Finally, its here…the Indian Oscar-hero’s first offering after the crowning- BLUE. Having set his foot firmly on the western soil after the stupendous success of Slumdog Millionaire, it is quite natural that Rahman has decided to give a full throttle to the smaller western influences we used to hear in his previous albums. BLUE has an extravagant techno feel to it; to this add a track with famous Australian Pop star Kylie minogue lending her voice and what you get is an Indian Album with a westernized USP.
BLUE Theme (Blaaze, Raqeeb Alam, Sonu kakkar, Jaspreet singh, Neha kakkar, Dilshad): A western-Punjabi fusion blast from Rahman. The most notable aspect of this theme is that Blaaze’s voice is almost unrecognizable in the midst of the pool of new voices. If it wasn’t for the energetic chant of “BLLUEE” we wouldn’t even know he is singing. The chant of “BLLUEE”, by the way reminds one of the chant “NEWW” in one of Rahman’s previous Tamil albums. But the similarity ends there. Of course, Neha kakkar seems to be the new Tanvi…she brings the singsong feel to her voice with ease. The song grows on you when you hear it more than once…and it ought to do full justice to the visuals.
FIQRAANA (Vijay Prakash, Shreya Ghoshal): you would be tempted to dust this song aside as a run of the mill type when you hear its start, but wait for the chorus blast of “fiqr hai, mitr hai”…its an instant attention catcher. And Vijay prakash simply walks away with all the accolades for this one, reaching high notes with ease and providing boundless energy to the number. Shreya’s voice is the perfect low note foil for Prakash. All in all a sure shot winner this one.
REHNUMA (Sonu Nigam, Shreya Ghoshal) : The start reminds you of “hey Goodbye nanba”, from “Aayitha Ezhuthu” but the track takes a different path after that. Guitar notes in between add to the western feel of the number and interestingly Shreya has sung in a totally unheard before dimension of her voice- a la Sunitha Sarathy…western feel in her voice is palpable. She carries it off beautifully with good support from Sonu Nigam. Another
AAJ DIL GUSTAKH (Sukhwinder, Shreya Ghoshal): Shreya rocks once again. Brilliant voice modulation and easy flow of rendition. Sukhwinder is not far behind, though the song must have been a cakewalk for him. The background guitar is easy on the ears and maintains the tempo of the song. The chorus “Ohyasa…Mayaasa…” perfectly blends with the number and gives it the ‘encore’ touch. How is it that when Rahman decides on some inscrutable words for chorus it sounds really catchy while the same when done by others (If you listen to Aadhavan you will see what I mean) fall flat like a PJ?
BHOOLA TUJHE (Rashid Ali): A mellow melody with the dreamy voice of Rashid Ali has become somewhat a constant in Rahman’s albums these days. This number is no different. The only melody in the album and Rashid does justice to it. Soothing to the ears and the mind.
YAAR MILA THAA SAYYA (Udit Narayan, Madhushree): Now this is something we haven’t heard from Rahman since the “Ah Aah” days. The number is full of mischievous masala music with the lead singers bringing a nice flirtatious feel to their voice. Watch out for Udit in the first stanza, he is simply awesome. Madhushree is at ease as she doesn’t have to bother with pronunciation unlike her Tamil renditions. And Rahman once again scores with the chorus chant…”dha ah teena teen teen teena…” which is sure to make you nod your head for it like a duck.
CHIGGY WIGGY (Kylie Minogue, Sonu Nigam): We have heard many Westernized Indian songs, but what about an Indianized Western song?? As the sensuous voice of Kylie Minogue goes “I wanna Chiggy Wiggy with you…Boy!!” you obviously sit back expecting a course of proper English meal. But believe me, all you get is the appetizer. When Sonu Nigam’s Full-throated voice takes over with “Kar Chiggy wiggy mere sang soniyae”, you know that you are in for a treat of Asli Punjabi Khaana!! Even Minogue is made to “Chiggy Wiggy” with some Earthy Bhangra Beats in the background…Jai Ho Rahman!!! The song personifies the freedom and spirit with which Rahman has composed this album.
Verdict: Rahman’s long standing belief that Music has no geographical boundaries is exemplified in this album. The album is Pure, Unrestricted Fun to listen to. Rahman has let himself loose transcending boundaries. The Album may not impress critics; it may even come in for their wrath. But one thing is sure from it, Rahman no longer cares about Critics. He now has only one Critic- Himself.