Veer Zaara Music
Yash Chopraís Veer-Zaara is the latest
and the biggest talk of the tinsel town
currently. From its title, theme and cast to its
completion, the film has been an object of
constant media speculation. Getting straight to
the music of the film, which essentially is one
of the prime reasons why the film has been under
constant conjecture, itís now a known fact that
the film has music composed by yesteryear
maestro ?the late Madan Mohan.
The prolific composer had scored some of the
best and the biggest hits from the early 50ís to
the late 70ís. To refresh memories some of his
golden compositions include songs like Aap Ki
Nazron Ne Samjha (Anpadh), Kaun aaya mere man ke
dware (Dekh Kabira Roya), Woh bhooli dastan lo
phir yaad aa gayee (Sanjog), Naina barse rim
jhim (Woh Kaun Thi?), Ab tumhare hawale watan
saathiyon (Haqeeqat), Milo na tum to, Yeh duniya
yeh mehfil (Heer Ranjha), Dil Dhoondta Hai Phir
Wahi (Mausam) . Others may identify him as
the original composer of current remix tunes
like Jhumka Gira Re (Mera Saaya) and Kya
Soorat Hai (Man Mauji) .
The music legend who unfortunately passed away
at a young age had composed a bank of tunes
while he was still going great as a musician.
Yash Chopra specially selected those tunes from
this unused collection that went in perfect sync
with his movie theme. These 30-year-old eternal
tunes were recreated by Madan Mohanís son ?
Sanjeev Kohli and recorded in voice of
contemporary singers. Incidentally though both
Yash Chopra and Madan Mohan were from the same
era, they never worked together before this
album. (An example of a musicianís tunes being
used after he passed away is in case of 1942
?A love Story where RD Burmanís memorable
compositions were recreated by his erstwhile
assistant Babloo Chakrabarthy).
Over to Veer-Zaara?
The album opens with mellow string notes of the
track Tere Liye (the interludes of
which are currently aired in the promos of the
film). In the melodious vocals of Roop Kumar
Rathod and the evergreen Lata Mangeshkar, this
makes for a slow (but steady) start for the
album. This emotional track appears to be the
theme song of the Veer-Zaara, interludes
of which are usually played in the background at
several instances in the film. Lataís vocals do
tend to get somewhat sharp on treble notes but
overall the track refrains from getting to high
After a poignant start, the album takes a peppy
turn with Main Yahan Hoon. Udit
Narayan vibrates his voice and lends an
effervescent feel to his solo number. A typical
Shahrukh number, the song has a vivacious feel
Udit Narayan and Lata Mangeshkar get along for Yeh Hum Aa Gaye Hai
Kaha. Though the song title may sound
like an inversion of a track ?i>Yeh Kaha Aa
Gaye Hum?from one of Yash Chopraís earlier
films Silsila, the tune is far from it.
Nevertheless itís a melodious tune catching up
instantly. A refreshing romantic duet this may
turn out to be the most popular song of the
Gurdas Mann opens the fervent Punjabi flavored
Aisa Des Hai Mera and Udit Narayan
soon takes over the track. An inspiring song in
praise of the motherland, Javed Akhtar gets to
his usual best with his practical down-to-earth
lyrics. In fact rather than admiration of Des
(nation), the song is more targeted towards a
manís love for his village/town and its way of
life. Thematically it reminds of the song
Ghar Aaja Pardesi from Chopraís earlier film
DDLJ. Gurdas returns to add the
bhangra touch with interludes of Punjabi
folk tunes like Ye Desh Hai Veer Jawano Ka
and Reshmi Salwar Kurta Jaali Ka (also
used in yesteryear films) interspersed in
between. Lata Mangeshkar makes a late appearance
in the track and points out how similar is the
neighboring country (Pakistan) with this des
(India). Small time singer Preetha Mazumdar also
gets to croon a few lines in the song and
incidentally is the only other female voice
(after Lata Mangeshkar) in this album.
Do Pal by Sonu Nigam and Lata
Mangeshkar is a touching track and essentially
has that touch of 60-70. The light metal
percussions (which were an essential element of
SD Burman compositions) make that more evident.
Yash Chopra goes beyond the microphone for the
first time in Kyun Hawa. But hold
on?he isnít singing but just gives a commentary
for the track. Faintly reminiscent of Amitabh
Bachchanís prologue in the song Yeh Kahan Aa
Gaye Hum (Silsila), Chopraís heavy-worded
foreword seems to be slightly stretched out by
the time Sonu and Lata Mangeshkar take charge of
Hum To Bhai Jaise Hain, a Lata
Mangeshkar solo is a fun-frolic song about ĎI
will be the way I am? A youthful and joyful
track as far as it lasts! Hussain brothers
(Ahmed and Mohd.) get together for a traditional
qawalli Aaya Tere Darr Par Deewana.
The tune is restricted within the conventional
qawalli domain with the customary tabla
arrangements and vocal pitch variations (and
without much experimentation). The song appears
be set in the climax of the movie.
Udit-Lata-Gurdas Mann get together once again
for the Punjabi track Lodi (which
stands for the Punjabi festival of fire).
Basically a male-female ched-chad song
with a frothy folk feel, it is in the lines of
Soni Soni Akhiyo Wali (Mohabbatein) .
Gurdas Mann dominates the track while Udit plays
the supporting singer here.
Two bonus tracks also feature on the CD in the sense that they wonít
appear in the film but have been recorded as
add-ons to the disc. Jagjit Singh and Lata
Mangeshkar feature in the mellow ghazal
Tum Paas Aa Rahe Ho while Jaane
Kyun is a soft and slow solo song by
Lata with a sonata thrown in between.
Veer-Zaara is a mixed bag varying from a
rich collection of love songs to emotional
tracks to a patriotic number, a qawalli, a folk
song and a ghazal. While the first half of the
album is instantly appealing the second half
will slowly grow on you. At the end the outcome
is pretty likeable.
Take a break from the world of techno music and
remix item numbers. Dip into divine melodies
with Veer-Zaara .