I know Marathi just like I know Guitar and Keyboards. I can sense their presence but can never play with them (publicly) because I don’t understand them. My exposure to non-Hindi film music has been similar. My Marathi music ‘plays’ have been limited to the music of Shala, Balak Palak and Natarang. Cut to the first teaser of Sairat that I came across, and all of that changed. I have since then tried to explore Ajay-Atul’s work in depth, and most of it has been in Marathi, but more on that later. With absolutely no comment/interpretation on the lyrics of this film album, here is what I think of the album that hit me like a bolt of lightning!
Yad lagla is decorated so well as a composition that even before Ajay gets behind the microphone you would be swaying at those definitive violin riff repeats. Not only in the opening, violins are almost a second voice throughout the song. Even when we hear Ajay in antras, we can hear those violins and they are in no way bothersome to ears. A song that to my ears sounds like musings of a man madly in love. A song extremely high on melody.
Part college-festy (like Koi Mil Gaya from Kuch Kuch Hota Hai) and part Kannum kannum (from Thiruda Thiruda), Aatach baaya ka baavarla’s high points are those variations that Shreya takes in both the antras. The pause in between is only an excuse to hit the listeners with those layered percussion and strings almost immediately. Like I said, Shreya is top class in the song be her biting ‘attacha’ in every antra or her tempo variation. The backups reminded me a lot about ARRahman and his use of backups in 1990s, especially in the film, 1947 – Earth. An insanely enjoyable song!
In what soothes like a balm to the senses, Chinmayi Sripada starts Sairat zaala ji, and is almost immediately joined by Ajay. The song flows like a symphony and the overall mood doesn’t weigh you down because the antras are playful and easy on ears. I did feel the percussion could have been a bit lighter in the song. The flute in the second part of the song is all sorts of cute and the bagpipe parade like tune in between is actually smart. I felt the song gave more room to Ajay to improvise than it did to Chinmayi.
What is clearly, unabashedly and LOUDLY a celebration song, Zingaat is Ajay-Atul playing in their familiar territory. It is exactly *that* song which would haunt us Bombay-walas in the coming days whenever there is *any* celebration. The song has brass band as well, but you really don’t notice their presence because of the constant *dinchak dichak*. Length wise, this is the shortest song of the album, but impact wise, probably the song that will outlive the film, in Maharashtra.
Ajay-Atul’s symphonic inclination is well known, so much so that back in 2002, they came out with an album titled ‘Ganesh Symphonic Chants Experience’ which is quite something. Some kind friends have passed me the music of films like Natarang and Jogwa, and it suffices to say that the sound of Sairat is a step forward by Ajay-Atul in terms of marrying their favourite sound with the limitations that a typical ‘film album’ presents them with. Thumbs up for that!
I just have one grouse – if not checked, Ajay-Atul can quickly sink to where our favourite ‘It’ boy went – using their own voice a bit too much in their albums.
Overall, this is the album that I have heard the most number of times vis a vis any out and out non-Hindi album that I have laid my hands on in the last couple of years. The madness that this album infected me with reminded me of film album by ARRahman titled ‘Boys’ that came out long time back.
When I heard Jogi, I wanted to learn Kannada
When I heard Jhiri jhiri chaitali, I wanted to speak Bengali.
When I heard Nenjukulle, I wanted to understand Tamil.
Sairat makes me want to write poetry in Marathi..
It is exactly the kind of music that makes you want to pay for it, twice! The album costs just 48 bucks on iTunes. Buy it, celebrate it. It’s well worth it!
Jukebox of Sairat here