'Ay Hairathe Aashiqui' is a captivating start to the album. Boasting of Gulzar's lyrics and accompanied by the glorified vocals of Alka Yagnik and Hari Haran, the song becomes an instant favorite. And the humming on Rahman's part at the beginning of the track only adds to its likeability. Although a typical love song, there is little doubt for it making it big amongst eclectic music listeners. I personally love the way the song starts off and paves its way to a cogent end.

As cliched as it sounds, no Indian movie is complete without a song that exalts the coming of rain. With 'Barso Re', Rahman does exactly that. Gulzar in his poetic element pens down the lyrics capturing the essence of the song. Shreya Ghosal renders her vocals in an unusually frivolous way, a generic carefree notion attached to rejuvenating showers. This song is assuredly accompanied by vibrant visuals and one can let their imagination run wild.

Rahman never ceases to surprise his listeners. With 'Bazi Laga', Rahman goes experimental but it is not to say that he has been successful. Udit Narayan and Madhushree sing this situational song about money and playing gambles. I never said that the surprise was a magical one. I'll let the listeners be the judge of that.

'Ek Lo Ek Muft' comes around next bringing forth a rural mood. Bappi Lahiri is behind the mike this time projecting the voice of a drunkard crooning a song based on the "buy one get one free" theme. Chitra lends her vocals in the later half of the song but fails to draw much interest. All in all, a passable track! I wouldn't mind skipping this one.

Gujarati folk music undergoes marriage with Middle Eastern flavors to brew up a true Rahman signature track by the title of 'Mayya Mayya'. The song has been performed by Mayyam Toller and gasconades Mallika Sherawat's cameo appearance in the movie. With sensual undertones, this song, too, is associated with strong visuals. The video of this particular track will only accentuate its exquisite feel making it a part of the world music genre.

A fusion between Sufi music and classical Hindi ballads takes place in the form of 'Tere Bina'. A. R. Rahman and Murtaza Qadir join hands to create an aura that gives the song an unexampled listening experience. The lyricist expresses the acquisition of love as a dreamy journey and this journey is made all the more exulting with the arrival of Chinmayee. Chinmayee's mesmeric vocals help in making the later half of the song impressionable as it treads off to a mellow end. Highly addictive – a common symptom would be to hit the rewind button.

Rahman has composed music for many foreign theatrical ventures. Hence, it is only natural to see Broadway influences creeping into the orchestral track 'Jaage Hain'. Chitra croons in all her glory singing about taking time out and anticipating a brighter tomorrow. The nuances that Rahman's music manages to create are by far breath taking. The musician goes behind the mike himself in the second half of the song and is aided by the Madras Chorale Group and the two take the song to its zenith. A definite treat for opera lovers!

As an album, Guru will draw mixed responses. Since a variety of its songs are situational, the visual element will have to play a vital role in creating impact. After the record breaking success of Rang De Basanti, people would expect Guru to create waves to a similar extent. But I would advise you to drop all preconceived notions and give this album an unadulterated chance. As for the popularity ratings the album garnered, I think 3 out of 5 shall suffice.