‘Rockstar’ Music becomes youth anthem and nationwide rage

ROCKSTAR…ROCK MUSIC, A.R RAHMAN and what more to expect! Post TAAL (1999), this is the first
major musical endeavor from the maestro in the league of musical-oriented entertainer that also
brings out many commercially bankable names in the credits. This time director Imtiaz Ali, who had
tremendous musical success in his last two flicks (JAB WE MET and LOVE AAJ KAL, both composed by
Pritam), changes his loyalty to the great A.R Rahman, with a promise to allure international
audiences with his style of composing.

ROCKSTAR is also special in a big way as it brings out the finest of international musicians in its
baggage and packs a solid 14 original soundtracks in its audio packaging. Fuelled, inspired and
displayed with immense passion and zeal, the music of ROCKSTAR is already anticipated with baited
breath, as promos of songs like ‘Saadda Haq’, ‘Katiya Karoon’ and ‘Jo bhi main’ have clicked well with
listeners. Can this album be the desired ROCKSTAR among its contemporaries? Will Rahmaniacs be
blessed again with a chartbusting hit album? Let’s get straight into the arena of this rollicking rock-
music mania and gets the musical facts…

It starts where…it ended! Mohit Chauhan’s soulful hue that was mesmerizing in mild tones
in ‘Dooriyan’ (LOVE AAJ KAL) makes an echoing reappearance with tender-feel arrangements in
beautifully composed ‘Phir se udd chala’. Rahman’s composing picks up an earthen modest melodic
feel, exhibited cohesively in expressions in Irshad Kamil’s lyrics,that gets amalgamated with techno-
generated orchestrations and creates a ‘lounge’ feel ambience. Mohit’s sonorously somber voice is
paced amiably with soft displays of delectable mandolin notes, guitar riffs, synchronized electronic
fillers and lovable chorals with hook-line (‘tu-tu-tu-re’) that works brilliantly to conceptualized a
desired dreamy situational feel. Unlike its ‘yuppie’ friendly title (ROCKSTAR), Rahman prefers a
motivational musical start to the album that also sets a melodramatic prelude to the journey of ‘rags-
to-riches’ of the lead protagonist. Soothing!!!

Arena-rock and the following crowd-pulling entourage are all out there to entertain and the first
major jolt of ‘rollicking’ happenings on concert-floors comes in the form of ‘Jo bhi main’. Light-
hearted guitar strums, cool-mentholated breezy vocals, infectious drumming and hook-line (‘Oh-ya-
ya-ya..’) brings out the zeal of a lively concert show. Mohit Chauhan’s experiments this time with
singing sounds of guitars, followed with his varying soothing baritones that strikes chords with the
groovy rock-feel and enlightening chorals in the backdrop. For all those who have cherished
numbers like ‘Rock On’ (ROCK ON) and ‘Alvida’ (LIFE IN A METRO), it will be a delight to hear Rahman
getting into the soul of archetypical rock music with flair. Go for it!

Imtiaz Ali’s stringent and passionate Punjabi affixation that was instrumental in making ‘Thoda
Thoda Pyar’(LOVE AAJ KAL), a feisty musical happening makes a positive recurrence in cherubic
sounding ‘Katiya Karoon’. Rahman brings out the crazy madness of ‘Ting-a-ling-ling’ of ‘Rang de
basati’ (RANG DE BASANTI) in chirpy folksy tones of impressive Harshdeep Kaur with effective
support of Sapna Awasthi. It’s playfully romantic in nature and moves sporadically with catchy
ethnical Punjabi instrumentals, Gujarati folk-fusion feel and earthen voice of Harshdeep Kaur.
Rahman’s composition sticks to the cultural roots rather than trying too hard on improvisations and
delivers out a potential solo feminine romantic number.

Whether it was intrinsically Sufi ‘Khwaja mere Khwaja’ (JODHAA AKBAR) or divine ‘Arziyan’ (DELHI-
6), there was a marvelous divinity in Rahman’s composing that worked big times in impressing
purists, critics and classy listeners. ‘Kun Faya Hun’, an ode to the greatness of Nizammudin Auliya in
form of devotional ‘qawalli’, adds to this beautiful collection that has intense spiritual significance
with soulful interaction with God Almighty. Irshad Kamil delivers the performance of a lifetime this
time and should be proud of delivering it with finesse in a track that is not only difficult to write but
also desires loads of literature strength. For the first time maestro A.R. Rahman comes behind the
mike along with Javed Ali and Mohit Chauhan and renders it with sheer piousness. In terms of
arrangements and composing, Rahman prefers a subtle traditionalism in instrumentals and
maintains the soulful decorum of the great Nizammudin Auliya with immense grace and appeal.

The music of ROCKSTAR takes a chill-pill and relaxes to some extent in situational sounding ‘Sheher
Mein’. It’s a thematically driven simple number that takes an introspective view of ‘recording-room’
where singer practices with his lines, passes remarks and finally picks the desired ‘sur’. Mohit
Chauhan along with Kartik sings this light-hearted number and adds few jovial moments to this
intense emotional saga.

ROCKSTAR takes an international explore in fast-paced salsa number ‘Hawaa Hawaa’, an impulsively
composed dance number that brings an arrays of peculiar sounding instrumentals, foot-tapping
sounds and varied pitched voices. This time Rahman enters into least explored genre in Hindi
filmdom that was last heard in ‘Udi’ (GUZAARISH) and comes out with a vibrant melodic ‘swirling-
twirling’ dancing feel. Mohit Chauhan’s versatility in impersonating many moods and styles shows
his genius that gets embroidered well with snazzy sounding back-up supports of Viviane Chaix, Tanvi
Shah, Suvi Suresh and Shalini. It’s a visually spectacle soundtrack and a ‘tailor-made’ dancing feast
number for all TV reality dancing shows that should also work positively for a promising big-screen
In terms of innovation and trans-culture foray, the next offering, ‘Aur Ho’, a melancholic offering in
depressing tone, is the most brilliant attribute of the album. It brings on Alma Ferovic, a renowned
Bosnian musical talent in soulful prelude that not only evoke pathos but sets an emotional melodic
backdrop of a beautiful melody. Rahman’s poignant sounding composition takes its emotional hues
from Alma’s international hit

‘Srebernica’ (song about Bosnian genocide tragedy) and reconnects with couple of his last
sentimental hits like ‘Behene De’ (RAAVAN) and ‘Satrangi re’ (DIL SE). Mohit Chauhan’s pensive
vocals excel to supreme as it conquers every sentimental shade in its modulating tones. It’s a great
improvisation in mixing varied genres, singing styles where Irshad Kamil’s meaningful lyrics (‘Iss
lamhe ko kar doon main jo mujhe chain mile aaraam mile, Aur ho aur ho saans ka shor ho aanch ki
ore badhe…) adds to the evocative pathos of the track. Brilliant!!!
Hard-rock metal base musical binge returns with vengeance as it packs a punch of inspirational feel
of pain and self-realization in ‘Naadan Parindey’. This situational sounding number holds
melodramatic importance as it swivels out the happening of events in the climax stages of the flick.
Rahman’s pensive mood singing leads this singing show that is blessed with contemporary hard-rock
aesthetics where penchant drumming (Sivamani) and electric guitar blues (Sanjeev Thomas)

deserves a special mention, a rollicking on-screen presence will surely makes this a hot commodity.

It’s nice to hear back veteran like Kavita Subramanium (Krisnamurthy) in musically resounding album
and she strikes back with a contemporary Bollywood’s soft-hear romantic track ‘Tum Ko’. The song
primarily works on traditional instrumental works and later gets a major lift in Rahman’s techno-
improvised electronic beats and rhythms. As compared to earlier impressive set of numbers, it
sounds routine but never run short of quality performances. Overall a decent – heard number and
welcome return by Kavita Subramanium to the marquee.

ROCKSTAR…FINALLY! Heartbeats go wild; pulses are racing as the tempos are raised to hear the final
countdown in album most ballistic, catchiest, and promising soundtrack titled ‘Saadda Haq’. Hugely
promoted and appreciated, this soundtrack packs a solid punch of distorted electric guitar riffs of
Orianthi Panagaris (Australian guitarist, also featured in Michael Jackson ‘This is it’ tour) that not
only sets a bombastic prelude but also leads a violent onslaught in the closing stages of the track.
Materializing the present storm of revolutionary youthful tones, it’s a rebellious outrage in its
impressive lyrics (‘Hey inn gadaaron mein ya udhaaron mein, Tum mere jeenay ki aadat ka kyun gott
rahe dum…’) paced with belligerent percussions (Oscar Seaton) that hits like tones of bricks in its
loud roaring renditions. Mohit Chauhan screeches his lungs to extreme to depict the volatile set of
emotions and delivers his finest of the album and promises this as one of the biggest hit of the year.
This time Rahman hits the ‘bull’s eye’ in hard-rock genre and promises a sure-shot chartbuster in
weeks to come, a repeat on ‘play’ button will further fuel the passion for this track. Rocking!!!

Rahman promises this to be a ‘one-man show’ on vocals and catches the breezy Indi-pop tonality
with his style of composing in mellifluously composed ‘Tum Ho’. Mohit’s sonorously tender vocals
retraces back his ‘Silk-Route’ singing days where cool-mentholated romantic hues seeps through the
contours of nimble-touched arrangements. This uber-cool soft-rock ballad brings on the suppleness
of Suzanne D’Mello genteel choral humming, adding to the lovable chemistry, a worthy contribute
for a delightful romantic evening. Lovable!!!

After vocals presentations, it’s now the instrumentals that take over the proceeding and the first to
arrive is ‘Tango for Taj’. It’s a fine display of classical European symphony display, where romantic
emotions are displayed in synchronized works of piano drills, accordion works and violin notes, a
perfect blend of philharmonic display, depicting out musically enriched caricature of the flick.

‘Dichotomy of Fame’, the second in series of instrumental, is Indian at heart and moves with fine
display of customary shehnai (Balesh) and guitars (Kabuli). The striking feature is the
enlightening shehnai works that moves serenely with the subtle moves of guitar strums to exude a
desired theatrical background musical feel.

Finally, its Ranbir Kapoor rendering out one-liners in midst of light-hearted instrumental display,
epitomizing out a gist or theme inspired from great Sufi poet Rumi in the final soundtrack ‘The
Meeting place’.

ROCKSTAR turns out to be a ‘rockstar’ among the present set of musical releases and lives up to its
huge expectations. The striking point of the album is the quality inputs from international musicians

(Orianthi Panagaris and Alma Ferovic) that have given it an enriched international outlook. A.R
Rahman succeeds to a great extent in delivering out a potential rock-music album that not only
entertains but also enlightens with its quality displays. It will surely give Mohit Chauhan a big boost
in his singing career and will make him amongst the top most singers of Bollywood this year.
ROCKSTAR rocks the listeners completely with tracks like ‘Saadda Haq’, ‘Jo Bhi Main’, ‘Phir se udd
chala’ and ‘Katiya Karoon’ while the solace of soulfulness in tracks like ‘Kun Fayan Kun’, ‘Aur
Ho’ and ‘Tum Ho’ will connect with the sensibilities of the listeners. After the delightful musical
presence of RA.ONE, it will be ROCKSTAR that will be ruling the audio stands and will be enjoying big
shelf-life in months to come. Grab it now…Happy Listening!!!


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