Winning Best Original Score and Best Song at the Oscars would seem to be the pinnacle of brilliance. The fact that A. R. Rahman was awarded this honor for Slumdog Millionaire delighted his fans because of the long-overdue recognition it’s given him. But just when you think he’s reached a peak of performance, Rahman is somehow able to sustain that genius, and he does so in excellent form for Rakeysh Omprakash Mehra’s Delhi 6.

This soundtrack has all the Rahman touches – a variety of distinctly different, but complementary music; favorites like Shreya Ghoshal and Javed Ali, as well as newcomers like Ash King; and subtle but striking twists on familiar melodies. What particularly struck me, though, was Rahman’s focus on virtuosity. Many of these songs include a measure of classical music, and nearly all of them make full use of his singers’ talents, especially when compared to their previous recent performances with Rahman.

Take, for instance, Arziyan (Mere Maula). Javed Ali’s pleasant tenor has become immediately recognizable from Jashn-E-Bahaara (Jodhaa Akbar) and Guzarish (Ghajini). But here, Rahman gives Ali’s voice more freedom, and it acquires the roughness that is a perfect counterpart to his naturally sweet voice. Rahman shapes these elements, along with a splendid supporting tabla and harmonium, into a Qawwali piece that is the essence of simplicity and technical ability. And there’s just something extremely comforting about this song – I feel as though I’m enveloped in a peaceful haze.

In a similar vein, Shreya Ghoshal’s spectacular vocals reach new heights with Bhor Bhaye. Rahman knows when to leave well alone, and Bhor Bhayeis shorn of gimmickry as Ghoshal traverses the range of raag Gujari Todi. The crystal clear quality of her voice and the precision with which she hits each note finally culminate in a single sharp tone, the highest of all. It could be my relatively low exposure to Hindustani classical music, or that I wasn’t expecting those vocal acrobatics, but my jaw literally dropped when I first I heard this.

Rahman’s compositions tend to introduce promising newcomers to the industry, and his Delhi 6 endeavor is no different. In Dil Gira Dafatan he gives Ash King (who doesn’t even have a Wikipedia entry) the floor - and King certainly does a great job. Quick, gentle guitar strumming starts the melody, which gradually swells with violins and flutes. Throughout, King’s vocals are amazing, but nearly whispered - which makes the music seem full of restrained emotion, especially near “ek nasha sa, ek nasha sa ho raha hai” where there is almost a note of yearning. This is a lovely song.

As impossible as it is for me to choose my favorite track, Masakalli is definitely one of the contenders. I think this song probably epitomizes Rahman’s versatility and ability to create music with real atmosphere. Like in Arziyan, Rahman has drawn out some new element in Mohit Chauhan’s voice, which exudes a lazy, charming insouciance quite different from its usual softness. The combination of Chauhan, an equally indolent beat in the background, along with a harmonium and piano, is practically perfect.

Rahman lends his voice to most soundtracks at some point, and here it is Rehna Tu. This is as melodious as Dil Gira, but is softer, more like a lazy summer tune. There are two particularly wonderful passages, for me – one, when the more minor-key tune begins, and Rahman’s voice rises behind it in major-key. The other passage, at the end, was actually created by a digital instrument called the continuum¹ that only a few others besides Rahman have attempted. The result is a hazy, muted melody that rounds off the song wonderfully.

Delhi 6 is the first of the more modern, energetic tracks that Rahman uses to capture the East/West dichotomy in the story. The “yeh Delhi hai mere yaar”, scattered through the song, and the male chorus at the background, join a slow beat and the electric guitar to create that dynamic. But the best parts happen in the middle of the song, where Blaaze and Benny Dayal’s “yeh Delhi hai, yeh Delhi hai, yeh Delhi hai, mere yaar” is accompanied by a proud burst of trumpets. It is nowhere close to Rahman’s most patriotic song, but that pride is certainly echoed in this track.

The other “modern” track is Hey Kaala Bandar, which is the most contextual of the lot. But Rahman manages to make this quite a fun song in its own right. The lyrics, to my surprise, are both comprehensible and rather funny. The energy (and suspense, in the context of the movie) are at their highest at the quick “kitne parde”, and rather satisfying to listen to.

Of course, Rahman wouldn’t be Rahman if he didn’t grace known melodies with his own particular stamp - this time it’s Genda Phool. As traditional a song as this is, Rahman interjects a cheeky Western beat that, remarkably, doesn’t distract from the melody itself.

The music of Delhi 6 has been immensely satisfying for me, because it’s been a while since I heard a soundtrack I enjoyed with such consistency. The sheer variety of these tracks gives everyone something to love. In the middle of the slightly hit-and-miss music that Rahman has churned out in the past year, Delhi 6 is a beauty. Along with his Oscar wins, let’s hope that the rest of Rahman’s year is as spectacular.

The music won rave reviews, but how well did the movie fare? Click here to check out a review of Delhi 6.

Listen to the music of Delhi 6:

  

Footnote:
1 - http://www.hakenaudio.com/Continuum/html/overview/Intro.html

Photo Courtesy: Delhi6.co.in

Related Articles:

• Riyaaz for AID - A Review
• Delhi 6: The Movie That Could Have Been
• Rahman’s Jodhaa Akbar
• Missing the Mark
• Keeping it Hot: Penn Masala at UT