After hearing Yuva for the first time a few weeks ago, I felt disappointed. However, I put my feelings on hold, and told myself that I will start liking the songs. Past experiences have taught me to wait till Rahman’s songs grow on you. But after repeated hearing sessions, I am still feeling the same way, if not a little worser. I need to make some general comments before I go track by track.
I have always regarded Rahman as a genius in his selection of singers. In my opinion, he has taken some weird and wrong decisions on selecting singers. Adnan Sami Khan’s Baadal is grossly out of order. I recognize that Rahman selected him for his different high pitch voice (like what singer Mano used for Muqabla song). However, it is a bit too much to bear sometimes. However, that does not mean that all the singers in this album has not sung tracks well. As will be mentioned with individual songs, there is always room for hope and talent.
The track ’’Baadal’’ starts well with innovative rhythm arrangements. After about 2 cycles, I urge you to stop listening to it. Alka Yagnik’s good vocals are completely (and unfairly) drowned by a bit of exuberant singing by Adnan. After the Pallavi (first few lines), rhythm continues but it is well modified and worth listening. Gladly (in my view), Alka Yagnik takes over in the second half. Again with good use of percussion and exotic strings, Rahman does make the musical interlude worthwhile. But, again the song is good, and not exceptional.
’’Dhakka Laga Bukka’’ has been criticized for its poor lyrics, but I will reserve my comments on that part. Again, the start of the song is indomitable Rahman style. As mentioned above, rhythm is innovative and heart thumping. But it bears resemblance to one of the Michael Jackson numbers, and of course the old song, ’’Ina Meena Deekka’’. But, maybe the resemblance is not too much by today’s standards. I would say its well sung by Rahman himself.
’’Dol Dol’’ is hurried, again starts well. Indian percussion instruments Thavil, Dholak and others (I am not sure) are well blended. I could recognize a tinge of Sivarnjini among the little melody sprinkled between the overwhelming percussion. ’’Fanaa’’ is probably meant to be the best overall song. It has melody, percussion and heart built right into it. The way the words ’’Ho Ne Do’’ are recited resembles another song, I can’t remember which one. But, overall, the song is based mostly in Techno-music and disco rhythm. The way Rahman renders the lyrics does give you a feeling of vast expanses, and a rare symphony between time and space. The singing of South-Indian classical swaras is well executed, with disco beats prominent in the background. Maybe, If I pick a song from this album, this will be it.
The starting of ’’Kabhi Neem Neem’’ is inspired from the ’’Chalke Chalke’’ song in Saathiya. Not a big deal, because, both are his own compositions. With mostly Indian percussions, the song goes its own slow pace invoking the feelings of Folklore. One notable feat here is the excellent singing by Madhusree. Her voice does resemble Alka Yagnik a lot, and I guess she is going to be successful soon. The interlude sung by Rahman also sounds good. Again, the song doesnt have Rahman’s genius in it, or in other words, you wouldnt yell ’’Thats an ARR song!’’ when you hear it.
At its beginning, ’’Khuda Hafiz’’ gives you a glimpse of the talent behind the ARR genius. Sunitha Sarathy masterfully starts the song, effortlessly, seductively and like a soft whisper. I wish Rahman continued the amazing rhythm he started the song with. Suddenly, Male vocals come in on the high-pitch, and the song sounds almost like the previous song ’’Fanaa’’. But it does revert back to the starting rhythm and feeling to recite the ’’Pallavi’’ again. I felt that the song was a bit confusing, switching back and forth between Sunitha’s and Lucky Ali’s vocals. Sunitha sings her part amazingly well, with her voice almost fading into oblivion like a whisper in the end.
In short, this album contributes very little. Madhushree’s and Sunitha Sarathy’s vocals are good, and I feel that they ought to be noticed more. Fanaa is worth listening. If you really want to buy this album, forget that you are buying an album by Rahman and take bold steps to the music store.
I am sure you will have noticed that I started the review with some not-so-positive remarks about this album, and did not mention anything seriously bad all along my review. Well, I believe that it sums up my opinion on this album. There is no single fault with any of the songs, and if it had come from most of the music directors I would have showered praises. I cannot hear Rahman’s music without expecting a Chef d’ Oeuvre. You do not go to Vish Anand’s Chess matches to see an ordinary game, nor do you go to a Andrew Llyod Weber’s musical expecting to see an ordinary musical. In short, like all other ARR fans, I am biased.