The name of A.R Rahman is sufficient enough to raise the expectations and status of any entertainer. Despite off-beat subject and low face value, a multiplex entertainer titled JHOOTHA HI SAHI has garnered major attention in Bollywood musical circuits. Unlike some recent hi-profile musical releases like RAAVAN or ROBOT, with average results, this album works more on writer-cum-director Abbas Tyrewala's creative skills rather than on the flick's grandiloquent commercial value or big star status. Inspired by an array of young and promising actors, it promises frothy entertainer for urbane youth with the flair of Rahman's hot "n" happening music. Can JHOOTHA HI SAHI be the one big-shot that can make things going for maestro Rahman? Does the magical grace of A.R Rahman be the driving force in making this album as the most likable thing in low profile entertainer? Let's talk "sach" (truth) and get into its musical facts...
To woo popcorn entertainer loving genre, the first composition comes in Hinglish overtones with "yuppie" friendly cheeky one-liners with fun-filled cheeriness in "Cry Cry". This Rashid Ali's soft voiced crooned number in sluggish mode has conceptual brainwave of Bobby McFerrin's popular song "Don't Worry, Be Happy" but arrangements are conventionally soft-rock and feel is Bollywood-ishly urbane. Rehman's composition is suave and caring as it carries the carefree youthful feel with blend of soft-rock-cum-jazzy tones. It extrudes out as delectable duet with slender Shreya Ghoshal adding her nimble-touched vocals to grace out feminine emotions in the latter half. Abbas Tyrewala's songwriting is too conceptual in thoughts and lacks the desired perkiness that could have made it one fun-loving soundtrack. Against all odds, it's a decent effort (if not mind-blowing) to sensitize out the cheerfully positive mindset and it's on-screen display will be an added feature in narrative flows of the flick.
Family traditions, designer wear outfits, garish settings, synchronized "Garbha" dancing and to make them work together, there is scintillating family feast with Indian ethnicity of Lord Krishna's childhood folklores attached to it in cherubic sounding "Maiyya Yashodha". After composing out a moderate sounding "Mann Mohana" (JODHA AKBAR -2007), Rahman improvises his efforts and pumps in loads of folksy energy in this merry-making track.
Its first version "Maiyya Yashodha (Jamuna Mix)" is beatific "jugalbandi" of traditional Indian instrumentals with enchanting flute notes and harmonized "sitar" displays as its most likable attributes. Javed Ali's yelling vocals are perfect and so is Chinmayi's peculiar willowy voice that melts with the gushing flows of energizing arrangements. Abbas Tyrewala's conceptual thinking in writing has semblance with "Maiyya Yashodha (HUM SAATH SAATH HAIN -1999)" but lyrical flows are now engaging as well as lovable in "easy-on-ears" verses. Rehman's class is visible in control over traditional Indian instrumentals and in tuneful setting of vocals with appealing wordings, adding to the visual grace.
"Maiyya Yashodha (Thames Mix)" is alluring for disco-beat culture listeners and works like typical "club-remix" with extra-enthused fillers, beat-juggles, echoing flute notes in its animated displays. It swivels mood completely and transforms "Garbha" night into discotheque delights and carries the desired zest to make you shake booty on floors. As predicted and presumed from its catchiness and frolicsome thrust, it's likable to be first-choice in promos and has already made its daunting impact on ears. Enthralling!!!
Symbolic old-fashioned telephone as flick's poster-boy gets its conceptual musical footage in Karthik's low pitched mellowed singing in "Hello Hello". Grounded with funky electronic tunes and telephone trin-trin sounds, it comes out in the format of a background score, epitomizing out the finicky mindset of the protagonist about changing phases of love, life and its connection with telephonic rings and conversations. Tyrewala's wordings works like a monologue for the protagonist working as telephone operator while Rahman's composition is logically situational in varying melodic textures. Nothing spectacular in its composition but still thematically inclined to the theme, it works strictly for situational needs and is another civilized addition to the show.
A.R. Rahman as maestro arrives...finally! Harmonized symphony, expressively synchronized orchestration and soulful vocals, a beautiful collage of dignified musical exhibit delivers out an undying magical spell of emotions in "Do Nishanniyan". Sonu Nigam's poignantly communicative vocalizations sublime myriad shades of emotions in lighter tonality of nimble-touched sounds and rhythms, a beautiful hearing piece for melody-loving ears. Rahman's master-class is exemplified to perfection in the ensemble of philharmonic instrumental sounds that are tuned to excellence in sound engineering antics with the brilliance of creatively poetic wordings. Sonu Nigam is superlatively perfect in low octave singing and brings out textures and shades of heartrending emotions in his varying tones. Abbas Tyrewala scores brawny points in those touching wordings -("Kis ki nawazish hui rookhi si zindagi par, Halki si baarish hui sookhi si zindagi par, Hai khauf ke na chura le koi kal, Mere aasmaan se yeh chori ke baadal, Churaye se meherbaaniyan, Mere chehre ki do nishaaniyan...)- that are not only poetically meaningful but also thematically inclined and works as theme track for the flick.
"Do Nishanniyan (Heartbreak Reprise)" is slower brief version that impresses to hilt and makes another worthy attribute to this lively musical show. For all Rahmanics, this soulful melody is something to cherish for years and quality addition to his long listing of soul-enchanting soundtracks. Soulful!!!
After some mellifluous quality singing act by Sonu Nigam, Rahman picks up his another ace in the form of Shreya Ghoshal to shoulder out cherubically "girlie" fun-filled track in "Pam Para". To emote out the heart-felt emotions of girl-in-love in telephonic conversation. Shreya jesters it more with repetitive chorus singing that are recurring as well as loud at places. It falls somewhere in between "Aye Bacchu" and "Latoo" (GHAJINI -2008) with strong 60's jazzy party feel attached to it. This time the composer has been extra-experimental in packing wackiness over zestful energy and the output is above average and situational.
To please out international listeners and add innovative romantic feel, Rahman touches an unconventional and least accepted musical genre (in Bollywood) of conventional jazz music in "I'll be waiting for you". Vijay Yesudas's pensive voice narrates out the eager anticipation of lovable communion in lovely moonlight with his innocent heartfelt emotions melting out in Hinglish wordings. Soft drums, saxophone notes and light piano drills are at the helm of affairs and together they support the romantic jazzy feel. Vijay's sincere effort is laudable but still the composition sounds more restricted to small sect of listeners and another situational background score for the flick.
To listeners and readers surprise, it might be pointed out that JHOOTHA HI SAHI was earlier titled as CALL ME DIL and it has all justification as the last attribute "Call me Dil" gist out the theme of the flick in simple wordings. Light-hearted guitar strumming gives a breezy welcome to the track in typical 60's archetypical rock number with lively pitched wordings. Rashid Ali's slender voice is soothing and mixes well into the contours of soft-rock mode music that talk about the "real" identity of the protagonist as true lover to his beloved. Rahman's jingle based composition is lovable and has that youthful yore that can be played again and again on delightful youthful feast or bonfire nights. This mellowed "n" spunky number is significantly penned to emote out the touching romantic feel and is rhythmically perfect to the situation. Rashid's voice is bliss and so are Rahman's modest arrangements that play suave and simple in its pleasing composition. Lovable!!!
JHOOTHA HI SAHI is an above average affair and has its share of successes in couple of soundtracks. It cannot be termed as the finest of the maestro but still redeems hopes of making its presence felt in tracks like "Maiyya Yashodha (Jamuna Mix)", "Do Nishanniyan" and "Call Me Dil". After getting mixed responses in recently released RAAVAN and ROBOT (Superhit in Tamil, average in Hindi), Rahman delivers out another reasonably good album that should be a catalyzing factor in the flick's narration, but still nothing spectacularly chartbusting about it.