This isn’t just a movie’s soundtrack album. It’s a ‘concept album’, like the whoppers that major rock bands used to make when music was more than just something you listened to while doing the dishes.
Spoilers ahead…
Just how many AR Rahmans are there? For starters, there’s the AR Rahman who’s been at the top of the music-industry food chain for 27 years, and counting. (There’s never been a consistently undisputed No.1 after him, at least in Tamil film music.) Then there’s the AR Rahman who’s seen as a spent force. (He’s not the same guy who gave us Delhi-6, some people will whisper.) We also have the AR Rahman who seems to have grown bored with local fodder and seeks greener grass outside the country, with artists like Majid Majidi (Beyond the Clouds) and Gurinder Chadha (Viceroy’s House) and Jeff and Michael Zimbalist (Pelé: Birth of a Legend). And yet, there’s the AR Rahman who still delivers for homies like Mani Ratnam and Shankar, who won’t make a movie without him. Psst! There’s also the AR Rahman who does films that don’t really need an AR Rahman. (Yes, I’m talking about Bigil, Lingaa, Mohenjo what-the-heck-was-that Daro).
Read the rest of this article on Film Companion, here: https://www.filmcompanion.in/ar-rahmans-99-songs-is-easier-to-admire-than-love-but-theres-a-lot-to-admire-baradwaj-rangan/
Continued at the link above.
Copyright ©2020 Film Companion.
Baradwaj Rangan 
N Madhusudhan
April 2, 2020
Hi BR. The link isn’t working.
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brangan
April 2, 2020
I think it’s a server-side issue…
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Madan
April 2, 2020
“So now, the “Is it good?” question. The singers are uniformly great. But despite its highlights, the album itself is easier to admire than love. For something that’s clearly a passion project, the project could have used more… passion. It crawls around the edges of the envelope without really pushing it. It’s Delhi-3. I know, I know. Some of you will say I need to listen to it more, and then it will grow on me. This definition of AR Rahman’s music as an aural beard — the more you shave, the thicker it grows — is something I’ve always wondered about. The more times you listen to a song, are you liking it or simply making it familiar, which is just another word for getting used to it? Because there are tons of this composer’s songs that I’ve liked with just one listen.”
Two songs in and already inclined to agree with the “better to admire than love”. By the time this comment gets put up on the blog, I might have finished listening to it and let’s see if I have a change of heart. For eg, this Poorvi Koutish, I followed her run in Indian Idol and was excited then to hear a singer who could sing Asha AND RDB’s parts in Duniya Mein. A song like Jwalamukhi should be right up her alley but I don’t hear much personalisation in the singing to take it out of a cliche/formula box of expectations. She’s singing in the Sunidhi-influenced female desi rawk mode throughout. So yes, crawling around the edges without pushing the envelope is a perfect summation (one that applies to most of his recent work).
Re growing into songs, the way I look at it is the only time I should have to listen to a piece of music again and again to ‘let it grow’ (there is a very pretty track by that name, btw) is when the music is either too complex to digest in the first couple or more listens (lots of classical and jazz music and some prog rock) or just from a style that is unfamiliar to me (my first forays into hip hop or even the first time I heard Metallica). If the song is organised in a pop/film song arrangement, it shouldn’t take too long to get to grips with the composition or at least for me, it doesn’t. I can understand that if someone just finds some of the more ambitious attempts at pop/film music daunting that you need more listens. But if it’s just a matter of waiting and waiting till you like it, yeah, that’s like getting to be familiar with a song and then because it’s familiar, you tell yourself you like it. It’s not only Rahman, when I said to a colleague that I didn’t find Ashiqui 2 songs that great, he said you have to let the songs grow. But what if I can anticipate and even see through the composer’s cliched decisions and just don’t find what he’s going for appealing? Then it’s simply a matter of taste.
Which brings me to how Rahman’s music has changed. It’s not about letting it grow but about how his music is now about texture and ambience even though the music is superficially organised to resemble the verse/chorus or mukda/antara format. It’s not the melody or chords (oh, dearie me, when did he even last write a kickass chord progression or riff, don’t even remember at this point) that are supposed to hook you in but the overall sound itself. If you’re an old school music lover (as I am), you will never be able to completely make peace with this approach. If you compare how he composes now to, say, a song like Udhaya, that song takes time to get to grips too because it actually has an unusual and complex melody that takes time to work out. And only when you do, do his choices makes sense and you then appreciate how masterful a composition it is. Whereas if I talk about The Oracle, if somebody somehow lived under a rock and never heard Hollywood scores or EDM/trance jukeboxes, I can see how Oracle may sound super innovative and meh. But otherwise, it’s just meh.
In essence, these songs are ‘light’ in terms of melodic and harmonic development but they don’t even feel emotionally light. Instead, there is a lot of emotional weight (something Rahman wasn’t always hung up on in the 90s) so that actually makes it harder to get through the songs. If the songs were light, I would enjoy them more but this is like I am expected to break into tears to Twinkle Twinkle recorded in a super duper studio with super sophisticated arrangements. Again, this may work for some people and I have no qualms with that. But it’s not for me.
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AdhithyaKR
April 2, 2020
@BR, This description of A.R.Rahman, as ‘slow poison’, requiring a few tries before you like the song made me question what it actually means to ‘like’ something. I read somewhere that liking a song is usually a mix of familiarity and novelty, and the familiarity can either be because the song feels relatable at once or you grow used to it after listening to it many times. I feel that AR’s songs are moving from category 1 to 2. Leaving his usual hits aside, I remember songs from movies like “Mr.Romeo” excited me the first time I heard them. On the contrary, I hate myself for growing used to “Simtaangaaran” . I don’t know if there’s a right way to listen to his songs any more.
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Madan
April 2, 2020
Done with the album. My three favourites are more or less the same ones that you spotlighted in your review. Humnawaa has some interesting modulations and also shows you can evoke Paganini and neo classical without the same old screaming shred guitars with a million notes per second. Very nice. Sofia is sorta Sufi jazz, again, nice modulations coming through as the melody progresses. Without those modulations, it would threaten to become a ARR attempt to emulating Amit Trivedi’s Main Pareshan but they take it into another place. Unfortunately, I will have to be away from the keyboard during the lockdown but I would love to check out what he has done in both songs.
Lastly, Soja Soja is vocally the strongest. This is straight up jazz done in the best possible tradition of jazz – rapturous and with devil-may-care abandon. Wish more of the album had those qualities (not respectively asking for more jazz).
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brangan
April 2, 2020
AdhithyaKR: I don’t think you can rationalise these things beyond a point. Sometimes, repeat listens are necessary and do help. Other times, no…
FWIW, I really liked ‘Simtaangaran’ the very first time I heard it and it still works for me. This is an AR Rahman model I love — some four or five seemingly disparate blocks (the gibberish chorush, the “mannava nee vaa” part, the “oh oh oh” monotone) all fused into one really interesting dance track.
But from the same album, ‘Oru Viral Puratchiye’ was generic when I first heard it. And it never grew on it. Even now, I find it generic.
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Madan
April 2, 2020
Wonder what song Soja Soja was evoking for me (evoking, not inspired by, and no question of being copied from). Prefab Sprout’s Horsin’ Around. Similar brand of nasty jazz. But Shashaa’s vocals have a lot more bite than the clipped delivery of Paddy McAloon:
Man, I can’t stop humming Put A Bullet Through Your Heart. At least for this one song, the album is ultimately worth the price of admission (uh, free in today’s scenario) for me.
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KS
April 2, 2020
I did not want to like Simtaangaran, yet ended up liking it. Maybe because given the way it starts, you have very low expectations. The starting is just crass, but as it flows it gets better and better, so by the end it builds as a pleasant surprise.
But yes, I too think ARR is a spent force. For me, he peaked in the late nineties, and its been a nosedive since the mid 2000s. At one point, every song in every album was a gem for the ages. Then it got to one or two songs in most albums standing out, while the remaining were lazy fillers. With the occasional whole-album gems like VTV. These days we’re lucky if we get any great song at all. Maybe we should just accept that creativity is a young man’s game, and not berate ourselves over not being arivali enough to appreciate his creative genius.
This is despite the let-it-grow-on-you extra leeway that he has earned. Which is something I never fully understand. I can understand the notion in theory, but why would I subject myself to repeated listens just to force myself to get familiar and enjoy the song? I’m not saying a song must be dismissed if its not an earworm on the first listen. But its just a song, not like we’re married to it. These days we have so many options and competition for our attention. Every piece of music from any time period or world region is just a click away. If you don’t like a song, there are million others waiting to catch your attention.
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shaviswa
April 2, 2020
Have to appreciate your patience. You have to see lousy films and review them, try to see what is positive in those duds; listen to past-his-prime music composers and still try to figure out what works while you are actually wondering if any of the past magic is still left with the composer. And then you are also reviewing it and trying to express your disappointment in a very subtle way. 😀
I have given up film music these days. It is almost impossible to come across a good song these days – in any language.
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TamilThanos
April 2, 2020
Wow, we are doing audio reviews now? Don’t start with “First Look” reviews, Baddy.
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Devarsi Ghosh
April 3, 2020
BR, you should take up more movie soundtracks, at least the epoch-defining or path-breaking ones from the past, and write about them with such style, ease, and dare I say, swagger.
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brangan
April 3, 2020
TamilThanos: I used to do a lot of audio reviews. Do check out the Music categories if interested…
shaviswa: I have given up film music these days. It is almost impossible to come across a good song these days – in any language.
Maybe that’s the difference between us. I am a cynic when it comes to people and politics, but when it comes to art — books, music, movies, anything — I still am a huge optimist. I look forward to films, to music albums. I look forward to listening to them, absorbing them, taking them apart and seeing what makes them work (or not).
If you don’t have that optimism — i.e., if you are a cynic — it is impossible to do this job.
The point is twofold, and each of these two points is very important for me:
One, what has the artist tried to do?
Two, whether he/she has achieved this end goal…
The first one is a question of intent and of form.
The second one is of content and execution.
And BOTH are of equal importance for me. Even with Raja or MSV or SD Burman or whoever, there are many songs I don’t particularly like to keep listening to, but I love what they have tried to do, I love picking the song apart to see what’s inside it…
And I love writing about this process.
So thank you, but I really don’t need someone to “appreciate my patience” 🙂 Even if I had been working in IT, I would have still listened to this album a few times, done what I did in this review — only, I wouldn’t have WRITTEN about it 🙂
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Madan
April 3, 2020
” I am a cynic when it comes to people and politics, but when it comes to art — books, music, movies, anything — I still am a huge optimist.” – You have it exactly right, BR. It’s the world that’s upside down. Endlessly optimistic about insert favourite demagogue name and endlessly pessimistic about the sincere endeavours of great artists.
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rsylviana
April 3, 2020
Maybe we should just accept that creativity is a young man’s game, and not berate ourselves over not being arivali enough to appreciate his creative genius.
Damn, thats a very extreme POV to take don’t you think?
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KS
April 3, 2020
@BaradwajRangan:
You always talk about this aspect, where you judge a film based on what it wants to be. I’m not very clear how it works. Doesn’t this involve your own (possibly flawed) assumptions about the intentions of the movie that may come in the way of seeing it for what it is?
Is that just about looking for ideas or themes that haven’t been explored to satisfaction? I guess that could work, though even there I’m unsure. In simple genre movies, maybe the assumption based on the genre is a safe one. If a film advertises itself as a horror story, its not far-fetched to expect scares. Even there, its possible that the advertising is a gimmick and the film wants to surprise you with something else. Now take Kill Bill. Its an example of a movie where we get a reasonable idea of what the movie wants to be, and it does the job brilliantly. Take Inception, again we have a reasonable idea of its intent, but personally I didn’t find it to be compellingly executed.
But suppose you’re watching, say, a Coen brothers movie for the first time. On what basis do you judge what the movie wants to do? If a movie subverts genres, slips across themes, or is intentionally random and bizarre to a point where you aren’t sure what its trying to do, does that make it bad? I still don’t know what Pulp Fiction is about or if it achieved what it set out to do, even after reading all those fancy theories on reddit. But I still found it to be a fun and compelling watch.
@Shaviswa:
“I have given up film music these days. It is almost impossible to come across a good song these days – in any language.” You remind me of that old lady in the athichudi song screaming about how music sucks now, unlike in the old days 🙂
While its true that there has been no one undisputed successor to ARR’s pedestal, we have been gifted some great work by many. Harris and Yuvan were excellent for much of the 2000s and even the next decade. These days, it might be fashionable to be an auteur and diss Anirudh, but he has given many great songs. So there’s still hope, and we needn’t reach the stage of the grumpy old man as yet.
@Madan:
All said and done, the reality is that a demagogue is often capable of making a much bigger difference in peoples lives. Its a different matter that they are crooks, but one still holds out hope since the stakes are big. As for art, its just timepass. Artists are often too full of themselves, fancying their art as changing the world, making people realize their humanity, and all that jazz. But the reality is that they are just tiny beautiful distractions while you take a short break from real life. Most people aren’t that demanding of the quality. If you don’t get a cigarette, even a beedi would do the job.
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Madan
April 3, 2020
“the reality is that a demagogue is often capable of making a much bigger difference in peoples lives.” – Evidently…
“Its a different matter that they are crooks,” – No, that is all important!
” but one still holds out hope since the stakes are big.” – Holding them to account would be rather more useful but history does not give much cause for optimism on that count either.
“Artists are often too full of themselves” – So why bother consuming art when you evidently dislike artists? You no longer need art for what you call timepass.
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Devarsi Ghosh
April 3, 2020
Maybe we should just accept that creativity is a young man’s game, and not berate ourselves over not being arivali enough to appreciate his creative genius.
Dei, come up North (read: Bombay), and young people are making some of the worst music in Indian cinema’s entire history.
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Devarsi Ghosh
April 3, 2020
Should be clear: By “worst”, I mean backward-looking, not progressive, stale, cliched and tiresome.
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Madan
April 4, 2020
“young people are making some of the worst music in Indian cinema’s entire history.” – Two middle aged Marathi brothers are probably making the best Hindi music of the current lot. Though…they tend to dress up everything until all scores sound like Raja’s Hey Ram score.
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Tambi Dude
April 4, 2020
“Dei, come up North (read: Bombay), and young people are making some of the worst music in Indian cinema’s entire history.”
Worse than 1980s Bollywood music. !!!!
That’s tough to beat.
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sai16vicky
April 5, 2020
@Madan: Oh, I love Ajay-Atul! They have a very Raja-esque touch but their (core) work is still very original. If I had pick someone in the line of RDB, Raja, Rahman, I would go with Amit Trivedi and Ajay-Atul.
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Madan
April 5, 2020
“If I had pick someone in the line of RDB, Raja, Rahman, I would go with Amit Trivedi and Ajay-Atul.”
Agreed with both choices.
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brangan
April 5, 2020
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brangan
April 5, 2020
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brangan
April 5, 2020
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brangan
April 5, 2020
Just put out these two superb songs our there as examples of what we say about ARR – slow poison, takes a few listens to FULLY GET, no easy hooks, meandering melodic lines…
But it works instantly — at least for me. (Niladri Kumar is the composer.)
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Madan
April 5, 2020
BR: Thanks for sharing these. Some may scream blasphemy but Aahista to me is like a modern update of MM’s Dil Dhoondta Hai (solo version, that comes in the beginning of the film). The meandering format masks the intense loneliness and longing underlining both songs.
Something very interesting going on with the time sigs of Tum (mukda). Will check out later when I am beside the keyboard again. Niladri Kumar managed Atif surprisingly well, shutting out some trademark annoying gestures he tends to use. Beautiful antara too.
This sounds like it must be a great soundtrack overall. It’s so sad that when the film sinks, the music is forgotten too. I had no idea Laila Majnu had such a good soundtrack.
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brangan
April 5, 2020
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brangan
April 5, 2020
This is the album’s most ‘conventional’ song — and even THIS is so good 🙂
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Madan
April 5, 2020
Yes, also very nice, beautiful antara again. Wow, this must be one of the most beautiful Hindi film music albums in the entire decade and I never heard it until today!
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hakimokimo
April 5, 2020
BR, By sharing those songs you give another perspective about the role of the director/makers in producing good music
Here the man is Imtiaz Ali who got the best from Rahman, Pritam and even Niladri.
Did you listen to the album of Love Aaj Kal? Terrific album, the best of the year so far. (people don’t bother to give Pritam any credit because of his past though he is really on the top since 2016 )
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brangan
April 5, 2020
hakimokimo: Oh, I love Pritam’s music in the last decade. And yes, LAK is a super-super soundtrack.
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Madan
April 5, 2020
OK then, that’s next in the to-do list for me. 😉 I didn’t fancy the original LAK soundtrack but I really liked JWM, even after finding out about how some of the songs were copied. 🙂
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brangan
April 5, 2020
Madan: I am not a great fan of the music of LAK 1, either. It;’s nice. I think Imtiaz was a little hit-and-miss with his music at first. He’d have some great song ideas (see song 1 below, a confessional type situation) — but he wouldn’t always push for great songs. But imagine getting the second song below from Himesh (who isn’t bad, but REALLY has to be pushed).
But as his writing got denser — ROCKSTAR onwards — and HE found his voice, I think his music found its voice, too. The ROCKSTAR situations are so specific, compared to LAK! Similarly, HIGHWAY, etc.
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Madan
April 5, 2020
Those are both good songs while not amazing either. I think basically the kind of films he makes lend themselves to at least decent music. If the movies have well etched out characters, it gives more scope to the music director/lyricist also to write songs about them. In LAK1, the problem was the songs were mostly too commercial. It’s like Imtiaz wanted a big bang hit to follow the sleeper hit of JWM. It was a story that had potential but the telling was not compelling, nor the acting and this hurt the songs too.
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sai16vicky
April 5, 2020
@BR: Thanks for that ‘Agar Tum Saath Ho’ link 🙂 I remember posting this when it came out:
“There are music composers. There are music directors. There are musicians. Then, there is Rahman!”
I, for one, would consider myself eternally blessed if he just continued to making songs like that. But then, that would be like domesticating an artist for my own pleasure.
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pirhaksar
April 9, 2020
I am actually enjoying 99 songs for a change. They are not path breaking sure, but there is enough in it to get the Rahmaniac in me smiling again after those atrocious commercial Vijay films recently – I so wish he never does another mass star film again. Rahman is definitely in his last inning as a composer having hit a creative plateau about 4/5 years ago. I am sure he is aware too given the pivot to concerts, producing etc, he is more a businessman now like SRK. Coming back to his music, collabs with Ali were terrific, loved Rockstar and even Highway and Tamaasha albums were great even though they weren’t chartbusters. In this period, my favorite is Raanjhana and I am very excited to know he is working with Anand Rai again. I of course always look forward to and enjoy his collabs with Mani and Shankar.
I have not been following the hindi scene much so no idea who Ajay-Atul is, going to give them a try. I do agree Amit Trivedi is impressive, enjoyed his Manmarziyaan very much, terrific soundtrack. Don’t think much of Anirudh or SaNa except for the occasional ear worm. I like some of Shaan Rahman and Gopi Sundar’s Malayalam songs. There are other composers who have a good film or two in telugu/tamil but then fade away or not consistent. Remains to be seen who will emerge as the next great one…..
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vijay
April 12, 2020
Forget Rahman. How many of the current MDs songs you can both like and admire?
That’s what I thought.
“I am a cynic when it comes to people and politics, but when it comes to art — books, music, movies, anything — I still am a huge optimist.”
Given your profession, do you have any other choice? If you give up, who will pen the reviews? 🙂
There has to be some promise held out, even to be optimistic. I simply don’t see it. TFM/HFM is bad and the US pop scene is even more shittier. It has been like that since the 90s.
28 years after Rahman came we are still looking for somebody else like him while reviewing his recent jaded soundtracks in the hope of unearthing a gem here or a gem there.. That sums up the story.
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Madan
April 12, 2020
” TFM/HFM is bad and the US pop scene is even more shittier. It has been like that since the 90s.” – Those are the wrong places to look too. Marathi film music has not given up on melody, for instance. The British music scene is definitely more interesting than US pop. You’re talking 90s but US pop has USUALLY been boring for a long, long time.
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brangan
April 12, 2020
vijay: No. You have it wrong.
I am not saying: I am in this field and therefore I am an optimist about art.
I am saying: Because I am an optimist about art, I choose to be in this field.
It’s VERY hard to do this job if you do not fundamentally LIKE the process of doing it week in, week out. You cannot fake passion in your writing. If you don’t “feel” it, it will come through.
And I’m sorry, there are many, many people making good to great music in Hindi and Tamil — LAILA MAJNU and ENAI NOKKI PAAYUM THOTTA are just two examples of music that gave me great joy.
If I gave up and did not expect to feel that joy again — basically, if I just turned cynical and said “it’s all crap” — I would be doing something else.
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vijay
April 12, 2020
BR, again you are talking about isolated, one-off examples. I can list plenty like these from the 80s/90s also from second-tier composers. I am talking about a phenomenal talent creating consistently good music or giving us something we haven’t heard before. Somebody who could collectively capture the imagination of a lot of folks like ARR did in the 90s. Somebody who consistently brings something fresh to the table in terms of approach, ideas,technique. 20-30 yrs back you could list 20-30 darn good soundtracks from a single year. And sometimes, from even a single MD. Could you do that now in TFM? Or even HFM?
I am hard-pressed to find 20 SONGS, forget 20 soundtracks.
BTW, I am not commenting on the passion for writing. You have to review bad soundtracks with passion as well as that’s what you do. My point is on “being an optimist” part.
I disagree that TFM/HFM has given us a lot of exciting groundbreaking stuff in the last 15 years to be really excited about. There will always be outliers. But composers keep coming and going. Lot of one-off wonders, they fizzle out quickly. Santosh Narayan already seems to have run out of his bag of tricks and he is not even 50 soundtracks old I think. (Not that whatever he composed earlier were all classics) How many soundtracks of his or Anirudh or any of the new gen Y composers would you revisit , soundtracks that really/move engage you? BTW, this has been the case since early 2000s, IMO, not a recent trend.
Madan, I can only comment within the domain of mainstream music in TFM/HFM/Pop.Those genres have given us great stuff in the past. If somebody in Germany or Assam is making great music, so be it, but I don’t listen to everything that is put out there. And I don’t rate composers very highly when they try to consciously emulate past legends, even if the songs are good to listen to. This goes for those Sairat guys
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vijay
April 12, 2020
And to add, what further dampens optimism is these trends of going song-less in films,or songs being used as just promo vehicles and not pictured, or multiple composers taking a shot each at composing a song(with re-recording being left to somebody else), or songs being used as fillers or as background music in the film and so on. You yourself have mentioned about Mani ratnam doing that in his recent films. I am not even going to talk about remixes and such. Fortunately in TFM, these trends are not yet prevalent, we still have one MD’s vision for all the songs and BGMs. But that may also change in the future. Considering the current target audience and their listening endurance/attention span, it makes you even less optimistic. When the stakes are less,when movies no longer depend on a soundtrack’s prior release and success for their eventual successful run,when they can sometimes even do without them altogether, where is the motivation to create something groundbreaking?
It feels like film music itself as a genre would die out slowly.. I hope I am wrong though
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brangan
April 12, 2020
vijay: I am talking about a phenomenal talent creating consistently good music or giving us something we haven’t heard before. Somebody who could collectively capture the imagination of a lot of folks like ARR did in the 90s.
Now, that’s a different topic. There is no argument here. I agree.
My point is simply that there are many songs/soundtracks from MANY people these days — as opposed to that ONE blazing talent. And I don’t have a problem with that.
As long as I get good songs, it doesn’t matter if the same person composed them or different people. This was a response to your statement that “TFM/HFM is bad” – and I don’t agree.
But again, yes. There is no one torchbearer / leader — and given how music is used today, there will never be that kind of dominance again. ARR was the last.
The minute music became “YouTube singles”, it got separated from being an integral part of the movie — it became mainly promotional material. The landscape itself has changed and I do not see another dominant No.1 happening again.
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abishekspeare
December 9, 2021
Listening to attangi re songs I got this feeling after a long time: something that’s experimental/different but also catchy. Feels like rahman finally struck that balance of sound landscape+easy on ear throughout the album and not just in a few songs
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Aman Basha
December 9, 2021
After Dil Bechara, Atrangi Re is another good album (which, due to the drought in Hindi Film Music, will automatically be elevated to great). The crown jewel of this one IMO is Tere Rang, where Rahman emulates Naushad and Madhuban mein Radhika nache re:
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