Tuesday November 25, 2014
Achu’s jazz’y turn in My dear sweety and rock ‘n roll turn in Chirigi chattayindi are fantastic! The composer delivers the former’s funny lyrics really well himself, with brilliant orchestration to boot, while Manasi’s energetic vocals are great in the latter! Kasu cashu dabbu uses Choli ke peechey kya hai’s one line and in its catchy outlook only makes basic use of the Tamil equivalent, Kaasu panam. Tamil composer Deva owns Vathava vadhantava and breathes life into an otherwise standard tune. The theme is sufficiently pulsating. Achu channelises his inner Santhosh Narayanan in Soodhu Kavvum’s telugu remake and does well!
Keywords: Gaddam Gang, Achu
Tuesday November 25, 2014
Sattunnu enna has sounds and chorus usually associated with Thaman’s music, but the tune is gentle and litling, unlike many of his recent song. Hariharasudhan offers his endearing vocals as good support. Robo romeo too, after a predictable start, doesn’t really take-off, but stays on a strangely feathery kuthu level that makes it easily likeable! Mansi and Monissha deliver the song well, with a dinstinctive stylistic accent. The title song is the only one that’s racy, and Alphons vocals and Madhan Karky’s interesting verses! Tamizhukku En Ondrai Azhuthavum is mighty different from Thaman’s standard repertoire and that’s a good thing!
Keywords: Tamizhukku En Ondrai Azhuthavum, Thaman S
Saturday November 22, 2014
Oru cup acid is a bizarre combination of odd lyrics and an even more odd tune that tries to force fit those lyrics – everything seems forced about the song. Kaadhal cassata is a pleasant surprise, with its frothy reggae sound and ‘sweet’ lyrics, while Alphons handles Ekkachakkamaai‘s ebullient tune really well, leaving Ankita Mathew to rule over the Reetigowlai interludes. Friendship is middling pathos, despite Anthony Dasan, while Kaali pasanga is middling kuthu, despite Santhosh Narayanan. Ooru vittu‘s remix ends the soundtrack on a spunky note, thanks to Ilayaraja. Mild progress by Natarajan Sankaran, from his two earlier films.
Keywords: Kappal, Natarajan Sankaran
Wednesday November 19, 2014
Avoid girls seems built like a college anthem, with appropriate lyrics to make it sing-along’ish – fun while it lasts. Mickey tries a falsetto in Baby my lover and while the tune is standard-issue boyband pop, it is a simply, catchy listen. Mayo is dancehall handled well with all the right, pleasing sounds, while Ramya Behara and Karthik handle the mellow, and highly engaging melodies of O kshanama and Idivarakey beautifully. The soundtrack’s highlight is the title song, that comes alive wonderfully in Mickey’s foot-tapping melody! From Chandamama Kathalu, Mickey leaves his earlier templates behind to produce a good comeback.
Keywords: Mickey J Meyer, Chakkiligintha
Tuesday November 18, 2014
Swaroop Khan is in his elements delivering a spirited Rajasthani track for Ajay-Atul, Tharki chokro, that seems content remaining within its genre. Nanga punga has a catchy, childish ring to it and impressive violin phrases too, while Bhagwan hai kahan, despite passionate vocals by Sonu Nigam, is adequately background’ish. Love is a waste of time and Chaar kadam sees Moitra dip into his Western Classical tinted templates – both are listenable, but nothing more. Ankit Tiwari-composed and sung Dil darbadar is Mohit Suri’ish and totally out of place! A soundtrack that’s as perfunctory as every other Rajkumar Hirani film’s soundtrack.
Keywords: Ajay-Atul, Shantanu Moitra, Ankit Tiwari, PK
Dance Basanti is hardly representative of Sachin Jigar’s current form – a catchy, but thoroughly derivative song that could have easily been scored any Punjabi composer with random Z or J in his name. Aslam Keyi composed Ungli pe is no different! Salim Sulaiman’s Auliya is serene and makes one long for the duo’s proper comeback! The soundtrack belongs to Gulraj Singh, who scores an ace with the haunting Pakeezah, a very Shankar-Ehsaan-Loy’ish sing-along beauty, and delivers a punchy anti-corruption song in Aadarniya ungli that reeks of Amit Trivedi. Gulraj Singh and Salim Sulaiman help raise and show this Ungli.
Keywords: Ungli, Salim Sulaiman, Sachin Jigar, Gulraj Singh, Aslam Keyi
On nanba is a stunning album opener! Rahman goes full on Middle Eastern, loads on the dance elements to the already zingy tune mildly reminiscent of the iconic Greek-Egyptian Misirlou. SP Balasubramaniam and Dinesh Kanagaratnam, along with the chorus singers deliver a riotous song. In Indiane vaa, the song Rahman chooses to sing himself, Vairamuthu’s lyrics elevate Rajinikanth beyond his usual state-wide ambitions… into national-level aspirations, given the film’s water-sharing crux. Rahman is dependably good, as is the background chorus and the inspiring, pulsating orchstration. The background in Unmai orunaal vellum could have well been from Lagaan – it is that familiar and stock-Rahman, but Haricharan delivers Vairamuthu’s poignant verses with the necessary soul. En mannavaa is wonderfully sweet, thanks largely to Aditi Paul’s vocals, with able support from Srinivas. The orchestration, like Unmai orunaal, is a bit of a spoiler given its familiarity. Mona gasolina is where Rahman plays with his listeners by throwing caution to the wind. He lets Mano, Neeti and Tanvi loose on Madhan Karky’s funky lyrics and a free-flowing tune that the result is a awesome musical high that is loads of fun. Lingaa sees Rahman perfectly balance superstarry expectations with his own musical sensibilities.
Keywords: Lingaa, A R Rahman, #200, 200
Saturday November 15, 2014
Despite the electronic ‘support’, Suryah’s vocals pulls down Puthandin‘s techno sound. But Suryah surprises in Isai veesi‘s lovely tune, generously aided by Chinmayi’s dependable vocals. Atho vanile has all the charm and nostalgia of a Tamil Laxmikant Pyarelal song – very ‘Junoon’ tune, though Deva’s cameo is delightful! Madhan Karkki’s verses are the only highlight in Nee poiya, with Vijay Yesudas oddly out of his form, even pronouncing ‘Kuzhambiya’ as ‘KuLambiya’! Dirty dancing is cringe-worthy, and painful. The three largely-musical pieces, featuring Chinmayi’s vocals barely pass muster. SJ Suryah tries mighty hard, but his music is rough around the edges.
Keywords: SJ Suryah, Isai
Saturday November 15, 2014
Paravayaa parakkurom has an easy charm, with its violin phrases, ebullient percussion and neat choral play. In Yengirindhu vandhaayo, more than the actual tune, the atmospherics in the orchestration lift the song, while the other Shreya Ghoshal-sung song, Yen aala seems to invoke Hamsanadham raaga to tantalizing effect! Unna ippo paakkanum seems to be built almost like a Coldplay song – beautiful tune and haunting orchestration! Deeyaalo is very-Imman, in terms of its punchy folk catchiness, while Balram and Alphons carry Yenga pulla and Koodave‘s sweeping pathos incredibly well. Kayal’s sound is impressive; the tunes though don’t always play along.
Keywords: D.Imman, Kayal
Aathadi‘s strength is its gently flowing tune; serene vocals by Bhavatharini and Abhay Jodhpurkar, and a lilting ghatam-based sound. Dheivangal ingae‘s background, on the other hand, is too amatuerish, though Harris’ tune is engaging enough, thanks to Sriram Parthasarathy. Thodu vaanam is trademark Harris, and Hariharan and Shakthisree deliver it well. Roja, led by Shankar Mahadevan, Sunidhi and Chinmayi, is energetic and has a Rahman’ish outlook! Danga maari references Andangaakka’s (Anniyan) Yela yela intro up-front, but offers a boisterously catchy listen. YOLO is bland, vanilla reggae. Anegan is a mild improvement, if you compare it with Harris’ last 3 soundtracks.
Keywords: Anegan, Harris Jayaraj