The following is an interesting mix of two soundtracks and the kind of pattern they follow - different from each other in scale and instruments but yet so near to each other in their design. So near, that if it was not for scale they could have overlapped and we wouldn't even know. Its almost like the disciple has given a tribute to his master. The way Kill Bill series is to all the movies that Tarantino must have seen while growing up. And how Vishal-ji, a Tarantino fan gives him a cute-little tribute in 'The Blue Umbrella' - 'Saanp apne bill mei jaake Kill Bill-Kill Bill karne laga' and the frame splits into three with Bindiya jumping with the Umbrella in her hand, the way the Bride had held the sword!
The soundtrack that will be heard first is called 'Yeh Pal' from the recently released film 'No One Killed Jessica' (which I think is already the album of the year). It is performed by the talented Shilpa Rao and composed by Amit Trivedi. At the outset, I am a head-over-heels fan of Trivedi's music and since last many years have of course religiously followed Rahman. And I am sure Trivedi himself is head-over-heels in love with Rahman's music. Now 'Yeh Pal', the later part of the soundtrack got me hooked and reminded me of something that Rahman did a decade and a half ago and how Trivedi has actually in a way followed his icon and created something so original and yet so true to what Rahman created then. I got both the tracks together and dragged it on to the same timeline. It got me some interesting results. (The way we used to do in those smelly chemistry laboratories - mix some sodium sulphate with chloride and heat it on a burner for 30 seconds!).
Hear this concoction and we discuss further. The black screen will have some text appear - so keep your ears plugged to the headphones and intermittently do give a read.
I would recommend the reader to hear both the soundtracks from the start and one will realize the design. They both start slow with a female dusky voice taking the lead and gradually the soundtracks get launched into what you just heard. In case of 'Taal' the brief that might have gone to Rahman was 'It is a musical extravaganza' and thus he got together one of his best arrangements - right from the keys of harmonium to the digital beep. Trivedi too ends up doing with total style by adding the zing from his another soundtrack from the same album: 'Zaar zaar Aitbaar', the way 'Ishq Bina' was re-done for the second version. For fans of Trivedi, I have discussed 'Aetbaar' at length here.
Its only when we listen to Amit Trivedi's music that we realize the kind of subtle change, the man is bringing in the kind of music that we or maybe I have grown up listening to. Sounds from 'Haara' of Aamir, 'Nayan Tarse' of DevD, 'Shaam' of Aisha, 'Aazaadiyan' and 'Naav' from Udaan and 'Aitbaar' from No One…. haven't been heard during all my growing up years with music. It's like back in 1993, when we heard the flute of 'Chotti si Aasha' from Roja, we realized what we had been missing. Its a similar feeling when we hear the violence in Haara. More power to him.
The title of the post is of course 'copied' from a wonderful website that is doing awesome work on the movies. Source: Dev Benegal's tweet. And if you are a fan of movies, then this is something you will relish. Enjoy!
Everything is a Remix!
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