A.R. Rahman MTV Unplugged Season 6 — Watch the Full Show

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A.R. Rahman’s Urvasi Urvasi set music charts on fire in the ’90s. Twenty-three years after it was released in 1994, the Grammy and Oscar-winning music composer released a new version of the hit song on January 11, for the seventh season of MTV Unplugged, with Suresh Peters and composer Ranjit Barot. Rahman has now released the ‘unplugged versions’ of five more of his super hits.

The five songs has aired in the opening episode of Royal Stag Barrel Select MTV Unplugged Season 6 which went on 14th January at 8 PM on MTV.

  • Enna Sona from OK Jaanu : The song that’s making waves across radio stations and TV channels is all set to get a Rahman makeover as the maestro is all set to make this Arijit Singh song his own.
  • Ranjha Ranjha from Raavan : Picturised on Aishwarya Rai Bachchan and hubby Abhishek, the song from Raavan was a chartbuster.
  • Aise Na Dekho from Raanjhana : He sang the song in Sonam kapoor-Dhanush-starrer Raanjhana and now we get to listen to a new version.
  • Tu Hai from Mohenjo Daro : Hrithik Roshan-starrer Mohhenjo Daro did slow at the box office but the songs raced to number one slots.
  • Mann Chaand Re : Be ready to lose yourself to Rahman’s silky voice in the latest version of this soulful song.

Raanjha Raanja performed by Shruthi Hassan – MTV Unplugged Season 6

It is common knowledge that Haasan is an established vocalist and also heads a band called the Extramentals. The second-generation star has also collaborated with Rahman’s mentor Illayaraja on many songs, but she hasn’t sung for or with Rahman yet, until the latest episode of MTV Unplugged.

Haasan crooned Rahman’s enchanting song from Mani Ratnam’s 2010 epic adventure film Raavan, Ranjha Ranjha, originally sung by the immensely gifted Rekha Bhardwaj. However, if the USP of Bhardwaj’s song was its rawness, that of Haasan’s is its wackiness. While the credit largely goes to Rahman for putting all the pieces together, a Rajasthani artiste stands out with the peculiar rendition from an unidentified traditional wind musical instrument. Another sequence to watch out for is the jugalbandi (jamming) between the sitar and the drums, a fairly unique combination, as the guitar plays the mediator between the two. It appears intense yet feels meditative. Having said that, it is the confidence and ease on Rahman’s face that shines throughout the song. The countenance speaks volumes of his trust in every member of the orchestra and the same effortlessness reflects in his vocals as he croons the chorus. Another highlight of the song is the ending. Unlike several other songs, it does not end on a high note. Rather, Rahman’s humming, aided by the synchronised claps of the choir, serves as a befitting end and feels like someone lulling you to sleep.