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of demanding one’s right, ‘Saadda Haq - what the f*ck.’ Thereupon, if you amp up the volume, shake your head, picture-play an electric guitar jangling on your shoulder; you’ll take stage with A R Rahman’s movie induced gen-anthem of our often star-struck and sometimes self-glorifying youngsters.
Rockstar Ranbir Kapoor The choral refrain of ‘Saadda Haq Aithe Rakh’ and at one point Mohit Chauhan’s acrimonious tone, parsing the words ‘rakh saala,’ at victory delayed gives this high octane song an early bird entry into Bollywood’s nascent school of rock. What enigmatic god-fingers on the guitar, this man Rahman credits for the guitar – Orianthi, as oblique sounding as Slash, and hopefully his inspiration. Even more outré if I offered to compound Kun Faaya Kun with Bhaag Dk Bose – both are chants, one repeats phrase, ‘Kun Faaya Kun’, one channels angst ‘Bhaag Dk Bose.’ The difference is in tempo. If you put Bhaag Dk Bose on a slow spin, it would acquire the nobility of a Sufi melody, much as Kun Faaya Kun could be a head-banger if the refrain was cranked to accelerate. When has Rahman erred in his tributes- Piya Haji Ali (Fiza) for Mumbai, Khwaja Mere Khwaja (Jodhaa-Akbar) for Ajmer’s Moinuddin Chisti, and now Kun Faaya Kun for Delhi’s Nizamuddin Aulia, once again after Arziyaan (Delhi 6’s Jama Masjid) – in these places of worship, Rahman is our conscience keeper, our prayers bestow him. For complete article about ROCKSTAR Music Review please visit our site.