Rahat Fateh Ali Khan is not the most media savvy of musicians. He usually keeps to himself and quietly works his magic in music. And now he's finally scored a major coup. He has sung for the upcoming Shah Rukh Khan starrer Om Shanti Om and the comeback movie of Madhuri Dixit, Aaja Nachle. Appearance on these prolific blockbusters boosts Rahat's profile. It must be remembered that though he has definitely made his mark in Bollywood, so far it has happened through hit numbers in flop films.
'Mann Ki Lagan' from the soundtrack of Pooja Bhatt's debut film produced by Shahi Hasan and Faisal Rafi launched Rahat in India. The film was crass Bollywood but the song was a gem. Rahat's popularity amplified with 'Jiya Dhadak Dhadak Jaaye'. Produced by Rohail Hyatt and again Faisal Rafi, the song was all Rahat needed to put his foot firmly in Bollywood. He got noticed by the big guns. Rahat went onto sing for Omkara, Jhoom Barabar Jhoom and Namastey London. These were high profile films and Rahat almost always walked away with the highest of praise.
On Jhoom Barabar Jhoom, Rahat came as much-needed relief on 'Bol Na Halke Halke' on an album that was dominated with 'jhooming' literally. Namastey London didn't do much for Rahat even though the movie fared well. But when you sing for a Shah Rukh Khan film, the equation changes in Bollywood.
'Jag Soona Soona Lage' for Om Shanti Om
The rat race between Om Shanti Om and Saawariya is on and their promos are running head to head on Indian channels. While Sanjay Leela Bhansali's drama boasts of soulful music to go with it's romantic story, Om Shanti Om, an ode to '70s cinema boasts of tongue in cheek, fun music. And Indian audiences have historically gone more for melodrama than for fun. To leand that weighty air to the soundtrack, enters the infallible Rahat Fateh Ali Khan and Om Shanti Om team is using his soulful number to boost the film .Shot on Shah Rukh Khan, 'Jag Soona Soona Lage' features a remorseful Shah Rukh and for once, you don't watch the screen for just Shah Rukh (as was the case with of Main Hoon Na) but for the song with equal attention.
The beginning for the first 30 seconds belongs to Richa Sharma who's very effective. But as soon as Rahat enters you take notice. Musically, this isn't the finest of songs. Its very filmi with Indian drums and heavy orchestra that is classic Bollywood. The effort behind this song is retro '70s but that doesn't really come across. The melody feels lost in the instrumentation, but Rahat, with his classical qawwali training is impossible to drown out. He sings from his heart and you can hear it when the words fall, 'Jag Soona Soona Lage/Koi Na Rahe Aapna'.
The duo behind the melody are Vishal-Shekhar who shot to fame with Dus and this movie is their big card in Bollywood. Going for Rahat was perhaps the smartest move they made.
Rahat conquers on Aaja Nachle with 'O Re Piya'
If 'Jag Soona Soona Lage' works solely on Rahat's shoulders, on Aaja Nachle, the musical duo of Salim-Sulaiman create a melody that matches the vocal virtuosity of Rahat. Everything on this song is just right. The melody, the whole qawwali feel, the lyrics (even if they are a tad clichéd) blend in impeccably.'O Re Piya' is easily the best Rahat Fateh Ali Khan song since 'Jiya Dhadak Dhadak Jaaye'. And no, not because it is as simple as the former. Indian music directors love instruments, the orchestra feel, the north Indian drums. 'O Re Piya' is different. It uses instruments intelligently and puts Rahat to his best. Most importantly, the melody is so powerful that it blows you away. 'O Re Piya' is instant addiction.
Starting off slowly on the power of a haunting flute, slowly guitars come and Rahat comes singing, 'O Re Piya Hai/Urna Laga Kyun/Man Bawla Rey/Aaya Kaha Se/Yeh Hosla Re/Jaahil Zamana/Dushman Mera Hai' and then suddenly there is that crescendo of instruments but it is brewed as brilliantly as that first cup of coffee that makes the caffeine kick in.
Soft yet strong, it's morbid without being weepy and it recognizes the power of Rahat, giving him room to play around. The hint of filmi-ness is restricted and comes and goes quickly that makes 'O Re Piya' a better track than 'Jag Soona Soona Lage'.
No Indian has been able to use Rahat as effectively as Salim-Sulaiman. These guys mostly do background scores. The only other film the composed for on a full-fledged scale was Kaal and hence, they have yet to fall prey to the trap of commercial Bollywood music.
Overall, Aaja Nachle has received mixed response because a Madhuri Dixit film needs extraordinary music and according to reviews, Aaja Nachle doesn't deliver 100 percent on that front. But here's the thing – with Rahat in tow, the composers have found redemption with 'O Re Piya'. Following in the footsteps of his uncle, the great Nusrat Fateh Ali Khan, Rahat is making Pakistan proud
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