Kaaviya Thalaivan Music Review

A R Rahman is back with Kaaviya Thalaivan. Apparently, the subject impressed him so much that he turned down a Hollywood offer Seventh Son to compose for the Vasanthabalan film.
This album by Rahman stands out for various reasons which are discussed here. ARR goes back to experimental music after the commercial success of the music for Kochadaiiyaan.

The album consists of 7 seven songs penned by Na.Muthukumar, Pa.Vijay and Valee.

The album opens with Vaanga Makka Vaanga. The song might remind some of Kumari from Anniyan, based on the same raga. Rahman has a found a new favourite in Haricharan and he sings the classical verses with ease. Lyrically, the song is an invitation to people to attend the plays organised by the protagonist's drama troupe. The tavil, ghanjeera, and mridangam in the rhythm section blend brilliantly and are switched between verses. The song ends beautifully and feels like an apt beginning to an album that surprises in each song.

Rahman introduces the retro theme of the album in the second song, Aye Mr. Minor. Saasha Tripathi sounds a lot like Swetha Menon in her Tamil debut. The song gets the listener interested right away with its catchy intro. Haricharan delivers deftly once again especially in the verse "Ennai unakku rasiganaaga maathara!". The use of bongos is responsible for the retro feel of the song. The tune isn't unfamiliar but the treatment makes this song a compelling listen. Thumbs up!

How often does a song begin with the sound of a horse neigh? Sanda Kuthirai is sung by Haricharan once again. The song is for a funny drama as suggested by the sounds. This rock 'n' roll MSV-esque song on the lines of "Vishwanathan Velai Vendum" is delivered with full energy by Haricharan and is meant to be enjoyed more when coupled with the visuals. The tune incorporates the lyrics brilliantly towards the end. Each word is assigned a different note and kudos to the singer once again for pulling it off. To come up with a tune such as this, given the constraints offered by the subject, is quite a feat. Thumbs up!

After two experimental songs, the album returns to more familiar territory. The retro theme remains in Yaarumilla, sung by Swetha Mohan. The song was released as a single and impressed listeners right away. Swetha Mohan's voice is modern and sweet at the same time. Srinivas delivers a small portion in this romantic number. The interlude after the second paragraph is reminiscent of the one in Mannipaaya. The higher portions of the song are rendered with deftness and impresses throughout, though the tune is familiar in parts. Typical Rahman at his best. Thumbs up!

Sollividu Sollividu is the peace song you might have read about in the newspapers. The song depicts pain and the protagonist's frustration over war. Mukesh is splendid when he sings the phrase "Yaen ambai yenga vaithai." The until then powerful song changes track halfway. "Ulagame yuddham edharku?"  - an appeal is made to the listener. The second half loosely based on the Charukeshi raga is high on emotion. Mukesh expresses the meaning of the song delightfully. This song might just make you tear eyed. My pick of the album. Thumbs up!

Thirupugazh by yesteryear playback singer Vani Jayaram is the next song. This interesting adaptation that runs just for a little more than two minutes leaves us longing for more. Vani Jayaram's voice is sweet and the arrangement is simple and neat.

If you thought the experimentation in the album was done, you are in for another surprise. Alli Arjuna has a runtime of over ten minutes! The song is presumably the entire background score when the troupe stages the Alli Arjuna play in the movie. The song begins with the nadaswaram - tavil combination and goes Vandanam welcoming the audience to the play. Percussion shifts to mridangam and a flute interlude follows introducing us to the first scene in the play. Haricharan does the honours again and he is not going to get an opportunity like this ever again. Energetic beats follow and the song follows the next part of the play. We are taken through the play in the song scene by scene in similar fashion and the transitions fall in place seamlessly. This song is going to be new experience to every listener! Thumbs up!

This is one of those movies that had to go to Rahman's table for the music. The subject of the movie offers many constraints right from the lyrics to the instruments used. As Rahman mentioned in an interview, it was a challenge for him. He succeeds and very easily so. Haricharan gets a once-in-a-lifetime opportunity. This is also one of the very few albums that does not feature Rahman, the singer.
Rahman explores and exploits South Indian music to give a perfect representation of its variety and expression. The album will stand out for its very nature. A big thumbs up!

Kochadaiiyaan Music Review

After months of rescheduling, the album of 'photorealistic-performance captured'-Rajini-starrer Kochadaiiyaan is out. The movie has been in the news ever since it was announced for its cast and magnum opus production. Starring Superstar Rajinikanth and Deepika Padukone in the lead roles, the movie has an all-star cast. Each person working on the movie has a mutually exclusive fan base of his/hers, making this movie BIG in every sense.

The second biggest mutually exclusive fan base is that of A R Rahman's. His previous album Mariyaan was well received. However, the music for the movie was thematic. With Kochadaiyaan, Rahman returns to commercial cinema music, after a hiatus, much to the delight of his fans. 

The album consists of nine tracks - seven penned by veteran lyricist Vairmuthu, one by Vaalee and one, instumental.

Most of us are familiar with the opening track of the album. Enge Pogutho Vaanam is the mandatory SPB sung-heavily-orchestrated-introduction song for our Superstar hero. The line "Ellai Unakku Illai Thalaivaa" describes what the song is about. The song gives a magnificent reception to its hero with its heavy orchestration, especially the brass section, with the trumpets and trombones. SPB gives a powerful rendition of a song that carries the pressure of describing its hero's glory.   

The second song of the album is Methuvaagathaan, sung by SPB and Sadhana Sargam, which begins with a riff very similar to the one from Maahi Ve. The non-experimental approach to the album is evident right from the beginning. Say, you wouldn't find a romantic song as slow paced and simple as Innum Konjam Neram in a Rajini starrer. The vocal chords lend grandeur to this song. The Veena interludes sit beautifully in the beginning. Sadhana's voice, is as fresh as ever and a delight to listen to. SPB renders mellifluously. The mridangam rhythm track is beautifully synced into the song. Thumbs up! 

Maatram Ondrudhaan Maaradhadhu. Were you waiting for a goosebumps moment? "Ethirigalai ozhikka mothal vazhi...mannippu", Rajinikanth begins, giving way to the orchestra - there it is, a whistle moment! Haricharan takes over proceedings with energy, his voice screams it. The song is well orchestrated and the chorus lines make it grand. Lyrically, it is a conversation between Rajini and his fan-listener, as she/he listens to Rajini's advice. The song ends with jathi by Umashankar. Hoots will make this song un-hearable in the theatre. Thumbs up!

Manapennin Sathiyam and Manamaganini Sathiyam sung by Latha Rajinikanth (yes, surprise!) and Haricharan respectively, share the same tune. Haricharan's unique nasal voice has made him a favourite. The female rendition is impressive too. Lyirically, the song(s) is/are a promise made by the lead actors to each other. The Ghanjeera beats and Nadhaswaram interludes add beauty to this soothing track. The song, with its familiar classical tune stays true to its roots - the slow pace and simplicity, all through. Likable, right away.
(Update : I've listened to the Hindi version of the same song sung by Karthik. The composer uses Shenai in place of Nadaswaram in this version for the Hindi audience. Such detail. Hats off.)

The next song in the album is Idhayam. Sung by Chinmayee and Srinivas, it takes off energetically post the deftly rendered recitation by Chinmayee, especially the lines nagarndhu nagarndhu..poguthey. Srinivas's voice reminds one of Minsara Poove. The song is high on emotion and points at the pain of the lead pair in the movie. It is not catchy and soothing to the ear right away, but it is a Rahman song. Thumbs up? Time will tell. 

Engal Kochadaiiyaan worships its hero as the title suggests. The song sounds like it signifies Rajini's rise against the antagonist post interval. Rendered by an ensemble named after the title, the song/score when coupled with visuals of a fierce Rajinikanth, could be a treat on screen. It is almost as though Rahman had to use a choir in every song to glorify the larger than life hero. But the glorification is what we want, don't we? Powerful!

Rana's Dream, with its western orchestral arrangement feels like a Hollywood movie score. Based on Enge Pogutho Vaanam, the track is an inspiring and pleasant listen. The track describes the hero's ambition and justifies its title aptly. The track is soothing to the ear and leaves behind its emotion in the mind. We don't get to hear such tracks in Tamil movies. Thumbs up!

Karma Veeran, rendered by A R Rahman and sister A R Reihana is the signature Rahman-sung motivational song. If the rest of the album glorifies its hero, this song, to me, glorifies the Karma Veeran, its composer. He renders with elan and carries the larger-than-life theme till the end. The deja vu factor is undeniable, the tune bears resemblance to Nenje Yezhu. However, "Kaatre kaatre nee thoonguvadhe illai", you're sure to be left humming. 

The album lives upto expectations easily. Five out of eight tracks are impressive and the rest adding to the list on repeated hearings is known fact. The album is sure to please fans and they wouldn't be left feeling a void till the composer releases his next album.

Raanjhanaa Music Review

The Mozart of Madras is in the news again for his latest album, Raanjhanaa. Raanjhanaa sees Rahman teaming up with director Anand Rai (of Tanu Weds Manu fame). The movie marks the dream debut for Dhanush in Bollywood. Sonam Kapoor plays the female lead in this movie. 

Rahman's last Hindi album, Jab Tak Hai Jaan wasn't very well received (though personally, I'm a fan). His latest album has a lot to offer in every sense. 

  

The album consists of 9 songs, 8 penned by Irshad Kamil and one instrumental.
Rahman pays tribute to Ustad Bismillah Khan with Shenai interludes in all the songs.

Raanjhanaa, the title track of the movie begins in typical Rahman style with plain vocals by renowned Ghazal singer, Jaswinder Singh. Fast paced beats and a Shenai interlude follow. Shiraz Uppal does a neat job, lending just the voice the song needs. Raanjhanaa hun tera is the phrase to hum for the fans. The fast paced song sets in a happy mood, Dhanush performs and dances like never before in the visuals. The song is perfect start to an album that has so much more to offer. Thumbs up!

The second, Banarasiya begins with a beautiful violin piece. Soon, the song takes the Classical route with Tabla beats and Veena / Flute interludes. You know you are in for a treat right away when Shreya Ghosal sings for Rahman. Anwesha Datta, the other vocalist has come a long way from her first reality show, 4 years ago. Her mellifluous voice along with Shreya's is a delight to listen to. They pull off the difficult phrases gracefully together. This is that song of a Rahman album that grows on you on repeated hearings. Thumbs up again!

Right into business with electronic drum beats and piano backing is Piya Milenge. The swaras remind one of Yaakai Thiri, the true fan would go GaGaSa after NiSa. Tabla beats soon follow to give this song a 'fusion' feel. Sukhwinder Singh is brilliant on the vocals, never has he not been. The KMMC Sufi Ensemble performs splendidly. The fast swaras backed by a violin piece are the highlight of the song. The Sufi-fusion sounds like a transformation song of sorts for the hero. Pick of the album. And yes of course, Thumbs up! 

Ay Sakhi rendered by Madhushree, Chinmayi, Vaishali and Aanchal Sethi is the next song of the album. It takes the route that Banarasiya from the same album does. You wonder if it was Sadhana Sargam you just heard, for a moment. Vaishali or Aanchal it was. Vocal interludes are interesting and unique. The song is probably meant to work on screen. 5 or 6 hearings and the typical fan isn't impressed yet. 

Nazar Laaye begins with an acoustic guitar piece in western style and stays true to its beginning all through unlike the other numbers. Rashid Ali renders with a husky voice. Neeti performs aptly. It is that light hearted romantic number that every Bollywood romance has. So call it the "breezy romantic number"? Fine. Thumbs up? Nah, for the song doesn't offer anything new. Such is the benchmark Rahman creates.

Tu Mun Shudi commences with techno beats. Rahman does the vocals along with Rabbi (of Challa fame). Rabbi's deft rendition lifts the song up. The refrain Hamse wafeiyein na appeals to the listener quickly. The phrase Tu Mun Shudi feels out of place for a moment initially but soon merges in well. 

Rahman goes jazz. Aisa na dekho is rendered by the composer himself. The 'Indian listener' feels the weirdness of the genre instantly. Give the song repeated hearings just the way you did to Rehna Tu from Delhi 6. The song is a potential trendsetter. The tiny jazzy accordion interludes fit in perfectly, sublimely adding to the grace of the song. The song was meant to be sung by A R Rahman for only he can interpret some of his compositions. Thumbs up!

The Land of Shiva is an instrumental song. Live Aarti chants recorded by the director while shooting have been incorporated in this song (source : wikipedia). The Udukkai beats are energetic. The one minute piece sounds spiritual as the name suggests. The song is probably part of the BGM. 

The Javed Ali - Rahman duo has never disappointed. The album touches its highest point in its final song. Like three other songs in the album, the song is quick to take the classical route. This is the song where the hero starts going behind his girl. Javed Ali's rendition is spot on. Keerthi and Pooja, the other singers of the song do their parts well. The tabla beats keep up the spirit of the song all through. There are no dull moments in this song, for it has the Rahman flavour right from the word go. The song, released as a single a month before the album's release, is topping the charts already. Thumbs up!

At the end of the 38 minute album, you only wonder how this man pulls it off every time. The music is definitely a high point in the movie.
If Rockstar proved Rahman's prowess in the western genre, Raanjhanaa does in the Indian classical genre.
Raanjhanaa has all the makings of a super hit album.

Mariyaan Music Review

The wait starts when the announcement is made that A R Rahman would be scoring the music for the film. The excitement begins there for crores of his fans. The fact that he lives upto the expectations of almost all his fans in every album of his makes him the finest composer of our time. The wait isn't short. It is atleast a year after the announcement is made.
It has almost been a year. Mariyaan, is the latest offering from the Mozart of Madras. The movie directed by Bharatbala stars Dhanush and Parvathi Menon in lead roles. So what does the new album have to offer? Find out here!

The album consists of seven songs penned by Vaali, Kutti Revathi, Kabilan, Dhanush, Blaaze and Rahman himself.

The album begins with Nenje Ezhu. Crooned by the man himself, the song was released as a single track a week before the album's release. The song begins with simple drum beats, chords and chimes. Rahman takes  stage with Aayiram sooriyan suttalum.. The very first line of the album reminds one of melum melum urugi urugi  from Mannipaaya. But don't be deceived. The song is quick to charm the listener. The refrain Nenje Ezhu is definitely the phrase to hum for the fans. Rahman reaches high notes effortlessly even after the transpose is increased. His soft yet powerful rendition of the song makes him the best choice for it. The song gives a "I've heard something similar" feeling in some places, but when coupled with the visuals (reportedly shot in off coastal deserts), it is indeed going to be a treat!

Innum konja neram is the second track sung by Vijay Prakash and Swetha Mohan. The song opens with an Accordian piece backed with Ghatam beats. Vijay Prakash's voice is a delight to listen to as he goes Innum Konjam Neram... Swetha Mohan soon joins proceedings and performs beautifully, as expected. Her husky rendition is just what the song needs. Lyrically, it is a conversation between two lovers, sublimely composed. Rahman has a new favourite instrument in the Accordian. The hit from his previous album, Nenjukulle, had similar interludes. Rahman along with Kabilan has penned lyrics for this song. Close your eyes and listen to this track for it is sure to grow on you on repeated hearings. A thumbs up for this excellent track!

Vijay Prakash gets to sing another track in the album. Netru Aval is another 'pleasure to listen to' duet song. Rahman's find Chinmayee croons the female portions finely. Vijay Prakash gets you in the mood for a romantic treat right away. His voice deserves a mention again in this track. The phrase Aagayathil nuru gives goosebumps as high notes are reached. Vaali comes out with enchanting lyrics. Towards the end, going a transpose higher and touching the higher notes end the song on a high. The song has the Rahman stamp all over it. Close your eyes again for this song to find yourself in a different world! My pick of the album!

If you thought this album was taking to the romantic side a bit too much, you will be surprised. Haricharan and Javed Ali come together for Sonapareeya, a fast paced number. The first teaser of the film featured background music from this track. The singers deliver energitically as required. Nakash Aziz does well a small rap portion. It is hard not to enjoy this song. However the song doesn't offer anything new in terms of tune and feel. We don't want every song of Rahman's to be unique, do we?

Enga Pona Raasa, the next track is an unplugged track by itself. Backed by acoustic guitar, Shakthishree Gopalan (of Nenjukulle fame) does a neat job. Her husky rendition is similar to the other female singers' of the album. Rahman has written the lyrics for this song. The song depicts the heroine's longing for her guy. The song would probably have an added appeal on screen.

I love my Africa. Blaaze and Rahman have sung this song. But later did I hear the third voice. The chorus verses have been performed by the Madras Youth Choir (a popular choir group in the city which I had gotten into and later discontinued). Feel for that now! That apart, the African beats coupled with Blaaze's rap portions make this an interesting track!

Now, it came as a surprise when we were informed that Yuvan had been chosen to sing a song for Rahman's latest. Rahman pointed out he had opted for Yuvan for his rustic voice. It still didn't seem as a good option. But he surprises us. Yuvan surprisingly delivers well without pitching issues. He renders well but it isn't very obvious why he had to be the only choice. The beat sounds like a lift from Arjunuru villu (from Gilli). However, the Nadhaswaram interludes and the change in beats midway cover it. The song is fast paced but fails to deliver at a higher level. Listen to the track for its pace, the good interludes and the beats. The song is otherwise run of the mill and not what we want from Rahman.

That sums up Rahman's latest album. The fans (includes me) are going to love it. They were going to, anyway. The first three songs are excellent. None of the other tracks disappoint.
The album obviously isn't his finest. It is in fact similar to his recent album Kadal on some levels. Nevertheless, A R Rahman's latest lives upto the expectations, in style. He has delivered a fine album that is definitely going to top the charts for the next few months!