Once again, music director A.R. Rahman is on a roll. Just when we were complaining that his music in The Legend Of Bhagat Singh had an unwanted south Indian flavor and that his Bombay Dreams didn’t match the hype, he comes up with a delightful soundtrack in Saathiya.
This is a recycled version of Rahman’s own soundtrack of Mani Ratnam’s Alai Payuthey (the Tamil film of which Saathiya is a remake). Along with Ismail Darbar’s work in Devdas and M M Kreem’s Sur, Saathiya is clearly one of the best soundtracks released so far this year.
Throughout, the orchestrations are charming, as Rahman uses both contemporary and traditional folk elements smoothly. Equally important, the music is adorned by archetypal Gulzar lines like “Saathiya madham madham teri geeli hasee, sunke hamne saari pee lee hasee” and “Chupke se lag ja gale, raat ki chaadar taley, chaand ki bhi aahat na ho, baadal ke peeche chale”. The opening track Saathiya has been marvellously orchestrated, with Yanni-meets-Jethro Tull interludes.
It’s been sung peppily by Sonu Nigam, though one wonders why he’s trying to sound like Shankar Mahadevan. The highlights of Chhalka Chhalka are the strong use of rhythm, and the vocal coordination between Richa Sharma, Mahalakshmi, Vaishali and Shoma.
Then, Adnan Sami sounds simply fabulous on the vibrant Aye Udi Udi Udi. Mangalyam (KK, Shaan, Kunal, Sreenivas) is short but sweet. The beautifully written and romance-filled Chupke Se has been sung expressively by Sadhana Sargam, with crisp back-up by Murtuza and Qadir.
Sadhana is also in good form on Naina Milaike, a duet with Madhushree. Even though it seems loosely inspired by Amir Khusro’s Chaap Tilak, it impresses with its semi-classical touch and Sultan Khan’s moving sarangi.
One finds some inspiration on other tracks too. Chori Pe Chori is reminiscent of the Brahmachari number Chakke Mein Chakka, but Asha Bhosle has sung it stylishly, and Blazee chips in with a smart rap. Mera Yaar Mila De (by Rahman and one unnamed person) has Sufiana and north Indian folk elements.
The only weak link is the overcrowded and directionless O Humdum Suniyo Re (KK, Shaan, Kunal, Pravin Mani).
But on the whole, what’s really welcome is the way Rahman has further evolved in terms of sound. Instead of blindly repeating himself — barring some of those never-changing rhythms — he comes up with music that’s rich and refreshing.
