman will undoubtedly raise the greatest trophy of them all – the Oscar – come February for his unprecedented mastery in Slumdog Millionaire. But even I was skeptical towards Rahman’s ability to continually work at such an incredibly high level. He’s quick to put any and all doubts to rest. DELHI 6 is just as rich, just as powerful, and just as awe-inspiring as his work in Slumdog Millionaire. As we take the timeless stroll down the streets of Delhi 6, let us rejoice in the phenomenon that is RAHMANIA.

Bhor Bhaye is classical bliss in the purest of forms. Rahman is in rare form, as he dazzles with his mastery over the mesmerizingly poetic textures of authentic Indian Classical music – a genre that once used to fuel his critics. The piece is poured through a classical lense, laced formidably by the tabla and harmonium. While Ustad Bade Ghulam Ali Khan provides tremendous support, it is Shreya Ghoshal who never fails to amaze. Her classical rendition is flawless in its control, range, and sweetness. Furthermore, her syrupy sweet texture serves as a wholesome foil to the other two more classically-rooted vocal tones. Verdict: The Rahman-Shreya collaboration attains musical nirvana yet again!

Masakali is a musical wonder in respect to its melodic and rhythmic treatment. Rahman is a truly globalized musician. He proves it yet again with the whirlwind of sounds that grace our senses in this composition. Let’s first delve deeper into Rahman’s diversely arranged rhythm. When we deconstruct it, you’ll find that Rahman utilizes much Arabic percussion – an element that is highly characteristic of Rahman’s music. Yet, he toys with the tempo, tweaks the structure, uniquely layers the percussion elements, and miraculously we are in the midst of an Arabic sound with a Latin flavor in the rhythm. It is this seamless liquefying of sound that gives Rahman an edge that few, if any, are able to compete with. Staying with the arrangements, Rahman restricts himself from altering them too much as the song unfolds. It makes sense considering how richly animated the melody is above it all. However, the arrangements are beautifully sprinkled by a few highlights of acoustic riffs and the playful strums of the accordion (or slight variation thereof), both of which casually appear throughout this breath-taking number.

Moving up into the melody, Rahman completely reinvents himself yet again! Although extremely fresh and breezy from afar, the melody is addictively wild and free from structure. Of course, this genius is not shy when it comes to breaking traditional musical norms. The more Rahman challenges standards, the more challenging it is for his singers to keep up at the same ridiculously high level of quality. Yet, that’s exactly what vocalist Mohit Chauhan does! Working last with Rahman in “Khoon Chala” (Rang De Basanti), Mohit Chauhan proves himself worthy of yet another Rahmantic piece. Lacking a sturdy structure to conform to, Chauhan releases all inhibitions with his free-style rendition. Lyrically, Prasoon Joshi uses his mastery over imagery to convey romance as if it were being discovered for the very first time. Verdict: An absolutely splendid composition from the very depths of its rhythmic makeup to the breezy heights of its colorfully vibrant melody.

Noor is a beautifully written spiritual poem by Prasoon Joshi, rendered powerfully by Amitabh Bachchan. With no musical elements involved, the poem speaks on the all-pervading Supreme Being. One must look within to find comfort in his light. If one loves the Almighty, then he should love every soul. Verdict: This poem only reaffirms Prasoon Joshi’s status as one of the nation’s most talented poets/lyricists.

Aarti (Tumre Bhavan Mein) was a song that I was especially looking forward to because of Rekha Bharadwaj’s vocal presence in it. However, I was disappointed to find that she was merely a part of a four woman chorus, including Kishori Gowarikar, Shraddha Pandit, and Sujata Majumdar. Nevertheless, my expectations aside, Rahman’s Aarti is extremely simple in its treatment. Built upon the slow flicker of the sitar, the chorus renders a melodically sweet and lyrically poignant bhajan intended to serve a situational purpose in the film. Verdict: An extremely soulful bhajan.

Genda Phool is a stylish track that features some WICKED beats in the arrangements! I said in the previous track that “I was disappointed” by the fact that Rekha Bharadwaj’s vocals weren’t highlighted by Rahman. Now honestly speaking, how often does Rahman disappoint? Exactly. Rekha Bharadwaj DOES feature in Genda Phool, a number that is unlike anything you’ve ever heard in your life! Despite an intriguingly catchy melody, it is the heavy and deep techno beats in the arrangements that get your soul thumping and body bouncing. Bharadwaj’s lead vocals provide a rustic feel that adds to the song’s unconventional sound. Interestingly enough, I should also note that Rajat Dholakia is co-credited with the music of this song. Verdict: GROUNDBREAKING!

Dil Gira Dafatan is a soul-stirring musical masterpiece! I’m at a complete loss for words to describe the ravishing nature of this spectacular work of art. First off, let’s look at the sensational surprise – vocalist Ash King, who makes a stunning film debut with Dil Gira Dafatan. This UK born singer has been breaking new ground for the Indian Music Community and has collaborated with such esteemed International artists as R. Kelly (USA), rapper Flawless (UK), and singer Ramzi Sleiman (Lebanon). However, his vocal brilliance has never glistened more than it has in Dil Gira Dafatan (a phenomenon most Rahman singers undergo). Although similar in texture to Javed Ali, King’s style is miles apart – which he impressively proves in the opening minute alone.

Now moving over to the Genius…Rahman’s treatment is awe-inspiring. Be it the timidly crafted romantic melody, the tender vocal interludes by Chinmayee, or the riveting acoustic riffs, Dil Gira Dafatan is a musical miracle. Soon enough, the composition explodes with the synergistic blend of bagpipes, violins, strings, and percussion. Prasoon Joshi’s lyrical ingenuity matches Rahman’s invincibility surprisingly well. Verdict: It’s as if I’m hearing music for the very first time…

Hey Kaala Bandar picks up where much of Ghajini’s OST left off. Heavy on the techno beats and strong bass lines, this song leans heavily on attitude and style. Rendered by Karthik, Naresh, Srinivas, and Bonny Chakravarthy, the music is fairly one-dimensional in the arrangements. Flooded with rap interludes, it provides little satisfaction for lovers of highly melodic music. Verdict: It’s a great song that fits its genre, but will be highly over-shadowed by all the other more poetic and distinctive compositions that decorate the soundtrack of Delhi 6.

Rehna Tu is a euphoric lounge track that triumphs for a number of diverse reasons. Melodically, Rehna Tu is vintage Rahman! The melody tenderly crawls over you, while the ambiance of the song captures every nuance of your attention. It truly is a peacefully blissful composition from every angle. Rahman joins hands with Benny Dayal to croon this stunning portrait. The song is flooded with such a vast array of sounds, most of which are heavily programmed, that you really don’t know what you’re listening to - it all assimilates into one over-powering vibration. Prasoon Joshi is once again at his lyrical best. Verdict: As hard as I may try, words cannot capture the essence of what you’ll experience in Rehna Tu. It’s amazing.

The title song, Delhi 6, is another song filled with attitude, flair, and style. Structured along the lines of a techno/synth hip-hop composition, Delhi 6 is highly enjoyable. Flooded with heart-pounding synths, vintage guitar, and other innovative sounds, the situational number should really blossom on screen. Blaaze and Benny Dayal infuse the song with high-octane vocals, while Vivienne Pocha, Tanvi, and Claire add a variety of vocal flavors to this intense piece. Verdict: A heavy track that will keep you on the edge of your seat…

Arziyan is a humbling close to an extraordinary soundtrack by India’s greatest composer of all-time. Rahman blesses us with yet another personal take on the qawwali. The composition is appropriately very simple in the arrangements – tabla, harmonium, and light guitar laces. It is the emotionally liberating melody and the stunning chemistry between vocalists Javed Ali and Kailash Kher that make this song a true masterpiece. Rahman’s melody is easily the greatest asset of this song – filling your heart with such calmness and euphoria. Prasoon Joshi’s ode to God is a spiritual awakening of sorts. Verdict: The touching beauty of this qawwali will bring tears to your eyes…

The aural splendor of DELHI 6’s score is one that escapes superlatives. Rahman’s varied approach and stylized compositions provide rare insight into the deepest corners of musical nirvana. Yet at the same time, they all carry that special Rahmantic touch that cannot be seen, nor heard…it must be felt. From the classically enlightened ambiance of Bhor Bhaye to the globalized rhythms of Masakali, from the sultry smooth treatment of Dil Gira Dafatan to the beautifully reinvigorated qawwali of Arziyan – Rahman’s Delhi 6 is a potpourri of shimmering brilliance that emerges amidst a milieu of vibrating sensations.

One can only marvel at this gifted man’s musical wizardry. But the scary part is…after two decades, it is still just the beginning.

Aakash Gandhi is Managing Editor and Senior Writer for PlanetBollywood.com. He also freelances for AVS TV Network at avstv.com

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There Are 50 Responses So Far. »

akshay shah 15 January 2009
05:04:05 pm

Simply a fantatsic review..Rehman is a bondafide legend!!!!!

Som 15 January 2009
06:43:20 pm

Thanks Aakash! It is just a superlative effort from Rahman.Easily overshadows everything Rahman did last year of course excluding SDM.

Arun 15 January 2009
07:14:05 pm

Superb review, Aakash! This is an exotic soundtrack

While Ustad Barle Ghulam Ali Khan and Gujri Todi put forth tremendous support, it is Shreya Ghoshal who never fails to amaze

I think Gujri Todi is the raag here. Rahman has probably taken Ustad’s recording and reworked it.

akshay shah 15 January 2009
07:22:00 pm

I never had doubts this soundtrack will be a masterpiece….it is Mehra and Rehman after RDB ofcourse! A feather in Abhi, Rehman and Mehra’s hand….furthermore, I expect another masterpiece from Rehman/Abhi combo in RAAVAN!

Aakash 15 January 2009
07:39:21 pm

thanks for pointing that out to me Arun. I have edited my review. Thanks again.

Qalandar 15 January 2009
07:46:00 pm

excellent review aakash, need to re-read this after some more listenings. This is a very accessible ARR album, one that is instantly likable but nevertheless musically intricate…

Arun 15 January 2009
10:59:48 pm

Aakash: Do you know what’s the instrument that plays out at the end of ‘Rehna Tu’? I love that sound

Arun 15 January 2009
11:02:24 pm

Aakash: Do you know what’s the instrument that plays out at the end of ‘Rehna Tu’? Love that sound!

Aarohi 15 January 2009
11:27:07 pm

Arun: Probably it’s continuum: http://en.wikipedia.org/wiki/C.....nstrument)

Arun 15 January 2009
11:52:32 pm

Yes, Aarohi! More on it!

aby2000 16 January 2009
12:42:18 am

What an awesome soundtrack…it’s truely brilliant!!!

jayshah 16 January 2009
12:56:18 am

Awesome review…on one listen I thought it would get a response like this…definitely an awesome album

jayshah 16 January 2009
03:15:06 am

I’ll have to give Dil Gera more of a listen. My fav is Rehna Tu, it has the roobaroo vibe. Dil Gera seems to be everyones favourite!

Aarohi 16 January 2009
03:49:21 am

Give a listen to Dil Gira, jay. It’s sung by a UK based singer.

jayshah 16 January 2009
04:06:58 am

I will defo..I’m a sucker for slow songs so I’m sure eventually this will be my fav!

satyam 16 January 2009
05:03:01 am

Wonderful review here. The album is an absolute masterpiece. Nothing I do not like here. I think this invites comparison with the gold standard in Hindi — Dil Se. For reasons of history and memory I might not find another Hindi work equal to Dil Se but I consider the comparison valid here as a critical matter.

Much as, and again as a personal matter, I stubbornly cling to many moments in ‘Tamil’ Rahman that always give me more pleasure than anything else by Rahman is ever likely to. Some Rathnam works, something like Kandukondain and so on. Again it’s a question of memory but also that first ’shock’ of being exposed to Rahman..

But D6 all the same is quite spectacular..

goodfella 16 January 2009
05:09:11 am

D6 is one of the great Rahman albums in recent memory. How it stands up to the titanic Dil Se and other all-time Rahman’s aside, this is one of those Rahman works that gives an immediate, overwhelming impression. Just an awesome effort, all around. With the exception of Kaala Bandhar (don’t think Rahman will ever “get” rap/hip-hop quite right) I don’t have a problem with any of these pieces.

satyam 16 January 2009
05:14:51 am

Arun: You’re quite right.. Bade Ghulam Ali Khan has not been with us for a while (!) so it has to be a reworking..

And Gujri Todi is indeed a raag..

Som 16 January 2009
05:16:16 am

Satyam:Comparison with Dil Se won’t be fair, bit early I would say but nonetheless this is definitely gonna rank as one of Rahman’s best works in Hindi.I shall just stick my neck out and say this is easily the best Rahman’s soundtrack(Hindi) I have heard in this decade.This soundtrack is absolute divine and thoroughly enchanting.

Som 16 January 2009
05:23:44 am

Karthik pours praise on Delhi 6. LINK

Aarti is piously serene while Arziyan pulls off the same thing with aplomb, just in another religion. Shreya Ghosal compliments Ustad Bade Ghulam Ali Khan amazingly well in the classically inclined, Bhor Bhaye, even as Rahman treats this song with the respect and austerity it deserves. The title song is über cool – superb vocals by Blaaze, Benny, Vivienne, Tanvi and Claire – all blend in a way that only Rahman can accomplish. Ash King and Rahman’s backgrounds – in that order – are in rocking form in Dil gira dafatan…the way Rahman adds and builds on the orchestration is nothing short of enchanting!

In a spectacular Vishal Bharadwaj’esque twist, Genda phool not only utilizes Rekha Bharadwaj’s rustic vocals beautifully, but also seems to emulate and goes one step over Vishal’s usual music style, with a brusque rhythm et all! Prasoon Joshi’s lyrics stand out in the pop’ily catchy Hey kaala bandar that digs some shine off the director’s last outing. Ditto with Noor, where Amitabh’s narration is heard in an ethereal set-up.

Above all these incredible goodies, the soundtrack belongs to Mohit Chauhan’s Masakali and Rahman’s own Rehna tu! While Masakali is a pitch-perfect, perfectly in sync melody dipping into the choicest exotic world music styles, complete with a jaw-dropping orchestration and magnificent singing by Mohit, Rehna tu sees the composer creating pure sensory delight. Prasoon’s lyrics again speak for themselves beyond the already brilliant tune while Rahman, along with Benny and Tanvi evoke a reaction that can best be described by the after-effects…weak in my knees! And boy…that strange and bizarre, extended carnatic ending…unbelievable!

Rakeysh Mehra is one blessed director, to have inspired such an awe-inspiring assortment of songs marked by its collective dramatic diversity. Delhi 6 is one of the best ever soundtracks I’ve heard in ages.

satyam 16 January 2009
05:25:43 am

Goodfella: Yes, good point on Kaala bandar..

Aarohi 16 January 2009
05:31:21 am

Bhor Bhaye features Ustad Bade Ghulam Ali Khan’s voice. Shreya has performed her parts along the same lines. It would be very interesting to read the credits of this album.

Comparsions are probably too early but this ranks up there with the very best along with Dil Se, AP, KK, etc. On the first few hundred listenings, the sound is more like AP meets Yuva.

Thumbs up to Prasoon as well. He is in fine, fine form here.

Tango 16 January 2009
06:02:59 am

Great review Aakash.

It will rank up with one of Rahman’s best.

Tango 16 January 2009
06:04:07 am

*Rank up there*

Aditya 16 January 2009
06:12:48 am

great review. what a spectacular soundtrack!. one of the best i’ve heard in years.

Arun 16 January 2009
06:41:26 am

I think ‘Dil Gira Dafatan’ is the crowning jewel of the album. The melody here so slow and yet so arresting. Ash King is superb and Rahman backs him up with some gorgeously mellow orchestation.

satyam 16 January 2009
07:53:05 am

Aarohi: Yes like the lyrics very much..

On AP this is my personal favorite among the maestro’s works.. to me the very best Rahman there is.. I see your point as a critical matter but on a personal level I doubt I could ever put anything beside the likes of Iruvar or Kandukondain or AP and some others from that entire. Similarly I don’t know if I’ve liked any single Rahman composition as much as the title song of KM (female version) since that film’s release. But again these are all personal preferences.

Your point on ‘AP meets Yuva’ in the context of D6 is very suggestive..

Aarohi 16 January 2009
08:00:21 am

Fair point, satyam. AP, Iruvar, and KK are spellbinding works and they continue to amaze even years after their release dates.

Aside: ROM did a superb job of integrating the soundtrack with the film in RDB. If he is nearly as good on that aspect in Delhi 6 as he was in RDB, it would be a treat.

goodfella 16 January 2009
08:08:47 am

Yeah with Mehra one doesn’t have to worry that the visuals won’t capture Rahman’s genius, as is the case with a lot of directors…

satyam 16 January 2009
08:14:23 am

Aarohi: Yes Goodfella first mentioned this and I quite agree that in terms of integrating a soundtrack into a film it would be hard to match Mehra and furthermore making it into a narrative device it would be hard to match Mehra. But then Mehra also has a bit of Hollywood to him in this sense. The ‘Indian’ way has almost always involved a clear demarcation between the BGM and the songs.

satyam 16 January 2009
08:17:23 am

Rathnam has had aspects of this to some of his films. One thinks of Iruvar, Yuva, KM but never as consistently..

satyam 16 January 2009
08:18:28 am

But Mehra also makes quasi-musicals out of his films. RDB had this effect and D6 with the long track list looks to do the same. It works well for him but not sure if I’d want every director to do the same.

Aarohi 16 January 2009
08:19:22 am

Delhi 6 theatrical trailer: http://www.facebook.com/video/.....3022730135

(on facebook)

goodfella 16 January 2009
08:19:24 am

Ratnam defined this earlier on, even in Dalapathi and Nayagan, even in MR…he remains the preeminent visual artist in the mainstream, but Mehra’s work has been really impressive. Even in the deeply misguided Aks, one had some breathtaking shots.

Arun 16 January 2009
08:22:42 am

Thanks, Aarohi!

goodfella 16 January 2009
08:25:04 am

Nice Arohi, thanks. That’s just hands down one of the best trailers I’ve seen – from India or anywhere. Again, with the exception of that poor shot at the end with the statue of liberty, everything here looks astounding.

satyam 16 January 2009
08:25:32 am

Oh I’d agree Goodfella.. what I was referring to earlier was the ‘quasi-musical’ element as I see it to Mehra’s films after Aks.. in terms of pure song visuals I still don’t see Mehra as being close to Rathnam on the latter’s best days.. even otherwise Rathnam is a different ball game altogether.. which is not be unkind to Mehra.. he is very impressive as you suggest and if he can get success in D6 after RDB one would really have to see him as cementing his position at the top of the heap of Bombay prestige directors.. he might one day get to a Rathnam’s position.. certainly RDB was a very iconic film.. he seems to have the mix.. but Rathnam as a trail-blazer is really one of a kind.. I once heard the suggestion that he is probably Indian cinema’s most influential commercial director.. this sounded hyperbolic initially but I now believe there’s truth to it.. can’t think of another director at least within Hindi or Tamil cinema who completely altered that film industry’s course.. and Rathnam also then influenced Hindi cinema from the late 80s onwards much as he did the same for RGV and other local talents of the time..

goodfella 16 January 2009
08:30:02 am

I’m really looking forward to seeing how the Monkey Man story plays into all this stuff. Just very intriguing.

satyam 16 January 2009
08:33:41 am

Just posted the youtube in a separate post.. love the Bachchan voice over at the end..

satyam 16 January 2009
08:39:43 am

The monkey man rumor which seems to be borne out by this preview and of course one of the tracks (as you mentioned) is a tricky thing to handle..

I’ve long suspected that Mehra has figured out his own comfort zone with RDB.. D6 looks to have a similar structural underpinning.. lots of characters.. lots of humor in the first half alternating with more reflective stuff.. then the dramatic crisis of the second half..

according to a news story Mehra shot two endings.. one where Abhishek lives and one where he doesn’t at the end.. not sure if the story was story and if so no one knows what ending he’s used..

satyam 16 January 2009
08:44:29 am

The Bachchan dialogue is of course on the soundtrack as well and titled Noor.. it’s simply beautiful…

Arun 16 January 2009
09:16:42 am

Satyam:

From ROM @ Facebook:

Q. I heard that you had shot two climaxes for the movie…which have you selected?
A. Actually it was the other way round, I had two beginnings in mind which would then lead to two different climaxes. But I firmly believe that we have to make a choice and go with conviction. It was a difficult choice to make but we did.

satyam 16 January 2009
09:20:49 am

Arun: Thanks.. that’s good to hear..

satyam 16 January 2009
09:25:46 am

Another good response by Mehra:

Q. We all know the movie is based in Old Delhi area, which is also known as Delhi 6 because of the area’s pin code which is 110006. Is there any other reason? After Rang De Basanti, I have high expectations from Delhi 6 and also have the confidence that it will also turn out to be a classic.

A. Delhi 6 is not just a story about old Delhi or the walled city of Delhi. But it’s a journey to discover the India that resides outside of the metropolis. Just like Delhi, there is an old part of Hyderabad, Ahmedabad, Jaipur, Kanpur, Lucknow, Chennai, Bengaluru, Kolkata and I could go on and on. Essentially the heart of our country resides in these pockets. Delhi happened to be the place because I grew up there and knew it better than any of the others.

goodfella 16 January 2009
10:15:37 am

What’s interesting here is that if one observes some of the crazy jumping/flying Abhishek seems to be doing across Delhi rooftops towards the end of this trailer, mixed with the shots of mythic men flying across a stage, it seems Mehra might be retreading some of the same thematic paths he took (to interesting if uncertain endings) in RDB-where “performance” is mirrored in “reality.”

This is clearly more surreal stuff, though…

ILG 16 January 2009
10:20:52 am

Now, would have been a good time for ROM to do AKS. He is more confident and understands the medium a little better. Am sure it wold be a slightly different AKS, but a better one. It was one awesome performance that didnt gets its due. Atleast not from the usual ganju-panjus.

satyam 16 January 2009
10:24:04 am

Agreed ILG on all counts..

It contains some unique Bachchan moments..

Goodfella: The monkeyman tale (and of course this was true for the actual story when it broke and remains unsolved as far as I know) always had an element of the surreal to it..

satyam 16 January 2009
10:45:03 am

I also like Mehra’s statement about ‘old’ cities here not just because of the obvious ways in which an entire history is present in this ‘old’ but also because these are often the ’small centers’ in the heart of the major metros. The latter are too often defined in ways that exclude the former. Or else there is the tendency to think of the former as ‘regressive’ ‘old’ that the ‘new’ then civilizes and overcomes. An unfortunate residue nonetheless survives as this ‘old’ which must then be kept separate so as not to contaminate the ‘new’. This is a bit abstract but this entire set of ideas often receives very specific codings in terms of ethnicity, religion, caste and so on depending on the contexts.

One day I would like Mehra or a director similarly inclined to perhaps break out of Delhi or Bombay or even Hyderabad and perhaps examine a city less central to ‘Hindi’ consciousness. Select a new topos in a sense. A city or part of a city with overlapping linguistic spheres and so on.