Music Album Details
♪ Music by: A.R. Rahman
♪ Lyrics by: Irshad Kamil, Rianjali, Rajakumari & A.R. Rahman
♪ Music Label: T-Series
♪ Music Released On: 27th June 2017
♪ Movie Releases On: 7th July 2017
To hear the full songs of this album on Saavn CLICK HERE
To buy this album on iTunes CLICK HERE
Mom is an upcoming Bollywood thriller, starring Sridevi, Sajal Ali, Akshaye Khanna and Nawazuddin Siddiqui. The film has been directed by Ravi Udyawar, and produced by Zee Studios, Sunil Manchanda, Naresh Agarwal, Mukesh Talreja, Gautam Jain and Boney Kapoor. The film revolves around a mother and her daughter, and as the daughter never reciprocates the love which her mother gives her, the mother, played by Sridevi, just waits patiently for that day. However, an unfortunate incident (not revealed because this is a thriller, duh!) widens the gap between the two, to a point of no return. Now the mother has to make a choice between what is wrong and what is very wrong, in order to fight for her daughter’s love. So the story seems quite intense, and way at the other end of the spectrum than Sridevi’s previous film ‘English Vinglish’, though that too had a “Mother” subplot. What is another attraction in this film, is that it has A.R. Rahman giving music. Now, it has been a long time since Rahman has signed such a small film, and I’m very glad he did, because it’ll just go to prove that he provides his best to any film (that is, if the music is good). He has given seven songs for this soundtrack, and Boney Kapoor calls it one of his best works. Let’s check for ourselves!
1. O Sona Tere Liye
Singers ~ A.R. Rahman & Shashaa Tirupati, Lyrics by ~ Irshad Kamil
“Aaye na kabhi, aankhon mein nami,
Khushi ka jahaan, laayenge hum hi,
Yeh toh baat hai, jeene ke liye,
Hoon zaroori main, tu bhi laazmi!
O Sona, tere liye, duaaon se jalte diye,
O Sona, tere liye, farishton ne sajde kiye!”
– Irshad Kamil
The beginning song of the album is aptly, a lullaby, from a mother to her daughter. Yes, it is sung by a male voice, with a small stanza by a female voice, but the sentiments come forth nevertheless! I personally never think the gender of the singer matters, when the lyrics say what they want to. Anyway, the song starts off quite slow, and reminds you of many a Rahman composition, with its dulcet, slow-paced yet heart-moving sound. The structure of the composition is quite similar to earlier this year’s ‘Hind Mere Jind’ (Sachin: A Billion Dreams). The composition is very, very moving; it starts off like a soothing Western tune, high on Western arrangements, like the guitars. As soon as the hookline kicks in, the song starts gaining pace, and the composition of the hook is just so beautiful, you just can’t help but get a bit emotional. The antaras both having the same tune, have been composed so calmingly, and their soothing vibe is what makes the song sweet and simple. Rahman keeps the arrangements simple, with a basic piano melody and guitar riff (Keba Jeremiah) forming the base of the arrangements. The piano chords throughout the song give the song more gravitas. As soon as the hookline starts, a wonderful guitar riff takes centre-stage. The first interlude has a wonderfully done strings piece, by the Chennai Strings and Sunshine Orchestra, conducted by VJ Srinivasa Murthy, and that is intertwined later with Kamalakar’s beautiful flute piece. And it is at interludes like this, where you can truly appreciate Rahman’s arrangements. The second interlude takes an unexpectedly Pritam-ish turn, with the digital notes, playing in a loop, in the trademark Pritam way. Again, a nice guitar piece is superimposed on that. Mind you, this is the only song on the soundtrack without any kind of experimentation in arrangements whatsoever, so it’ll probably be the most popular and public-friendly song from the film, or maybe not. As far as the vocals are concerned, Shashaa outdoes her mentor and co-singer, the composer himself, in her small stanza. Rahman’s voice doesn’t really suit the composition, but there are some places where you think nobody else could’ve sung it. Shashaa, on the other hand, manages her lines well, with a beautifully pitched voice, and not only does she do her solo portion well, but she enhances the song with her various backing vocal inputs as well. That “Tere Liye, Tere Liye” she sang once, after Rahman had sung the hookline, has stuck in my head! Irshad Kamil’s lyrics are beautiful, beautiful and beautiful. The fact that, due to Rahman’s diction, some of it is unclear, is different though. A nice and dulcet start to the album, which is now going to take an experimental turn, so brace yourselves!
2. Kooke Kawn
Singers ~ Sukhwinder Singh, Blaaze, Suzanne D’Mello, Lyrics by ~ Irshad Kamil & Traditional
“Kothe utte kooke kawn! (Kooke kawn, Kooke kawn!!)”
– Irshad Kamil
This song onwards, the soundtrack becomes purely experimental; some things are such that we’ve never heard experimented with before and others are merely an everyday experimentation for us, which Rahman too happened to do in this album. This song falls into the second category. A Punjabi club number isn’t a new idea to Bollywood music listeners. In fact, Rahman himself has given a Punjabi experimental number ‘Jugni’ in Tamil album ‘Kaatru Veliyidai’. This one is different, though. The song starts with the cawing sound of a crow, and that makes you think, “WHHATT?” (For the uninitiated, “Kawn” in the song’s title actually means “crow”). And then a typical club setting is set up by Rahman, and Sukhwinder’s initial lines, though they aren’t a very strong start to the song, sound fascinating due to their incongruity. The folk song (apparently some of the lyrics are “traditional”, as per T-Series) sounds mismatched as well as perfectly fitting into the club setting, at the same time. But it isn’t until the “oh-oh-ohhhh” portion arrives, that you actually get the addictiveness of the song. There is one antara, that sounds like Rahman tried to give his trademark sound to a Punjabi song. The composition isn’t too strong; most of the addictiveness of the song arises from its fabulous arrangements. The guitars (Keba Jeremiah) during the aforementioned “Oh-oh-ohhhh” part sound very good, and help to make the song appeal to a very niche audience, that likes guitars in Punjabi songs. 😂 Of course, Rahman doesn’t keep out the dhols that characterize a Punjabi song. He ropes in Taufiq Qureshi (Feat. Arun Solanki, Deepak Bhatt, Dipesh Varma, Omkar Salunkhe, Gautam Sharma, Shikhar Naad Qureshi) to control the amazing percussion and rhythms. But still, it is the guitars that shine. An interlude has a very rowdy-sounding, Naagin-dance type of sound, which must’ve been introduced because Sridevi is in the film. (Though she won’t be dancing on it, but it seems like a kind of tribute! 😄). To conclude, Rahman puts in an odd end in the form of a brass band kind of sound, which only reminds me of ‘Zingaat’ (From Marathi Movie ‘Sairat’). Sukhwinder handles the song well, and especially the rapid-paced portion in the antara. Blaaze has a short rap towards the end, and I can’t say the clichéd line that it’s better than the Punjabi rappers we hear these days, because it isn’t, frankly! 😂 But Suzanne D’Mello really shines in her backing vocals portions. Irshad Kamil’s lyrics and whatever the Traditional lyrics were, are hardly intelligible. An experimental song, and probably the most addictive Club song from Rahman after ‘Pappu Can’t Dance’ (Jaane Tu Ya Jaane Na) way back in 2008.
3. Raakh Baakhi
Singers ~ Jonita Gandhi & Rianjali, Lyrics by ~ Irshad Kamil
“Aag toh hai yeh magar dil ki, jalaaye, kisko jalaaye,
Cheekh seene mein hai dabi jo, bulaaye, kisko bulaaye,
Zindagi mein toh teri jaan, kahin chalaaki, kahin chalaaki,
Roz bun-bun ke tu humdard, banaaye, kisko banaaye,
Raakh baaki thi jisse, leke chali hai aandhi,
Phoonk maari hai kisse waqt bujhaaye, kisko,
Ashq dete na mujhe koi, nazar kuch din se,
Dard mera hausla hai toh rulaaye kisko?”
– Irshad Kamil
Next up is a thoroughly experimental, rock song, with very less rock elements! The composition by Rahman is a proper composition you would expect to be in a rock song, embellished heavily with electric guitar strums and drums, with a pulsating rhythm! Not that the rhythm of the song that Rahman has used here, isn’t pulsating! In fact, it is quite thrilling, considering that only a few rock guitar portions are helping it stand up. A techno loop provides the rhythm throughout the song, which is very low on the composition front; it is more like a song that is completely whispered by Jonita Gandhi. She seems to get the weirdest (but beautifully experimental) songs from Rahman! ‘Implosive Silence’ (Highway) was a reverse of her humming, and now this is a whispered song, barring some English lines that are more like an angsty outburst. The few instances where the rock guitars do show up, are amazing. Though the song has no tune as such, the words are chanted in such a way, that it almost sets up a catchy rhythm, like the parts when she says “Jalaaye, Kisko Jalaaye“, or “Bulaaye, kisko bulaaye”. Jonita herself, sounds very different from her usual voice, even in the parts where she properly sings those English lines. Or maybe the English lines are by backing vocalist Rianjali, who has given great supporting vocals. The song seems like it will be placed in the background score somewhere, during a crucial point in the film. There are more frequent electric guitars towards the end of the song, and those parts are really fun to hear. At first when I heard this song, I thought, “What a waste of six minutes, when this is all you have to hear.” Now I see how amazing it would sound at the cinemas. However, I must say, it sounds quite repetitive after some time; you just have to wait it out in some parts when it gets boring, because it gets better towards the end. Irshad Kamil’s lyrics are full of angst, and appropriate for the thrilling setting of the film. A thrilling song, that would sound amazing in the film itself, but still sounds catchy even now. Less repeat value, though.
4. Freaking Life
Singers ~ Rianjali, Raja Kumari, Suzanne D’Mello & Darshana KT, Lyrics by ~ Rianjali, Raja Kumari & A.R. Rahman
“All my life I’ve been trying to run,
And now I can’t see,
Now I can’t breathe,
All the time I had, I just faded away,
All this time I was scared of me,
But now I’m just me,
And I won’t leave,
No, I can’t go back,
I’m just flying free!”
– Rianjali, Raja Kumari & A.R. Rahman
Another youthful song is up for us to listen to, after that thrilling BGM-kind of song. This one starts off in a very staid manner, with an electric sound that starts it off quite vaguely. And as the singers start off, with that very cheesy-sounding line, you just wait for it to get better. And it does. A very cheerful composition follows, and especially Suzanne’s portions (“All my life I’ve been trying to run…”), the mellifluous one before the hookline, is amazing. The hookline itself, is again, very boring and sounds as if the singers are taking out their frustration on the listeners for some reason. The “It’s my, it’s my, it’s my” is so irritating. I mean, one moment, they’re happy, and the other, they’re frustrated with their lives. The four singers (one is Darshana KT, the backing vocalist) sound great as a whole, but I could separate Suzanne D’Mello being her usual awesome performer self, and singing beautifully. It is her part of the song, which is the best, coincidentally. The song also reminded me of the other such song that released this year, “Buri Buri” (Dear Maya), which followed quite the same template, but wasn’t so long. A.R. Rahman, along with two of the singers, Rianjali and Raja Kumari, pen down the lyrics, which are a clichéd depiction of teenagers. The arrangements are a bit better, with nice techno sounds embellishing the frustrated singers’ outbursts. This song isn’t going to stay with me for long; it is befitting as an English pop single.
5. Chal Kahin Door
Singer ~ Shashaa Tirupati, Lyrics by ~ Irshad Kamil
“Ranjishon, ruswaaiyon se, bewajah bechainiyon se,
Uljhe raaston se, dard ke sab bandhanon se,
Khush nahi hai dil tu jin se, apni hi unn uljhanon se,
Chal Kahin dooooor chale!!”
– Irshad Kamil
Now this song, is what we were waiting for, from Rahman, ever since he gave us “Agar Tum Saath Ho” (Tamasha). The way he fused Indian classical with Western sounds in that song, is now an example of excellent fusion, without it having to be rock. This one too, is along the same lines. The composition starts off like an offspring of “Kahaan Hoon Main” (Highway), and continues being so for about one minute, until a very, very unexpected turn arrives, which has a very sanctimonious-sounding tune, and then it bursts into a Western orchestral piece. The composition is a very beautiful one, taking many such unexpected twists and turns, and by the time it ends, we are just awestruck. The antara is so charmingly cute, and again, it breaks into a waltzy tune somewhere in the middle, which makes you feel as of you’re floating in the sky, if I were to be sounding the most clichéd I can. The number of time Rahman seamlessly switches genres and rhythms in the song, is just amazing. The arrangements follow the composition and change with it everytime. The song starts off with the peaceful sound of water flowing in a stream, and this is when the prelude similar to ‘Kahaan Hoon Main’ is sung. To increase the serenity, Rahman’s piano chords, as always, provide the required soothing quality. Soon enough, the stream vanishes, and, in a very ‘Chali Kahani’ (Tamasha) way, the composition changes tune and rhythm, and I would describe this portion as a bhajan-like portion, because of the wonderful chimes, Manjeeras and harp that Rahman has employed on the arrangements. As the hookline actually breaks out, the Chennai Strings & Sunshine Orchestra comes back to awe us with its ravishing strings, and a string guitar strum ends the long Mukhda. Only to bring yet another fascination in the form of a BEAUTIFUL flute (Kamalakar) portion that leaves you spellbound. The Antara brings back the bhajan-like part, but later on, it changes course again, into a waltzy tune, decorated with a beautiful flute piece in the background. And then the violins start up yet again, as soon as the hookline returns. Actually the song ends here, but Rahman throws in a bonus one-and-a-half-minutes of music to leave us spellbound before we end the song. The guitars provide a nice rhythm to Shashaa’s humming in this portion, which is like an interlude, and the flute returns to kill us yet again. The hookline is repeated once more after that ravishing interlude, and then the song (which was surprisingly 6½ minutes long, but never felt so long) ends, sadly. Shashaa sings something that I think is her best yet. After ‘Sarsariya’ (Mohenjo Daro) and ‘Sunn Bhavara’ (Ok Jaanu), she gets yet another masterpiece with Rahman, and she seizes the opportunity to showcase her singing prowess yet again. Her talent is so properly utilised by Rahman everytime, as he seems to direct her talents to bring out her best each time. And now I am yearning for her to sing a proper Bhajan with Rahman’s music, because we all know what masterpieces Rahman makes in the name of bhajans! Irshad Kamil’s lyrics are wonderful here too! Quite like the lyrics of his recent song “Sune Saaye” (Dear Maya) with Anupam Roy, this one too, is about forgetting your worries and staying happy! 😍 A song that leaves you utterly spellbound and speechless. One of the best experimentations of the year!
6. Muafi Mushkil
Singer ~ Darshana KT, Lyrics by ~ Irshad Kamil
“Chehre pe Khalish hai baaki,
Yaad mein woh tapish, hai baaki,
Bante bante bante banta hai,
Mausam matam jaisa phir,
Hote hote hote hota hai,
Hansna bhi ghum jaisa phir,
Koi ho hum jaisa phir,
Andhera, uthaale, ujaala, sambhaale,
Aankhon ki jheel mein, subah hai jawaan!
Subah se rootha toh, Maafi, maafi, maafi, maafi mushkil!”
– Irshad Kamil
This song starts off in a very distinct way, very, very different from any song (at least any song in a Bollywood soundtrack) that I’ve heard, ever! The a cappella style takes a never before heard form, with a very quiet and soft sound. The composition is good, but again, very experimental, and will appeal only to a niche audience. The part where it goes high in a crescendo, is just mind blowing, and singer Darshana KT carries it out amazingly. Again, it reminds me of ‘Kahaan Hoon Main’ (Highway)! The first half comprises only Darshana singing in the foreground and singing the a cappella portions in the background, while the piano leads the second half of the song, making it sound more intense and beautiful from that point. It aptly sounds mysterious when the piano enters, and it sounds like a sad song; but I’ll have to watch the film to know what exactly it is. Darshana’s vocals are amazing, and she makes a smashing debut in singing, under Rahman’s experimental sound. Now this isn’t a song to go on playing on loop, but as many times as you listen to it, you’ll get something more out of it. The first time, you will definitely not love it. The second time is better, and the third time is (as always) the best. Irshad’s lyrics are good, while I think some of the backing vocals she does in the a cappella portions, is Arabic. The song is interesting, with many layers to unfold each time you listen to it!
7. Be Nazaara
Singer ~ Sudeep Jaipurwale, Composition & Lyrics ~ Traditional, Music by ~ A.R. Rahman
The finishing song to the album is a traditional classical melody, with traditional lyrics, arranged by A.R. Rahman. Sudeep, a singer from the Jaipur Gharana of singing, gets to debut in Bollywood, and I must say, what a brilliant vocal texture he has. It’s not exactly the earthy, folksy texture you find in usual folk singers, but it is surprisingly very clear and smooth, because of which he can do perform the intricacies of the composition with perfection. The composition itself is so strong, it won’t go without leaving your mouth hanging, and making you leave whatever you are doing at the moment to concentrate only on the song. Again, the nuances of it are so beautiful, and that is the beauty of folk compositions! Rahman adds a modern touch with his digital arrangements, also adding beautiful chimey sounds that make the song even more deep-sounding. In the true nature of a classical song, it is 7 minutes and 35 seconds long, but you never get bored for one second. A perfect, spine-chilling (because of its intricacy) finale to the experimental album!
Mom is an album that is quite brave in its presentation. Never before have I seen such an unconventional album, that is half made out of songs that we would usually never hear except in the theatre, in the Background music of a film. But Rahman and the makers of ‘Mom’ have tried it and emerge successful too. There is such a variety even in the experimentation — with a Punjabi club song, a whispered-out rock song, an a cappella sad song, a semiclassical song which has numerous twists and turns and a purely classical song. Yes, it is less on repeat value, but this album will be remembered for standing out as an unconventional one. The makers needed such experimental music for a thriller like this, and so I would just tweak the age-old saying and say that “Necessity is the Mother (or rather, MOM) of Experimentation!!”
Total Points Scored by This Album: 4.5 + 4 + 3.5 + 2.5 + 5 + 3.5 + 4 = 27
Album Percentage: 77.14%
Final Rating for This Album: सा < रे < ग < म < प < ध < नी < सां
Note: The letter which is underlined is the final rating.
Recommended Listening Order: Chal Kahin Door > O Sona Tere Liye > Be Nazaara = Kooke Kawn > Raakh Baakhi = Muafi Mushkil > Freaking Life
Which is your favourite song from Mom? Please vote for it below! Thanks! 🙂