Swades Music Review

The first time I heard all songs of Swades, I felt “Ummhh… quite average, nothing spectacular nothing great”. However considering A. R. Rahman as the composer, it was a good sign! As with this other albums which take their time, but grow on you completely, Swades treads the same path. At times a Lagaan hangover is felt throughout, given that both the movies are set in villages, but the comparisons between them duly end there. While the soul of Lagaan carries forward to Swades, prepare yourself for another Rahman Classic. Not Yuva, not Meenaxi, or anything else since Lagaan has been as superlative and clinically composed to perfection as Swades is. Views may wary, but I will straight away rate Swades amongst the Master’s best compositions. sites to buy music online

A dose of bass, a dose of  background guitars, and a groovy beat setup the tempo with Yuhi Chala Rahi Mein. What sets apart the song along with its lyrics is the constant rhythm the song  has, whether its Mukhda or Antara. The beat step or the bass step never changes throughout the song, and remains single throughout. The subtle chords add a touch of melody to the song. Watch for Udit Narayan’s excellent vocals, collaborated with voices of Kailesh Kher. While Kailash Kher and Udit Narayan’s voice is easily identifible, its quite a challenge to make out Hariharan in there - Yes, Hariharan. The observant listener will easily identify with Hariharan’s contribution, but you are going to miss it if you dont listen carefully.

That perhaps is the biggest strength of Swades. The smaller nuances of music and voice that Rahman has achieved in this album quite simply scintillating, and only a very observant listener can truly appreciate them. Aahista Aahista is one of the songs which strongly demonstrates what I state above - an immensly haunting song, it takes its own sweet time to grow on you. But, yes, its another mesmerising composition - note the absolute lack of beats in this song alltogether, but is held by some subtle bass and Santoor in background. A lullabby in effect, again the lyrics stand out. However the piece-de-resistance of this track is truly the duet parts where Sadhna Sargam chips in. The voice seamlessly shifts from male to female, female to male and then back from male to female, and if you do not listen carefully its quite difficult to make out where the transition from male to female happens. It happens in middle of a antara and then in middle of antara - only Rahman could think of such a nuance and get away so brilliantly with it. iphone 4 unlock

A. R. Rehman has a penchant for singing patriotic songs; while I am not very appreciative of his singing skills always, but Yeh Jo Des Hain Tera well and truly belongs to the genius himself - its almost as if he saved his best for this song with quite some lyrics -

“Mitti ki hai jo khusboo, tu kaise bhulaayega?
Tu chaahe kahin jaaye, Tu laut ke aayega
Nayi Nayi raahon mein, Dabbi dabbi aahon mein
Khoye Khoye dil se tere, Koi yeh kahegaa…
Yeh jo des hain tera, Swades hai tera”

Again, the constant beats set up an brilliant background to this score, but check out the constant sound of Shenai in the background during the first mukhda. Unlike any other  I-swell-with-pride patriotic songs of our times, this one takes a subtle approach of appealing to one’s sensibilities. Note the ending with Shenai again, and as if you really wanted more, there is an encore version with just Shenai, which is equally beautiful to hear. Lyrics surely do stand out in this song, and had me completely mesmerized for a couple of days if the magic of Sawariya had not taken over.

I will surely rank Sawariya as one of the best songs Rahman has ever composed, and there are no two doubts about it. A completely ethnic song to the core, you will be amazed at Rahman’s confidence in using western instruments to get a rural feel. Note the the beats, bass and guitars - without the base tune, you did think its a western song, but wait till you hear Alka Yagnik’s mesmerizing voice. Rahman agains gets into his elements, as he has done in past - Like E Ajnabi, the first mukhda and second mukhda have different starting tune, both leading to its master antara - and yes, they jell in superbly. While Alka Yagnik’s magnificant voice lends that mystic touch betwen the antara and first mukhda, the excellent guitar between antara and second mukhda is equally amazing. Of course, lyrics again are superb is an understatement, but its very definitely Alka Yagnik’s song all the way.

Pal Pal Hain Bhaari almost seems to have its genesis from O Palanhare, but its distinctly different. A ram leela song, the classical touch of this song is truly a delight to hear. While the song does sound a little rusty and loud towards the last 30 seconds, the rest is beautiful. While the male voice belonging to Ravan poses questions in a demanding way, the female voice answers in a classical tune. Madhushree sings in beautifully for this composition - not her pronounciation of certain hindi words like Hriday (as Hirdhay), and you quite lyric carefully differentiates the two, the singer also produces the difference! While this song may not rise upto the level reached by other songs in the album, its nonetheless a very good song, and I guess will be more appreciated as a situational song in the movie. Rehman also presents a cut-down flute version of this same song, which needless to say is a joy to hear. Personally, I prefer the flute version of this song.

Just when you think that Rahman has exhausted his bag of tricks for this album, comes up Dekho Na, which one word can be described as - “Unique”.  Its Rahman at his experimentation best, and he pulls it off brilliantly. Note how slowly the beats begin the song almost irrelevant to stay on. Note the music between antara and first mukhda - it almost sounds irrelevant to the proceedings, and yet in tune. Its practically not music, but just rustic strings, and yet they left an impression on me! Whilst the mukdhas are long in themselves, Rahman is again in form in dealing with them. Note the nuance in the second mukdha, where Udit Narayan trails off and rahman lets the beats complete the mukhda - its almost as if you continued the few words which Udit Narayan doesnt sing towards the end of the Mukdha - a tricky thing this, but I firmly think Rahman manages to pull it off brilliantly!  Note the way the song ends - beautiful!

To sum it up eventually, without a doubt, this one straight away enters Rahman’s top compositions. As I said, the uniqueness and the nuances that Rahman has brought out in the songs are simply a delight to hear!!! Here is an album which was composed not keeping frontbenchers and mass audience in mind, but with the sole purpose of creating soulful music.

I was quite impressed by Veer-Zaara, but without a doubt, Swades is way way better and more. Go for it!