Kailash and Rahat offer their dependably good vocals in Tak dhoom and the song too flows smoothly with a lilting hook, despite the predictable package. Daagh de is incoherent and outdated, but Kailash gets Rekha Bharadwaj to add gravitas to the item’ish Patnewaali, that helps it surface beyond its templatized sound. The soundtrack’s highlight is the very-Kailasa tunes of Bas tum ho and Albeliya – the former, with its filmy pleasant’ness is beautifully sung by Akriti and Sreekant Krishnamurthy, while the latter has Shreya ruling over the delightfully rich melody! Kailash Kher’s Kailasa sound helps produce a nice, little soundtrack!
Keywords: Kailash Kher, Desi Kattey
Dukki tikki obviously rehashes snatches of Variya from Pudhupettai, but what’s more intriguing is that it sounds more like a Thaman song than Yuvan’s! But he channelises the Bhatt-clan sound in his own way well in Tere hoke – thanks to Arijit too! Shweta Pandit’s reprise too is an excellent variant, orchestrated differently. Of the two songs Yuvan hands over to Benny Dayal, the familiarly pleasant Kabhi ruhani works over the uneven, strangely lyric’d Flip your collar. Mamta Sharma’s Namak paare is a largely banal item number. For a 100+ soundtracks old Yuvan, this is an oddly mild Hindi debut!
Keywords: Raja Natwarlal, Yuvan Shankar Raja
Ramesh sings Aasaiyaparu really well. Barring the sound being reminiscent of Rahman’s early faux-rustic songs, the lilting and pleasant tune easily works. Shreya and Haricharan are fantastic in Kalla payalae, while Ranjith and Chinmayee do the honors equally well in Vada dai – both being beautifully crafted melodies, though their rhythms – oddly enough – evoke memories of Rahman’s Kurukku siruthavale. Kondamela is authentically rustic, but with limited enhancements to make it stick, but Ramesh achieves that in the title song – a frenzied, rhythmic tune wonderfully rendred by Velmurugan! Interesting enough follow-up by Ramesh Vinayagam, to the stellar Ramanujan.
Keywords: Mosakutty, Ramesh Vinayagam
Naan indru has a languorously likeable tune and Rahul orchestrates it with a fantastic punch, besides Sooraj’s spirited singing. Rahul’s lively sound borrowed from his Bachelor Party song, Kappa kappa, keeps the otherwise regulation-style Meenamma in better stead, besides Suchitra’s usual verve. The Dark Theme gets the sound right too, aided generously by Anna Katharina’s full-throated vocals, while Beast rock barely passes muster. The soundtrack’s highlight is Enadhu ulagil, that lays out its Reetigowlai cards right at the outset and goes on to make superb pop-style use of the raaga! Long overdue, good enough debut by Rahul Raj in Tamil.
Keywords: Kadavul Paathi Mirugam Paathi, Rahul Raj
Chandran Veyattummal’s lone song, Pokaruthen makane uses minimalistic sound and Jensy George’s affecting singing to bring to life snatches of the battle of Kaniyakulam, between Iravikutty Pillai and Ramappayan. Parvathy’s rendition of Chirakukal njan is significantly better than Siddharth Menon’s vocals in the similarly tuned – a simple, likeable tune – Theruvukal nee. Oorake kalapila is a bit too conversational and dialog-based for comfort. Muthu penne, despite the lyrics based on a traditional song from Poonthura coast, has a tune strongly reminiscent of Ilayaraja’s Summa nikkaatheenga! Rajeev Ravi’s second film as a director gets less impactful music than his debut.
Keywords: Njan Steve Lopez, Rajeev Ravi, Shahabaz Aman
Bang bang is obviously Raju Bhai’s intro song – high on hero worship, and barely functional. Ek do teen, despite the desperate attempt at singing by Suriya, works purely because of Yuvan’s catchy backgrounds and the simple, addictive tune. The reverse happens in Kadhal aasai – fantastic sufi-style melody, but Yuvan’s singing is atrociously bad till Sooraj manages to even things out. Oru kan jaadai has a lovely rock groove, and along with Yuvan’s innovative tune, Benny and Swetha deliver it well! Sirippu en joins Yuvan’s other songs like Kodanu kodi – just passable. An uneven commercial soundtrack by Yuvan.
Keywords: Anjan, Anjaan, Yuvan Shankar Raja
Mama Obama is truly a world song – multiple languages, and the lady announces that she’s a porn star in bed (besides being in your bed on Sundays)… poor Obama! Naan naanaga illai is a complete turn-around by debutant Balamurali Balu – pretty engaging, soft melody sung well by Haricharan and Chinmayi, and some imaginative interludes. Oru CD 30 roobai gets its lyrics right, espousing on the ills of piracy, though the tune is functional at best. The more flashy trailer version of the same song sounds a lot more inventive! Some hope for this debutant, thanks to Naan naanaga.
Keywords: Thagadu Thagadu, Balamurali Balu
Vaaimaiye vellum pulls off its pulsating sound well, but for a tune that is at best something that plays in the background when the titles roll over. Alka Yagnik’s Tamil coach (if there was one) deserves a rap in the knuckles for Kanpadum; even the passable melody becomes a chore. Sadhana Sargam pulls it off better with a similar pathos tune, and with better Tamil, in Boomiye. Blaaze wails through Matta, leaving Vijay Prakash to aimlessly move through the bizarre song. Vairamuthu’s powerful lyrics stand out in Ae naadu, as much as SPB’s dependably good vocals! Patchy debut by Auggath.
Keywords: Vaaimai, Auggath
The title song is a pleasant, catchy power qawali sung with the perfect verve by Javed Ali and Sunidhi – lovely listen! Mannat starts off dreamily, but eventually – and disappointingly – moves on to Sanjay Leela Bhansali territory, thereby diluting the impact completely. Rangreli, despite the energetic sound, is outdated 90s music. Ditto with Jaadu tone walliyan, that, beyond the pulsating sound, sags with sheer pointlessness. But Shayarana closes the soundtrack on a high with its imaginative rock’ish qawali mix, though Shalmali seems to be trying a bit too hard with her fangled vocals. Sajid-Wajid get two songs right!
Keywords: Daawat-e-ishq, Sajid-Wajid
Johnny Johnny is insanely catchy and with such intoxicating lyrics that it may just be banned in Gujarat! Priya is particularly fantastic with the female vocals! Veerey di wedding treads on similar territory, and gets at least the hook bang-on! Tera naam doon is breezy enough melody and sung well by Atif and Shalmali, but the staid rhythm pulls down some charm off it. Its shorter, Atif-solo variant is even less impactful. Sachin-Jigar recycle their passably fun Rowdy Fellows from D For Dopidi in Teri mahima – fun while it lasts, thanks to Anushka and Udit. Johnny offers solo entertainment!
Keywords: Entertainment, It’s Entertainment, Sachin-Jigar