10 lesser-known AR Rahman songs you should have been listening to this entire time

There’s something about AR Rahman that makes you think none of his work can be overlooked. But even if we just consider the volume of work he’s required to put out for the film industries in the country, there’s a lot by Rahman that still hasn’t received its full due. Whether you’re looking for a nostalgic trip down memory lane or want to discover something new, Vogue’s playlist of the Rahman songs lists all the tunes that more people need to hear.

‘Pray For Me Brother’ (2007)

Sure, it was a plug for a mobile brand, but this was more than just a solo non-film release on a major label for Rahman. In his familiar lilt but in English, Rahman delivered balm for the soul with this song for peace and understanding, dipping in to his cinematic, new-age/fusion palette. You can hear hints of Michael Jackson’s style, but the song featured composer Mikey McCleary and rapper Blaaze. It perhaps signalled Rahman’s push for global fame, which was further catalysed after he joined Mick Jagger, Damian Marley Jr and Joss Stone for SuperHeavy in 2011.

‘Aazadi’, Netaji Subhas Chandra Bose: The Forgotten Hero (2005)

Although it was the main track promoted with the release of Netaji Subhas Chandra Bose: The Forgotten Hero, it was ironically not well remembered at all. Perhaps it’s the case of how Bollywood works—if the movie doesn’t make a dent, neither do the songs. In Rahman’s case, he crafts a rousing, truthful patriotic song in memory of Bose, complete with the cinematic string and horn section flourishes that can induce goosebumps.

‘I Wanna Be Free’, Tehzeeb (2003)

For the early 2000s family drama Tehzeeb, Rahman seemed to have created EDM drops before they were a thing. The frantic pace of the song shows off the composer’s love for electronic music, something that could’ve ruled the clubs even today. Never mind the somewhat bizarre video of actor Dia Mirza in a frenzied state, making dance moves that we can only assume to be windmill head-banging.

‘Athini Chithini’, Thenali (2000)

For this mostly hilarious Tamil movie starring Kamal Haasan, Rahman called on evergreen singers like Hariharan and Chitra Sivaraman for a finessed opening song. Sivaraman adds her mellifluous harmonies and Hariharan is almost comical in his delivery at times, to reflect Haasan’s titular character. What clinches it, however, is Hariharan’s powerhouse vocals and a tumultuous bridge section. Stick around for a solid slice of groove too.

‘Dil Gira Dafatan’, Delhi 6 (2009)

With the then-debutant voice of Ash King and still newly-inducted singer Chinmayi Sripada, this one’s a gentle, string-laden love song that almost understates the sonics. The lightheadedness of the tune eventually leads into an evocative violin section that proves just once again how Rahman can stand outside the conventions of film music and not just make a hook-heavy song.

‘Sajna’, Couples Retreat (2009)

Featuring a soul/R&B treatment courtesy of singer PJ Morton (some time before he joined Maroon 5), Rahman doesn’t miss his chance to introduce the language of love that Indians speak, even if it was in a Hollywood romantic comedy like Couples Retreat. Featuring lyrics by his go-to rapper Blaaze, it’s a saccharine, string section-aided song that’s apt for redemption in love.

‘Acid Darbari’, 127 Hours (2010)

There’s a lot to process when you’re watching a gripping film like 127 Hours, but Rahman’s score comes in as a catalyst for clarity. For his second collaboration with director Danny Boyle after the Oscar-winning Slumdog Millionaire, Rahman uses sprawling soundscapes with the help of a acutely Indian flute section. ‘Acid Darbari’ builds mightily, stretching the mood perfectly before arriving at an overwhelming string lead.

‘Aayo Re Sakhi’, Water (2005)

Featuring what remains one of the best singer-composer combinations in Indian film music, Rahman and Sukhwinder Singh, this song from Deepa Mehta’s Water isn’t exactly unknown, but it’s certainly under-appreciated. The santoor shimmers to elevate the tension in the song as Singh (along with Sadhana Sargam) is at his playful best. Then, the song gets an injection of dramatic violins and tabla.

‘Vennila Vennila’, Iruvar (1997)

Even before he took on EDM, Rahman took a jab at jazz chops with help from none other than Asha Bhosle for the 1997 Tamil film, Iruvar. Infusing a bit of the old-school cool jazz with swing and the occasional orchestral hits, ‘Vennila Vennila’ lets the instrumentation speak more than Bhosle. Plus, the song’s depiction in the film featured Aishwarya Rai matching up with flawless dance moves.

‘Signore Signore’, Kannathil Muthamittal (2002)

Featuring breezy Latin-inflected guitars, ‘Signore Signore’ was a welcome mood changer in a war-centric drama film like Kannathil Muthamittal. Created with multiple singers who were Rahman’s regular collaborators—Anupama, Swarnalatha—the carefree song is carried by singer Rafique and Noel James, pretty much timeless for Rahman’s ability to weave between folk melodies and global styles. Listen to it here.

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