The soundtrack of Aamir Khan's forthcoming film, GHAJINI, marks the return of maestro A.R. Rahman for the fifth time in 2008. Needless to say, he's had himself a very prolific year. What is even more astounding are the towering heights of musical superiority that he has showcased and maintained throughout the year. Mentioning that A.R. Rahman is a class apart would be an understatement.

In January we experienced the deliverance of one of Rahman's most ethereal and epic soundtracks to date - Jodha-Akbar. Fast-forward to May, and we were caught off-guard by a diminutive project titled Ada...A Way of Life, which boasted of a playfully nostalgic Rahman. A couple days later, we were softly caressed by the youthfully poignant Jaane Tu...Ya Jaane Na. Continuing his remarkable trend of excellence, October witnessed the delectable sounds of Rahman smudged synergistically within today's commercial genres. While each work distinctively showcased a wide-array of tones and styles, they all succeeded in preserving Rahman's signature touch..."Vintage Rahman" as its come to be known.

However, the streak ends with Ghajini.

Guzarish opens with the soothing hums of Sonu Nigam, who features as guest vocalist. He sets things up for an extremely breezy composition. Reminiscent of a sluggish Euro dance mix, Rahman superimposes a fetching melody courtesy the vocals of Rahman's newfound favorite, Javed Ali. Rahman spices the arrangements up with certain Arabic percussions/strings. On the whole, he tends to stick with a uni-rhythmic composition. All in all, the song is appeasing for the first 4-5 exposures and will slowly begin to fade soon after.

Aye Bachchu is Rahman like we've hardly ever heard before! With metal influences, the song carries with it a high-level of attitude thanks to the use of the distortion and lead guitars that feature all-across this invigorating track. Rahman's melody is a sneaky one. Initial reactions may be that the melody is too loud and over-active. However, with just a few more exposures it becomes highly engrossing. Suzanne D'Mello's hyperactive vocals fit the piece flawlessly, while Joshi's words pack just as much punch as the voice singing them. Verdict: Although far from the spectacular heights of A.R. Rahman, the number is surprisingly attractive at face value.

Kaise Mujhe is Ghajini's strongest offering, with a hauntingly poetic melody by Rahman and some bewitchingly romantic lyrics penned by Prasoon Joshi. In the backgrounds, Rahman sticks with arrangements that are highly percussion and drum-centric (reminiscent of the styles of Monty Sharma). He adequately limits the arrangements to place more importance on the composition's physical presence, which is soulfully inhabited by Benny Dayal and Shreya Ghoshal. The pair renders a stunning duet. Rahman's instrumental highlights, which include sitar, clean guitar, strings, oboe, and piano to name a few, serve as the aesthetic icing on this very ornate cake.

Behka introduces a lounge-esque flavor into Ghajini. Despite a valiant effort to stir up new musical emotions, Behka fails to hold your attention. The arrangements are your run-of-the-mill stuff with the horn and sax riffs doing little to class things up. Rahman's melody has its moments, yet lacks the Rahmantic brilliance that we've come to love and admire. Vocalist Karthik and lyricist Prasoon Joshi do justice to their roles. Verdict: Albeit a decent composition, Rahman is unsuccessful in scratching beneath the surface to inject his trademark ingenuity.

The mediocrity continues with Latoo. Rahman provides us with another depthless composition that's all show and no go. Lined with pounding beats and acoustic dance styles, Rahman provides little space for creative interjection, placing all the more emphasis on melodic value. Unfortunately, the melodic riffs are unsustainable in their attempts to continually earn your attention. Not to mention the endless chorus lines, which begin to grind on your nerves. That being said, Shreya Ghoshal is spectacular with her performance, pouring just the right amount of electricity into her rendition. Verdict: Should make for a nice show on screen...nothing more.

The soundtrack closes with the instrumental reprisal of Kaise Mujhe, the best track on the lot (and obviously Rahman feels the same way since he's chosen to reprise it). Although the arrangements remain idle and unchanged, the piano layered acoustics and flute do a ravishing job in expressing even the slightest of nuances in Rahman's masterful melody. I only wish we were blessed to hear more of vintage Rahman in the rest of Ghajini.

With only one truly soul-stirring composition (Kaise Mujhe), it is safe to say that Ghajini derails Rahman's excellent record in 2008. Despite a superficially appeasing album, Rahman is incapable of delving deeper into his sound to expose the soul...the beauty...the poetry that is his music. The mysterious X factor that has made Rahman a living legend has surreptitiously vanished amidst the thumping harmonies and brisk melodies of Ghajini. We can only wait until it returns to once again ravish us...sooth us...bless us...

It's not just his directorial debut in Bollywood, but the first time we see Murugadoss and Rahman gearing up together (they hadn't teamed up for Kollywood projects). Tamil version of Ghajini had Harris Jayaraj tuning in laudable melodies and maestro strides with his own élan in the remake. The album comprises of 6 numbers with a duet, an instrumentals and rest of solos…

Guzarish – Elegance unveiled  Listen here

Singers: Javed Ali, Sonu Nigam

Perhaps, with the sensational promos continually screened all over, 'Guzarish' should've really grabbed everyone's senses much before audio hitting the markets. All praises for Javed Ali as he turns entire glares with huskily-toned voice. Right from alpha; with his mesmerizing hum, Javed carries off the entire song with his plushy intonations. Well, does the song possesses Rahman's USPs? Obviously, synthesized-beats aren't so catchy. But don't miss the fantastic vistas of transfixing vocals filled-in and mandolin played by Seenu. Overall, it's a song that'll go straight into everyone's stereos and Ipods undeleted for long time.

Aye Bachchu – Suzanne's show Listen here

Singers: Suzanne

Hah! It's a bedazing piece from Suzanne. Her style of vocalizing illustrates her unstrained approach on rendering this song. Of course, she impinges on with her bold voice that more or less goes the same as Sunidhi Chauhan. Awesome indeed, the rhythmic notes on lead guitars by Ivan, Neil and Sanjeev make it happen as a live concert of western rock (but not the best as Shankar-Ehasan-Loy's score on guitar in Rock On).  Srinivas' supervising on Suzanne's shifting of paradigms of vocalisms are over-the-top and somewhat noteworthy. Beguiling combos of percussions, guitars and fill-ins of single notes on bass instruments make the show more lavish. On the dot, Rahman seems to have coalesced Madonna's style of voice and rhythmic patterns that sounds alike ones in Backstreet Boys.

Kaise Mujhe – Heart-binding duet Listen here

Singers: Benny Dayal, Shreya Ghosal

Its synthesized harpsichords and fortepiano played on interlude with simple percussions mingled in the following seconds. With Andante cantabile set on rhythms, it's a melodious duet rendered by Benny Dayal and Shreya Ghosal. Well, both singers and brightly-spotted instruments tantamount and song would peak to the best once it goes on visuals. Nevertheless, this isn't as extraordinary from the trio Benny Dayal-Shreya Ghosal-Rahman as with 'Tu Hi Meri Dost' in Yuvvraaj.

Bekha – Off an unusual panache Listen here

Singer: Karthik

And again, the teasers are sure to have got the tunes lined in your minds. Bekha seems to be appearing on the screens as young lad falls for the beauteous missy. As the courtesy goes, couple of samples on rhythmic tunes seems to have been picked from samples4.com. Martin's booming saxophone adds rich colors to the tango-typed rhythms. The entire song is about Karthik's ostentatious modulations on tongue-twisting words that have been fabulously enunciated. Saxophone, trombones, strings and piano keeps flowing simultaneously for the complete 5mins. Yeah! Getting to watch Aamir Khan in 6 different stylish get-ups should again make it more pop.

Latoo – Middling on all vistas Listen here

Singer: Shreya Ghosal

Be it style, rhythms or kind of sound; nothing sounds the best as other numbers. Possibly, lets us doubt is it straight from the shoulders of Rahman? Nothing of his archetypal elegance is spotted other than choral vocalisms of Tanvi, Sakthi, Anisha and Suvi along with Benny, Karthik and Tippu. Shreya Ghosal's decent efforts look more appealing and Pravin Mani's English lyrics with atypical rhythms may sound more in disco floors.

Kaise Mujhe (Instrumental) – All praises for Kiran Listen here

Symphonious instrumentals of classic 'n' western styles mingled get us for a soothing ride of melodious tune. Fine! It's Kiran's flute that eclipses every bits of tunes including Shreya's voice in the second minute of song. Perhaps, Neil Mukherji's pleasant-sounding notes on guitars accompanies for making it more glistening. Interlude in the initial seconds played reminds us one of Rahman's recent tunes in Tamil (similar to 'I Miss You Da' from Sakkarakatti). Exquisitely as background scoring, the instrumental may enhance the emotional feel on screens.

On the whole, Rahman's musical on 'Ghajini' looks quite middling as compared with his trenchant work in 'Yuvvraaj'. Indeed, amongst all his ventures with Aamir Khan, the melodies spelled by maestro aren't attention-getting. With promos continually hitting the screens of television round the clocks, Aamir Khan would extend his brilliant tactics and make the songs topping out.

Trade analysts say Ghajini has biggest advance opening in years!

Aamir Khan's Ghajini releases today. Trade analysts says that the film has created a record of sorts. For the first time in multiplex history, the film has opened to fifty per cent in advance booking.

 
Aamir wanted to ensure that the audiences rushed to the theatres because the film has been sold at a high price for 90 crores.

Percentage in profits

Even though it is not his home production, Aamir stands to benefit if the film does well as he has a percentage in the profit of the film.

Vikas Mohan, editor for trade magazine Super Cinema explains the film's stupendous opening, "It is the best period to release the film after Diwali, because of Christmas and New Year." When quizzed if the recent terror attacks would impact the film, he adds, "Credit for that should still go to Shah Rukh Khan because warmed the audiences up with Rab Ne Bana Di Jodi and now Aamir has come for the final blow. The opening of the film is sensational and with the extended weekend that Aamir gets with this film, will be more than fruitful."

Trade analyst Komal Nahata says, "The promotion of the film has been outstanding right from the teaser promo to the last one. The advance booking too has been exceptional, and it has happened after a very long time. There are going to be earthquakes in cinemas nationwide starting tomorrow."  

 

Aamir Khan says, "I am getting the reports that the advance bookings are very good. This is very encouraging for not only us but also the entire industry as advance bookings had almost vanished off late and only current bookings would happen. It means people are very excited about the film. We have worked hard on the film and I hope audiences like it