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   Music Review : Taare Zameen Par

 
 Taare Zameen Par
Director :
Music :

Lyrics :
Starring :
 Aamir Khan
 Shankar-Ehsaan-Loy, Shailendra Barve.
 Prasoon Joshi, Amol Gupte
 Aamir Khan, Tanay Chheda, Darsheel Safary, Tisca Chopra.

By Satyajit, Bollywood Trade News Network Send to Friend


TAARE ZAMEEN PAR“Dekho inhein yeh hain oas ki boondein, patton ki godh mein aasman se koodhein, Angdayee lein phir karwat badal kar, nazuk se moti, has de phisal kar, kho na jaye, taare zameen par”

These sweet-honey coated heart warming wordings are soulful ode to the never-ending fables of childhood that we still idolize in our adulthood. Prasoon Joshi’s immaculate command over expressions per phraseology coupled with Shankar Mahadevan’s “bright as sunshine” vocals delivers this gem of title track in “Taare Zameen Par”. The tinkling sounds of shining stars followed by subtle pitched arrangements (piano, violin, and vibraphone notes) creates scintillating astronomical view of endless stars making their ways. It delivers sparkling dollops of sweet-natured fairy tales encapsulating itself in a picturesque of harmonic and prosaic excellence that are delivered in pack of lovable couplets and rhymes.

Welcome to the world of melody in a playful child fiction musical genre where “masters of the business” are back with their best. Shankar Ehsaan Loy (SEL) once again shows their supremacy in the marquee by delivering the finest pack of musicals in this underprivileged genre of “child fiction”.

New entrant Raman Mahadevan has stylish country style of soft rock ballad “Kholo Kholo” up his sleeves where sauntering guitar riffs along with soft pitched synths and keyboard works makes splashes of all childhood antics. Raman’s sonorously refined vocals are sheer delight for ears while the countrified westernized rock arrangements prove to be worthy experiment.

After “Chanda Chamke” (FAANA), Aamir Khan gets into loud prankish, gibberish singing attire and sings his heart out with some quizzically jumbling one-liners for kid-listeners along with versatile Shaan in sprightly childish track “Bum Bum Bole”. Shaan is at its best, though the nature of track clubs itself into situational feel song but still it’s highly amusing in its wordings as well in its singing.

Vishal Dadlani emotes out ‘never-say-die” spirits for energized and animated kids into another kindergarten friendly lovable track “Jame Raho”. Enjoy some really frolicking wordings (“Ye omlet par hi jeete hain, ye tonic saare peete hain…”) with hi-pitched keyboard fillers and percussions that delivers “bolt from blue” intimidating impact.





It couldn’t have bigger for kid-entertainer as ten different voices (Shankar Mahadevan, Bugs Bhargava, Shankar Sachdev, Raaj Gopal Iyer, Ravi Khanwilker, Loy Mendonsa, Amole Gupte, Kiran Rao, Aamir Khan and Ram Madhvani) collage boisterously to deliver chaotic loud scolding effect in frenzied “Bheja Kum”. Like “Bum Bum Bole”, it’s catered to the desired situational feel where kids get a loud scolding from their superiors.

“Maa”, a soulful journey into heart of lonesome child brings another delightful solo treat by multitalented Shankar Mahadevan that epitomizes vicissitudes of his distressed childhood. It’s an outcry of motherless child who shares his sorrowful experiences and travesty in a simple baroque of wordings. Soul-Enchanting!!!

Amol Gupte, brainchild behind TAARE ZAMEEN PAR pens up a cheerful kindergarten choir track “Mera Jahaan”, where “castle in the sky” aspirations of innocent childhood take idealistic voyages. Guest composer Shailendra Barve impresses with his solitary offering where Adnan Sami stems up with emotional glee along with Auriel and Ananaya in the backdrop. The cute and cuddly childish choir by “Gleehive” gives it perfect “kindergarten” choir singing outlook that gels appreciably with inspiring vocals.

The finale “Ishaan’s Theme”, a supple piano instrumental brings the finesse of classical western music where emotions of the film take the route of modulating piano notes. It’s the trills of invigorating piano notes in a fluctuating mode played effectively that mesmerizes out the soul enchanting impact of the film and can well be cherished as conceptual back ground score for the film.

SEL succeeds appreciably in unraveling into child’s heart and mind and the soundtracks of TZP speak volumes about their finesse and flair. Prasoon Joshi can easily be awarded as “Best Lyricist” for the title track while Amol Gupte proves to be optimistic “think -tank” behind this thought provoking project. In nutshell, TZP stands out as the most admirable musical project in child-fiction segment where musicians, researchers, lyricists and technicians have contributed to their best.


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