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TRACK LISTING
MASAKKALI
SINGER: MOHIT CHAUHAN

ARZIYAN
SINGERS: JAVED ALI, KAILASH KHER

"NOOR" RECITATION
RECITED BY AMITABH BACHCHAN
POEM BY PRASOON JOSHI

DILLI-6
SINGERS: BLAAZE, BENNY DAYAL, TANVI, VIVIANNE CHAIX, CLAIRE FRENCH LYRICS: VIVIANNE CHAIX AND CLAIRE

REHNA TU
SINGER: A.R.RAHMAN
BACKING VOCALS: BENNY DAYAL, TANVI

HEY KALA BANDAR
SINGERS: KARTHIK, NARESH, SRINIVAS, BONNY CHAKRAVORTY

DIL GIRA DAFATAN
SINGER: ASH KING
BACKING VOCALS: CHINMAYEE

GENDA PHOOL
MUSIC AND LYRICS: TRADITIONAL
ADDITIONAL MUSIC SUPERVISION: RAJAT DHOLAKIA
SINGER: REKHA BHARADWAJ
BACKING VOCALS: SUJATA MAZUMDAR, SHRADDHA PANDIT, V.N. MAHATHI

BHOR BHAYE
ADDITIONAL LYRICS: PRASOON JOSHI
SINGERS: USTAD BADE GHULAM ALI KHAN, SHREYA GHOSHAL
RAAG: GUJRI TODI

AARTI (TUMRE BHAVAN MEIN)
ADDITIONAL MUSIC SUPERVISION: RAJAT DHOLAKIA
LYRICS AND COMPOSITION: TRADITIONAL
SINGERS: REKHA BHARADWAJ, KISHORI ASHOK GOWARIKER, SUJATA MAZUMDAR, SHRADDHA PANDIT © SAREGAMA INDIA LTD

ALBUM CREDITS

PRODUCER : RAKEYSH OMPRAKASH MEHRA, RONNIE SCREWVALA
DIRECTOR : RAKEYSH MEHRA
STUDIO : UTV MOTION PICTURES AND RAKEYSH OMPRAKASH MEHRA PICTURES
STARS : ABHISHEK BACHCHAN, SONAM KAPOOR, OM PURI, WAHEEDA REHMAN
LABEL : T-SERIES
MUSIC : A R RAHMAN
LYRICS : PRASOON JOSHI


INSTRUMENTALISTS: CONTINUUM FINGERBOARD AND ACCORDION SOLO: A.R.RAHMAN VARIPHRASE
CLASSICAL VOCALS: SHREYA GHOSHAL
GUITAR : SANJEEV THOMAS, IVAN
PERCUSSIONS : T. RAJA
TABLA : K.B. BALAN, WAQAR KHAN
FLUTE : NAVIN IYER

ADDITIONAL PROGRAMMING : HENTRY KURUVILLA & DEEPAK P.A.

RECORDED AT : PANCHATHAN RECORD-INN, A.M. STUDIOS, NIRVANA, EMPIRE STUDIO & ACOUSTICS
MIXED AT : PANCHATHAN RECORD-INN & A.M. STUDIOS

SOUND ENGINEERS : H. SRIDHAR, S. SIVAKUMAR, DEEPAK P.A. & VIVIANNE CHAIX

MIXING ENGINEERS : K.J. SINGH, DEEPAK P.A.
MASTERED BY : S. SIVAKUMAR AT A.M. STUDIOS
MUSICIANS CO-ORDINATOR : NOELL JAMES
MUSICIANS FIXER : SAMIDURAI

Glamsham reviews Delhi 6 music

Year 2009 has opened up magnanimously for maestro A R Rahman and expectations are humongous as the stage is all set for his first major Bollywood musical release- DELHI-6. It brings out another colossal combination for UTV, director Rakeysh Omprakash Mehra and lyricist Prasoon Joshi, the team that created history with the critically acclaimed RANG DE BASANTI.

DELHI-6 holds another major significance in Bollywood as Rahman experiments out with ʽContinuum Fingerboardʼ (a three dimensional music controller device) for the first time in many of his compositions for a contemporary Hindi film. Once again, the challenges are big and the feel is innovative as varied genres, styles and talents concoct again to create another hullabaloo of success. Does DELHI-6 have the sufficient fire to match up the high standards of RANG DE BASANTI and the internationally acclaimed SLUMDOG MILLIONAIRE? Will DELHI-6 be adding up as another proud entry in the long listing of A R Rahman's successive grand successes? Let's get started with the tracks that deserve to be analyzed with full exactitude...!

After serenading out some tantalizing soft-rock ballads, Mohit Chauhan streams out in typical ''filmi'' overtones with wavering vocal modulations in ''ched-chad'' solo track ''Masakalli''. Prasoon Joshi's mischievously flowing wordings (''Zara pankh jhatak, gayi dhool atak aur lachak machak ke door bhatak...) about lovable bird (''Masakalli'') has that poetical ire (''Ghar tera saloni, badal ki colony, Dikhlade thenga in sabko jo udna na jaane...'') that epitomizes naivety, impishness in that gullible ''child-like'' character. A R Rahman's music tries to be edgy rather than syrupy in those modulating instrumental connotations that strikes rhythmical chemistry with Mohit's cheeky vocals. ''Masakalli'' is going to be raised up in volumes as well as in chartbusting listing for its rustic rawness and innovative feel and probably be catching fast for its massy appeal. Mohit Chauhan notches up his first major solo hit of this year with ''Masakalli'' and that also brings laurels to the poetical prowess of Prasoon Joshi. Chartbuster!!!

A R Rahman, a name synonymous to wide range of experimentation makes the most purist attempt at Indian classical music of our times in meticulously composed ''Bhor Bhaye''. This classically pristine number brings the most intellectual singing aspect of Shreya Ghoshal, where she almost gets tutelage as well as consistent backing of puritans like Ustad Bade Ghulam Ali Khan in its traditionalist rendition.

Amitabh Bachchan's poetical exuberance in softer notes have the austerity and grace that epitomizes the ''emotional quotient'' (EQ) of the flick in concise but impressive ''Noor''.

The divine intervention of spiritualism comes in the form of ''Aarti (Tumre Bhavan Mein)'', a modestly pleasant ''bhajan'' in the voices of Rekha Bharadwaj, Kishori Gowariker, Shraddha Pandit and Sujata Majumdar. It can be termed as simplistically softer version of emotionally enriched ''O Palanhaare'' (LAGAAN) with traditional religious verses emoted out with serenity of pious sentiments.

Rekha Bharadwaj's folksy nasal twang leads the female bandwagon of traditional ''ladies-sangeet'' where typical ''Delhi-waala'' pre-marriage celebrations takes routes of ''disco-beat'' lounges in ''Genda Phool''. It charters the traditionalism of festivity where the pairing of Shraddha Pandit and Sujata Majumdar forms effective choir singers in this sluggish ''dhin-chak'' beats arrangement soundtrack.

There was ''dreams-unlimited'' euphoric feel in the subtle orchestrations in ''Tu Bin Bataye'' (RANG DE BASANTI) that captured the unveiled mysticism of undying romance in it. This nostalgia of tender emotions regenerates back in similar sounding sappy composition ''Dil Mera Giraftan'' with better sounding techno-generated sound effects that brings gifted vocals of Ash King along with back-up support of Chinmaye to the fore. Rahman's makes it a remarkable conglomerate of varied instrumentals (flute, keyboards, violin and piano) that are mellifluously interwoven in those tender beats and rhythmical beat flows. Ash King proves to be the ''find'' of the album for his sonorously porous vocals permeates subtly in those feather-touch lingering orchestral displays. Soulful!!!

Murky, mischievous and Machiavellian! A R Rahman's races out Afro-American hip-hop blasting beat-culture bombastic splurge in gibberish overtones of roguish wording in ''Hey Kala Bandar''. It sounds almost sequel to recently heard ''Shanno Shanno'' (YUVVRAAJ) where youthful spirits gets loud eruption of ''black humor'' in the vocals of Karthik, Naresh, Srinivas and Bony Chakravarthy. Prasoon Joshi's picks up snazzy one-liners in those Arabic-hip hop rhythmical beat patterns to make it impulsively bouncy soundtrack.

Somber tonality of supple jazz cum blues musical maneuvers takes over where Rahman along with Benny Dayal and Tanvi emotes out in lower octaves in impressive sounding ''Rehna Tu''. It's has that melodramatic situational song appeal with a strong international musical substance that transcends well from thumping beats in its prelude to oozing ''jazz'' substances in its concluding verses. It adds one more attribute in this soft-sentimental moods cadre that will be likely to be sapped by its potential listeners.

''Delhi-6'', the ''funk-a-licious'' title track forms a mix and match of ''Paathshala'' and ''Roobaro'' (RANG DE BASANTI) with that extra perky ''reggae ton'' rendition in its racy flows. Blaaze along with Benny Dayal, Vivinenne Pocha, Tanvi and Claire gets boisterously persuasive in symbolizing out the ''Delhi'' yuppie feel. Vivinenne and Claire lyrics try to be equivocal in its wishy-washy flows with infectious hip-hop cum reggae getting up straight into senses.

It's was divine bliss to hear something as pious as ''Piya Haji Ali'' (FIZA) and ''Khwaja Mere Khwaja'' (JODHA AKBAR) and again A R Rahman scores pure gold as he continues to be generously mellifluous in ''Arziyaan''. Despite some traditional classical instrumentals and composition there are added synchronized arrangements (preferably with support of ''Continuum Fingerboard'') that permeates well in its rhythmic flows. This holy musical piece comes in traditional ''qawalli'' form with Javed Ali and Kailash Kher excelling out with another gem of wordings by wordsmith Prasoon Joshi. Despite its longer duration (8.42), there is an ambience of divinity in the air as sounds of harmonium, tabla and sitar collages well in its well synchronized rigorous claps. Rhythm-divine!!!

DELHI-6 turns to be another globe-trotter for A R Rahman and the album surely heads for another big victory at the stands. It maintains the high-standards of RANG DE BASANTI and scores better in terms of versatility and upbeat musical substance. Mohit Chauhan's ''Masakalli'' leads the show with sure-shot chartbuster while tracks like ''Arziyan'', ''Dil Mera Giraftan'', ''Rehna Tu'', ''Hey Kala Bandar'', ''Genda Phool'' and ''Delhi-6'' will be catching up fast with three listeners. After the global success of SLUMDOG MILLIONAIRE, the celebrations continues for all ''Rahmaniacs'' with DELHI-6 and things look brighter as flick get set for its big D-Day in coming weekends.

Rating - 4/5

http://www.glamsham.com/music/reviews/20-delhi-6-music-review-010903.asp

Delhi 6: It's a 10/10 for Rahman-Says Rediff

'Dikhlade thenge in sabko jo udna na jaane,' a happy-go-lucky voice smugly states at some point during the thrilling course of Delhi [Images] 6's soundtrack. And man, what a thumbs down to all the seriously imagination-challenged musicians out there.
A R Rahman (who else, really?) makes waiting for his music such a worthwhile chore what with one fantastic soundtrack after another. Close on the heels of a deserving Golden Globes wins follows the anticipated score of Rakeysh Omprakash Mehra's Delhi 6. Considering its impossible-to-define Chandni Chowk roots, Rahman injects the sounds of this 10-tracked album with an eclectic fusion of various genres. Bottom line: it's a 10 on 10.

Here's why:
Move over Aditi, lyricist Prasoon Joshi, his soaring imagination and Rahman at his affable best; collaborate to produce the mirthful, fluttering sensation, Masakali. Playing on the metaphor of a carefree pigeon of the same name whilst drawing parallels with Sonam Kapoor's [Images] chirpy Bittu, Masakali is unanimously charming and contagiously blithe. The real winner of this enterprise is, of course, a crisp-sounding Mohit Chauhan. Best known for his slow-motioned renditions like Khoon chala (Rang De Basanti [Images]), Tum [Images] se hi (Jab We Met [Images]) and Is this love? (Kismat Konnection), the Silk Route front man customizes this ravishing track with a touch of ada and frills of masti, once associated with the inimitable Mohammed Rafi.

While it's impossible to proceed into the album without putting Masakali on the 'Repeat' mode, the show must go on. And so it does through the Sufism-imbued notes of Arziyan. Its poignancy is echoed in the simplicity of its heartfelt cry, 'Maramat muqaddar ki kardo, Maula (Mend my fate, Almighty).' A song of this genre calls for flawless chemistry between its core voices, a requirement that is seamlessly exhibited in the range of Javed Ali and emotions of Kailash Kher [Images].
Spirituality is a frequent theme of the album. It makes its presence felt in the pious prayers of Aarti--Tumre bhavan mein as well as Amitabh Bachchan's [Images] commanding baritone in Noor, where he waxes eloquent about God's omnipresent ways.

A dash of nu metal, a few cubes of alternative rock and spray of rap/hip hop, Delhi 6 is a grungy cocktail of metal and attitude. The latter is thrown in truckloads via Blaaze, Benny, Viviane Pocha, Tanvi and Claire. Rahman understands genres skilfully and juggles them to perfection, unlike the wannabe eagerness of his colleagues to achieve the same. Almost high on the pandemonium, individuality, insolence and romance of India's capital city, Delhi 6 pays a funky tribute.

The recurrent rhythm and care-a-damn tone of Hey kaala Bandar spell boys-just-wanna-have-fun brand of camaraderie. There is a lot of erstwhile Rahman to be found in this medley of cheek and cheer, from Barso re (Guru), Shanno Shanno (Yuuvraaj) to Behka (Ghajini [Images]) and Paathshala [Images] (RDB).
Up next, the much-awaited Rahman-behind-microphone moment arrives. This time the maestro's surrealism is an upgraded reminder of Sting [Images] in the Eighties. Its fairy-tale-like sorcery with a hint of Arabic exotica lends Rehna tu an aura of precise enchantment and magical romance, wherein a smitten lover gushes in honour of his lady's cosmetic-free loveliness. Joshi's penmanship goes from strength to strength, besotted and inspired in turns.

The ingenious writer gets another opportunity to pour his crimson-hued similes some more in one of Delhi 6's best creations, Dil gira dafatan. The delicacy of Ash King's performance, supported by Chinmayee, resonates in the mellifluous imagery and exquisite minimalism of this glorious beauty. Spellbinding stuff from Rahman, this.
Lending a humorous, snazzy twist to Saraswati Chanra's Main toh bhool gayi babul ka ghar-line of sentiments enters the playful and catchy, Genda phool. Composer Rajat Dholakia and Rahman share the credit for this immensely entertaining shaadi ditty performed with delectable naughtiness by Rekha [Images] Bharadwaj (the husky voice behind Namak, Omkara [Images]) accompanied by Shraddha Pandit and Sujata Majumdar.
Rahman's mastery is at work as he treats the Indian classical form Gujri todi in a mesmerising fashion to helm the stirring bandish, Bhor bhaye. Sparkling in the impeccable traditions of Ustad Bade Ghulam [Images] Ali Khan's rousing rendition and a confident Shreya Ghosal, Bhor bhaye is a three-minutes-and-18-seconds long overwhelming experience.

There's enough inspiration to be found in Delhi's most celebrated pin code. And as he's done for so many other landscapes, localities and lanes in the past, Rahman pays Delhi 6 a whopper ode in this swashbuckler of a soundtrack. The musketeers will be envious.*

Rediff Rating: 4.5/5

http://www.rediff.com/movies/2009/jan/20music-review-delhi-6.htm