It’s heartening to see Rahman approach Raunaq not as an experimental non-film album, but as a regular film soundtrack, at least going by the tunes. It is also ironic that one of the album’s highlight – Kapil Sibal’s ‘poetry’ – is also its least obvious aspect. Kho jaayein hum explifies it best – musically minimal, with enticing, ambient sounds and shows that Kapil Sibal is no Gulzar. In Laadli, the ode to the girl child, Lata Mangeshkar has thankfully been troubled in a limited way, letting the ebullient chorus and backgrounds to do the magic. That sitar-led musical spike that has Rahman joining the chorus is a masterstroke! Sach kahoon flows like a breeze, the tune maintaining a frothy lightness all through, and accentuated by Chithra’s phenonemal vocals. Jonita carries her two songs – the somber, jazz-tinged Geet gaaoon and the very-filmy Aabhi jaa with a well laid-out musically extended intro, middle and climax – beautifully. The album’s best are Kismat se, where Shreya literally coos her way to a wonderfully pleasant melody and Mohit Chauhan’s Khatta meetha, a lively package, punctuated by catchy chorus and equally clever, addictive word play. Rahman provides more than adequate luster to this Raunaq.
Keywords: Raunaq, A R Rahman, Kapil Sibal, 200, #200
