It takes a real rockstar to create music for the reel one.
Wafting through the album of the year and one of A R
Rahman’s best Hindi scores, makes it clear that the maestro
has a world of enchanting music still left in him.
Unlike the synthetic Rock On!! – Bollywood’s only attempt at
rock music – which neatly dished out Cerelac rock-n-roll,
Rockstar takes the hard road to glory.
Tracks stacked with elaborate instrumentation,
unconventional tunes and unusual song structures demand
attention, putting Rahman’s music-that-grows-on-you
feature to a test like never before.
This, especially because the typical Hindi film music
audience hasn’t tasted this style and genre before.
Take Kun faaya kun for starters. Not an uncomplicated,
stirring qawwali like Khwaja mere khwaja, yet it touches you
as deeply with its tabla-harmonium-guitar composite.
Rahman lays bare his sufi sensibilities with such soul that
you discover new depths with each listen.
Mohit Chauhan’s first of nine songs, Phir se udd chala soars;
it has introspective lyrics, reverb strings and free-flowing
Save for those bewitching Coke Studio performances, you
may not have recently heard such tight drumming and crazy
acoustic bass work as you would in Naadaan parinde.
Besides, the Rahman-Mohit jam works wonders.
The most complex and the chirpiest track, gypsy number
Hawaa hawaa with its exotic sounds and king-queen-tale
lyrics will have audiophiles in raptures. From Spanish guitars
to surround synth, Cajon (percussion) to Cymbalum
(strings), the piece captures Prague’s folksy spirit.
In Aur Ho, Mohit voices a tortured artiste’s poetry of pain
(Aur ho, aur ho, saans ka shor ho, aanch ki aur badhey)
while Bosnian singer Alma Ferovic’s haunting wails stay with
you. Tum ko and Tum ho are pleasant, but not