What excites me about Rahman as a musician is that his music is multi-layered, both in the physical and abstract senses. He appeals to emotion or intellect and sometimes – both. As a musician and as a public figure, he is mysterious and is more fun to unravel than simply sit back and enjoy.

Personally, I feel that Rahman’s real forte is his background scores. Right from Roja to Rang De Basanti, some of the marvellous background scores have come from under his mantle. His precise understanding of the mood of the scene and his irreverent and yet highly appropriate use of instruments is a delight to watch and hear.

A more detailed review will follow soon - all I can say right now is I wouldnt be surprised if DON happens to be the biggest musical hit this year.

1995
Believe it or not, 1995 was the first year Rahman actually composed music for a “true” Hindi movie, and boy what a result. And this year truly belonged to the master, with two huge musical hits, but was eclipsed by a even bigger hit.

Rangeela: “Tanha Tanha”, “Yaaron sunlo zara”, “Kya kare”, “Hai Rama” are songs that you could listen anytime again and again.

Dilwale Dulhaniya Le Jayenge: The film that epitomized romance and Jatin-Lalit. I hated the movie, but I do consider “Tujhe dekha to yeh jaana sanam” as one of best romantic songs ever composed. Other mentions were “Ho gaya hain tujko tho pyaar sajna”.

Bombay: Mani Ratnam’s Bombay was a massive musical hit, again, the master proving how good he is – “Kehna Hi Kya”, “Ek ho gaye hum aur tum”, “Tu hi re” have stood the test of time and are sung even now in song competitions. “Bombay Theme” resonates even to this day – this was a Rehman gem.

Other notable mentions: Akele Hum Akele Tum with its copied songs, was still had songs like “Raja ko raani se pyaar ho gaya” and “Dil mera churaya kyon”.

1996
1996 saw the ultimate truck driver and train beggar songs. Finally they had their day.

Raja Hindustani: It is still impossible to travel in second class without hearing “Pardesi Pardesi” at least thrice. And then there were hits like “Kitna Sona Tujhe Rab Ne Banaya” – this movie marked a so-called return of Nadeem Shravan.

Maachis: Before Vishal Bharadwaj was an accomplished director, he was (and is) a great music director too. “Chappa Chappa”, and “Paani Paani Re” coupled with Gulzar’s lyrics give these songs an everlasting feel.

Khamoshi: Jatin-Lalit again stole the limelight this year coming up with absolute beauties like  “Bahon ke darmiyan”, “Yeh dil sun raha hain” and “Aaj mein upar”. This was Bhansali’s first movie as well.

Bandit Queen: Remember the super-ultra controversial Bandit Queen. What many people miss out on is this movie had excellent music by Nusrat Fateh Ali Khan, the song “Akhian nu chen na aave” being a class act.

1997
Compared to 1996 though, 1997 saw a lot of musical hits, which also translated into big movie hits as well.

Pardes: Subash’s Ghai last memorable movie had some splendid songs, “Do Dil”, “Yeh Dil”, “Meri Mehbooba”. Sonu Nigam’s “Yeh Dil” rendition is still a great song to hear.

 Gupt: After Mohra, Viju Shah and Gulshan Rai stuck gold with this electronic beat musical score. Song likes “Gupt”, “Mushkil Bada Yeh pyaar hain” and “Duniya hasino ka mela” were a huge hits, and I can still listen to its song even today in my car.

 Dil To Pagal Hain: Yash Chopra’s return to direction after Darr as expected produced a major musical hit in DTPH, by an unnamed director Uttam Singh. “Dil to pagal hain”, “Bholi Si surat”, “Arree re re”, “Pyaar kar”, “Koi ladki hain” and “Ek duje ke vaaste” were massive hits, ones that can be heard for years ahead now.

Border: As if DTPH was not even, Anu Malik came up with his own set of hits that year in Border, with his epic song “Sandese aate hain” and the classic “Tho chalun”.

1998
1998 saw some real good movies hitting the theatres, and probably belonged to A. R. Rahman for his masterpiece.

Zakhm: Mahesh Bhatt’s last film of repute did have some melodious offerings by M. M. Kreem  in “Gali main aaj chand nikla”, “Hum yaha, tum yaha”, “Raath saari beqaaari” and “Jaltaa hain jiyaan mera”. Those still remain Kreem’s haunting compositions.

Satya:  As much as Satya is remembered for its gritty take on underworld and unmatched direction by RGV, music though used sparely was just excellent. The theme of Satya still remains a class act by Sandeep Chowta, and then Vishal Bharadwaj came up with two superb numbers in “Sapne mein milthi hain” and “Badalon se kaath kaat kar”.

Kuch Kuch Hota Hain: This Karan Johar’s entry into tinsel-town was a massive hit for Jatin-Lalit, with the title song “Kuch kuch hota hain” still ringing in many a truck driver’s systems. Other songs of repute were “Ladki badi anjaani hain” and the stylized version of “Raghupati Raghav”.

Dil Se: However as said above, it was A. R. Rahman who shined this year. This effort from Rehman eclipsed even Roja for me. The brilliant “Chaiyya Chaiyya” was used as recently as 2 months back in the “Inside Man” speaking about timelessness of the song. The other songs are no less – “Jiya Jale”, “Dil Se”, and eternal classic “E Ajnabi” were enough to propel this musical score as one of the classics.

Other notable mentions:  Pyaar tho hona hi tha

1999
It was the year of classical music. This year provided some of the best songs for years to come, and made for an excellent end to the decade.

Sarfarosh: This was another Jatin-Lalit trumps with songs like “Jo Haal dil ka”, “Hoshwaalon ko khabar kya”, “Is deewane ladke ko” donning the screen. Of course it helped that it was genuinely good movie with awesome acting by Aamir Khan.

Rockford: This was probably the movie where people began to hear of Shankar-Eshan-Loy as a group; their “Aasman ke chath se” was a rocker, but it was Kay Kay’s “Yaaron” which was greater hit, and remains of the best songs on friendship composed yet.

Taal: Subash Ghai teamed up with A. R. Rahman to provide another musical score after Dil Se, where Rahman used a lot of North Indian elements. “Ramta Jogi”, “Ishq Bina”, “Taal se taal mila” and “Nahi saamne tu” remain hummable even today.

Hum Dil De Chuke Sanam: One musician though who took this year by storm was Ismail Darbar and his classical take in this movie. This movie boasted of superior quality hits in “hum dil de chuke sanam”, “aankhon ki gustakiyan”, “Chaand chupa badal mein”, “Tadap Tadap” and “Jhonka hawan ka”. The theme tune and “Albela Sajan” were absolutely delightful too. Easily the best album of 1999.

1947 (Earth) : This Deepa Mehta movie had scintillating music, by none other than Rahman, who really brought out the era with his ethnic sounds. “Dheemi Dheemi”, “Ruth aa gayi re” and the theme music stand out. But one song that still rings up a chord remains Rehman’s composition of “Ishwar Allah” – a truly blessed song.

That’s it – a decade of superior music, unlike as assumed by many that it wasn’t. These were a few of my favorite music which I still hear today – admittedly it would seem that second half of 1990s produced more qualitative music than its former, which is true, because of newer talents in music industry too. It might surprise you that though A. R. Rehman was all around the country those years, he actually had very few true ‘bollywood’ releases – he had many Tamil dubbed movies including “Duniya Dilwalon Ki”, “Vishwavidatha”, “Doli saja ke rakhna” and more.

It was interesting decade, and I think it has its fair share of musical hits which will be remembered for quite a while.

What are your favorite numbers from the 1990s?

A year ago I had read an interview of Subash Ghai where he had correctly pointed out that the movies of the 1950s-1970s were targeted towards more towards the gentry – however from late 1970s, producers discovered that there was a mass junta who were ready to spend money to see movies, suited to their tastes – hence more and more film makers started making movies to suit mass appeal. With it, the classical qualities of music too were compromised in favor of jhatak-matak songs to please the masses.

That said, I will never agree with the assessment that music from the 1990s was its worst in Bollywood. On the contrary, if you take a comparative analysis, the decade of 1990-1999 has produced considerable amount of musical hits, majority of which can be heard even today too, somewhere on radio, or train stations, kite flying competitions or marriage parties. They have stood the test of time, and like the classics of 1950s-1970s, will do so in future.

Here is a list of the movies that I compiled from 1990s (from 1990 to 1999 precisely) of the movies in Bollywood and their music, and the musical scores I would hear today too. I had always assumed that the 1990s belonged to A. R. Rahman, however, while compiling this list, I was pleasantly surprised to know that A. R. Rahman had as many hits as Anu Malik or Nadeem Shravan in the same time frame, and couldn’t possibly have dominated the decade as I had imagined him too. What might have helped Rehman must have been his terrific form in South at the same time. Nonetheless, this is a list about just Bollywood movies, so the southern movies have been kept out.

This post is divided into two parts. Part 1 will cover 1990 to 1994.

1990
For a decade, 1990 had the least number of musical hits, but ones that were, emerged to be some of the biggest hits ever.

Ghayal: Can one forget superb rendition of Lambada into “Sochna kya jo bhi hoga dekha jaayega”? Agreed it was a lift, but the lyrics and tune were just hypnotic.

Dil: Numbers like “Mujhe Neend Na Aaye”, “Khambe Jaisi Khadi Hai” and “O Piya Priya” can still heard at railway stations, bus stations and the likes.

Aashiqui: Aashiqui was without a doubt a great musical score – in fact the music lifted an otherwise dull movie with even duller actors. Everlasting numbers included “Jaanejigar Jaaneman”, “Nazar Ke Samne”.

1991
And just in opposite to 1990, 1991 had many number of musical scores which were a hit, and propelled those movies to be hits.

Saudagar: “Ilu Ilu, Ilu Ilu” says it all.

Phool Aur Kaante: Ajay Devgan’s debut had some good music for its time

Patthar Ke Phool: “Kabi tu chaliya lagtha hain” was a song to dance on at that time. A song that I listen today as well, with its other hit being “Tum se jo dekthe hi pyaar huaa” in the true SPB voice.

Lamhe: Lamhe must rank as the best alum of 1991; Shiv Hari’s brilliant combination resulted in memorable songs like “Woh Lamhe”, “Morni Baaga Ma Naache” and the eternal classic “Kabhi Main Kahoon”

Hum: Can one forget “Jumma Chumma”? Or “Bum chiki chiki bum”? But the song I listen even today in my car is “Sanam mere Sanam, Mujhe teri Kasam”.

Henna: Raj Kapoor’s final epic was known for him dying rather than is beautiful melodies including “Main hoon ek rang Henna”.

1992
Year 1992 launched Jatin Lalit into limelight with not one, but two hits in the same year and perhaps would have claimed that years to be theirs, unless the master had made his debut.

Khuda Gawah: This epic movie had some epic-length songs, but the title song – “Khuda Gawah”, “Tu Naa Je mere baadshah” were superbly done.

Khiladi: The second movie of Jatin-Lalit in this year had the hits “Khud ko kya samaj thi hain” and “Waada raha sanam”, the second of which is truly a beautiful number.

Jo Jeeta Wohi Sikandar: And then, Jatin-Lalit came up with one of the best scores of all time in “Pehla Nasha”, “Jaha ho yaaro”, “Yaha ke hum sikandar”

Roja: Music changed after this movie; a new master was introduced – a genius, A. R. Rahman made his debut with this score in what must be one of the most amazing debuts a artist must have had – who can forget “Dil hain chota sa”, “Roja”, and scintillating “Yeh haseen vadiyan yeh khula aasman”.

Other notable mentions from this year: Deewana, with the song “Aisi Deewangi” and Beta with “Dhak Dhak Karne Laga”, famous all because of wrong reasons.

1993
Quite possibly year 1993 contained some of the most memorable music packed in a single year. 1993 belong to Anu Malik, fair and square.

Rudaali: Its still impossible to beat “Dil hoon hoon kare” and the soulful melodies of this film.

Phir Teri Kahani Yaad Aayi: Any music lover will tell you that this album is one of Anu Malik’s finest works, with more hits than he could handle – “Tere dar par sanam”, “Shayrana si hain zindagi ki fazaa”, “Dil mein sanam ki surat”, “Badalo mein chup raha hain chaand kyu?” and “Dil deta hain roh roh duhaai” – this made-for-TV film had that many hits.

Darr : Shiv-Hari teamed up again with Yash Chopra for the last time to deliver memorable hits in “Tu mere saamne”, “Jaadu teri nazar” and more.

Baazigar : This monster hit for Shahrukh boasted of some real good numbers by Anu Malik – “Baazigar main baazigar”, “Yeh Kaali Kaali Aankhen”and “Ae mere humsafar” being the top of the class.

Other notable mentions from the year: Gardish with its beautiful tunes in “Hum na samjhe the” and “Ye Mera Dil Jo Paagal Hain”.

1994
Again, this year redefined the music industry all over again.

Mohra : Viju Shah jumped into limelight with Mohra, and had some scintillating hits in “Tip Tip barsa paani”, “Tu cheez badi hain mast mast”, “Kaash kahi aisa hota” and “Na Kajre ki dhaar”

Kabhi Haan Kabhi Naa : Who can forget this simple movie with simple music which didn’t try too hard? “Deewana, dil deewana”, “E kaash ke hum”, “Sachi yeh kahani hain” were simple, yet very hummable.

Hum Aapke Hain Koun : Yes, THE movie that changed it all. Boasting of astounding 14 songs, even though I hate the movie, I must admit it had its fair share of classics in “Maaye ni Maaye”, “Hum Aapke Hain Koun”, “Pehla pehla pyaar hain” and others.

1942: A love story : This defined the year for me – R. D. Burman’s masterpiece album before his death – nothing can beat the beauty of “Ek Ladki ko dekha”, “Kuch Na Kaho”, “Pyaar hua chup ke se”, “Rim Jhim Rim Jhim”, “Rooth na jaana” and “Yeh Safar” – They are some songs which will stay.

Other notable mentions: Yeh Dillagi, Gentleman, Andaz Apna Apna and Khuddar for its “sexy” hit.

That was years 1990 to 1994 – In my next post, I will cover 1996-1999 as this post is getting way too long.

Creative independence is probably the most essential ingredient for an artist. Not that I am some kinda Vincent Van Gogh in making nor I know much or care for The Buster, but breaking away from the anarchistic shackles of Mouthshut.com and writing what I want to.. feels great. Well.. if talking about shackles and chains gives you the idea that I am writing a kinky article here.. hell no. I said “Creative Independence” not “Lisence for Profanation”.. LOL.

I’ll do what I do the best.. Lets talk MUSIC mates…….

Its quite incidental that Bollywood goes weird or unconventional. Composers and listeners seem to groove on the routined “mukhda” and “two antras” arrangement. On the lyrics front its fairly cushy to use mountains and valleys to personify love. Weirdness in a song can be brought about by tinkering around with music, lyrics or sometimes with vocals.

Lyrical Distortions

Most of us remember Silk Smitha’s doozer thighs more than O Babua from Sadma. And yeah agreed that each of ‘em could give “The Yokozuna” a run for his money…*sigh*.. Lord rest her soul, sometimes I even tend to draw out comparisons between Mouthshut’s Amrita and Silk (maybe it was the “squint” factor.. or could it be “the Cleavage”??). Some might shove this song aside calling it an average 80’s fare but I think Asha’s husky voice and Illayaraja’s use of instruments make it seductively captivating. Gulzar’s lyrics are unpretentious and bold as he compares Silk’s raunchy desires with the ripening of the toxic “Mahuwa” (Madhuca Indica) flower… I bet someone even reads poetry in sex. How Bizarre!!! How Bizarre!!!
And this is what happened when Mr Tyrewala got imaginative: “Dubai Ka Chashma Cheen Ki Chaddi Aur Irani Chai.. Faisal Bhai.. oops …Aslam Bhai: Silly doggerel at its best: “Na Tu Nanga, Na Tu Haqla, Na Tu Ganja.. Aslam Bhai, Haath Mein Sirf Paanch Ungli, Banja Hero Aslam Bhai, Madhuri Pachtaayegi, Aishwarya Karegi Haaye”. Tyrewaala apparently spoofed Raj Kapoor’s “Mera Joota Hai Japani“.

Vocal Distortions

Back in the early 80’s, a radio presenter created waves with his unique voice for the movie “Razia Sultan“. His deep voice was used for two songs, “Tera Hijr Mera Naseeb Hai” and “Aaye Zanjeer Ki Jhankaar“. The songs were filmed on the Warrior-Slave, Yaqub. On the contrary, Patrick Joseph singin’ away “Ande Ka Funda” would be another reasonable example of vocal eccentricity turning a regular song bizarre. It would be quite sharp to label Mirza’s nuimbers as weird for their superlative music and lyrics.

Musical Distortions

When RD Burman decided to experiment with his flanger on the guitar, he ended up creating a notable “Dhanno Ki Aankhon Mein“. Initially written off by his associates who found it too noisy, “Dhanno” simply defied the rules of music. Long before RD ventured into flangers he made a song without a tune in the movie Kati Patang, “Mera Naam Hai Shabnam“. The song had the rhythm but the tune was simply nonexistent… a void. How Bizarre!!!! In the contrary, SD Burman experimented with rhythms on a different level, such as, fusing 7 beat interludes into a 4 beat song (”Megha Chaaye Aadhi Raat“) or his usage of Dhamaili folk tunes for intense numbers such as “Mere Sajan Hain Us Paar” and “Wahan Kaun Hai Tera“.

Not that abnormalities are completely missing in popular Indian music but they tend to be occasional. Some tend to go unnoticed, sometimes they are too explicit but listeners refuse to digest. Aberancy is probably an art and only a few can skillfully use it develop numbers for universal acceptance.

The music of Omkara ROCKS! Big time. Vishal Bharadwaj has a sure fire winner in his hands.

I will put up my own review of the music very soon, but till here’s a quick update on what others saying about the music of this movie.

George thomas a beautiful review on the music of Omkara

Aah. Sheer bliss this. Worth every nano-ounce of the wait. Gulzar’s way with words, Vishal’s sense of sound and the flavour of the region where the movie’s events transpire come together in a delicious aural offering. I don’t remember sitting back like this with a smile on my face since … Maqbool.

Sanj equates the music of Omkara to that of Maachis. I think there couldnt have been a better comparison.

Sukhwinder Singh dramatically introduces you to the dread and… … glory of ’sabse bade ladiya’ (the greatest warrior) Omkara with such magnificence that you cannot help but fall hook, line and sinker for the thumping grandeur of this performance. You tend to play the song over and over again before moving onto the next track.

Niraj has a BRILLIANT review, and echoes my sentiments completely! (Do I need to review the music after his brilliant review?)

Other two very noteworthy songs in the album are Nayna and Beedi. Nayna is rendered by Rahat Fateh Ali Khan, who makes a 180 degrees departure from the kind of reputation he has built by singing songs like “Lagan lagi”.
….
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Omkara is Vishal Bharadwaj in a new Avatar. With his musical brilliance intact.

Gajria gives it two thumbs straight up as well. As expected I dont think i will be able to dig any negative reviews on the music of Omkara.

I can bet that “Beedi” is going to be a massive track this year. It’s got the grimy soul of the country side accentuated by Sukhwindara Singh’s raspy, thickly accented voice so apt for such songs. IT’s another chayya chayya in the making.

Gagan rightly advises that the album is a good change for people who are tired of hearing Reshamiyya.

But if u wish to hear a new sound with distinct classical shades the original sound of india…that has got the difffrent stuff to suit new genrations ears … for sure u need to listen Omkara…

Finally desitrain does a take on Omkara too and calls it the finest piece of fusion music in recent years. I have to agree completely.

You may not be sold on the entire album, but Omkara does have the finest piece of fusion that I’ve heard in a long time from Bollywood. The backdrop of UP/Bihar countryside kind of music, has been used in the one of the most creative ways, in a very long time.

Worth giving it your time and ears…

Lastly, Maverick calls Omkara very rusty and native, almost folk music, which I think describes the feel of the movie…

Omkara as an album may not make much money but that’s not its purpose. Vishal has made music to compliment its story; not to sell it and rake moolah

I think that pretty much rounds up the best of the reviews I have read on Omkara’s music. I agree with each of them, and will put up a review of mine too. Till then I cant get tired of hearing “O Saathi Re” in repeat mode - what a song. Gulzar Rocks. Vishal Bharadwaj Rocks as well!

(Update: 18th July 2006)

Another excellent review here.

* If you have written a review on music of Omkara, let us know, I sure would love to check it out!