The song, even in the middle, has oud playing touching Marathi folk and then enters a qawwali mode. A 17th century Maratha powada (poem), like a war cry by Ganesh Chandanshive, acquires a different visage with oud and Shreya Ghoshal’s singing that has an attitude of a wizened street performer who enters a courtroom. Most of the album works, while some songs are just average. The Maratha war epic starring Deepika Padukone, Ranveer Singh and Priyanka Chopra, swings between sombre, earthy, poignant, soulful and brash in the songs it features. In fact the compositions can give full-time music composers a run for their money. The compositions of Baajirao Mastani are better than any that he composed in Guzaarish and Goliyon Ki Raasleela Ram-Leela. But Bhansali gets it better than just right with this one. The only director who has managed to be an ace composer, in the last few years, is Vishal Bhardwaj. Bhansali, at number eight, has placed a gem - lyrically, musically and politically - which cements his place in the industry as a music composer.
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And it’s here - raag Yaman, which is more than just accommodating of the two worlds. It’s a unique Vedic-Islamic interaction, where a Vedic chant is layered with a word from the Quran.
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A flute prelude is followed by an age-old Vedic chant Mangalam bhagwan Vishnu that soon leads us to another way of addressing one’s God - Maula.
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There is a song called Aaj ibaadat, which is hidden at number eight in Sanjay Leela Bhansali’s 10-song album Baajrao Mastani.