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Just realized - quite surprisingly, very late - that the post in my other blog (Beast of Traal) is very appropriate for Milliblog. It’s about A R Rahman’s new compilation album released by Universal Music, called Connections. No, this is not THE Nokia Connections album and that is exactly what this post is all about. But, considering there is some (although minimal) discussion going on there, I don’t want to start another thread here. So, read the post here.

Pesum minsaram carries the sound of a college band forced to sing in Tamil, complete with rough-round-the-corner vocals and a meandering tune. Paarthathum karaindhen is no better - brazenly slapped together rhythms much like Rahman’s leftovers and a predictable tune, while the lighthearted banter in Koothadichidava is considerably better in its appeal. Things improve dramatically with the appealing melody, Thigatta thigatta even as the short title verse by Bharathiyar is put to tune very imaginatively. The soundtrack’s highlight is the lilting, Yaar tharuvaar indha ariyaasanam (Mahakavi Kalidas)-styled Yaradhu yaro – super smart fusion with a mature classical layer! What a turnaround!

Keywords: James Vasanthan, Yathumagi, Yaathumaagi, Yaathumagi, Sachin, Sunaina

Bangaru kodipetta’s remix is terribly disappointing - it’s a classic case of remixing the wrong way, merely working on the sound and not the soul! Keeravani himself joins Nikitha Nigam in the title song…it’s a typical pompous song straight out of the 90s! Daler Mehndi notwithstanding, Jorsey goes utterly haywire - the composer totally missing every cue for a coherent song, while the two rhythmic melodies - Panchadhara bomma and Nakosam nuvvu are just about listenable - nothing new, however! The rolling title music literally rolls out of Jassie Gift’s tongue and is eminently headache-inducing. Sad soundtrack; poor Ram Charan!

Keywords: M M Keeravani, Ram Charan Teja, Kajal Agarwal

(Note: This appeared in today’s Bangalore Mirror, as my tribute to MJ)

It was back in the ’80s. I was in school, in Coimbatore - a B-town and far from the metro-style trappings. We had a new kid in school, who had moved in with his parents from Dubai. One day, he invited a few friends - including me - to his house. There was a huge TV - even back then - and it was playing music videos, through a VCR. He played us a couple of Michael Jackson videos and I saw them for the first time in my life. Before that day, the only music videos I had seen included snippets on Doordarshan’s Prannoy Roy show, The World This Week or tacky videos from a weird pop music show late in the nights, again, on Doordarshan.

It was only when music channels came to India that I saw much more of music videos. So, in a way, Jackson to me, is more of an entertainer, than just a musician. His performance, be it in videos or stage shows or just in songs embodies a lot more than music and that is perhaps what makes him so much more special.

While I’ve had a far more intimate experience growing up to Wham and George Michael, Jackson’s music was always the benchmark. Even though I realised it on my own, the true epiphany came from my 50 plus-year-old uncle, who once commented very positively about the nuances in Jackson’s music. If a musician can impress someone as world-weary as a 50 plus year old, that is truly something, because the rest of the younger lot is still eating out of its hands listening to his music!

JACKSON’S INDIA EFFECT
Given Jackson’s appeal and renewed interest right now, it is probably the most appropriate time to finally release the track he performed with another person, who is red hot currently - A R Rahman! Yes, releasing Ekam Satyam, the track that Rahman composed along with Michael Jackson, and was choreographed by Prabhu Deva for a German stage show by the King of Pop, would be the right tribute to the pop icon. Isn’t it interesting that the song is partly in Sanskrit, which despite the onslaught of so many languages over the years, has still survived. I have no doubt that kids will discover and appreciate Jackson’s music long after his passing away.

TOO GOOD TO COPY
Jackson’s popularity was so overarching that Indian composers were quite wary of plagiarising his music. There were some genuine flashes of intelligent inspirations though. Telugu/ Tamil composer Keeravani (Maragadhamani in Tamil) had a beautiful, seeped-in-Indian song in K Balachander’s Azhagan - Thathithom. In a shocking twist, the song suddenly changes track towards the end, where actress Madhubala (of Roja fame) had had enough of the pussy-footing to attract the film’s hero, Mammootty, and launches into a snazzy western tune in Tamil lyrics. It was set to the tune of Jackson’s Liberian Girl, and guess what! It fit in beautifully within the song’s structure, composed in the Carnatic raag, Dharmavathi. Compared to this, Hindi cinema has had largely tacky musical inspirations from Jackson - forget the inspiration for his dance moves and music video concepts. Anu Malik’s Hamesha track, Neela Dupatta with shades of Jackson’s They Don’t Really Care About Us is one such example. It could just be that Indian composers were scared to lift Jackson’s songs for the simple reason that the originals were a rage by themselves!

Kalavaramaye madilo opens the soundtrack in Chitra’s impeccable voice - a deep, soothing melody with a beautiful part reserved for the title! The youthful exuberance of Tholi tholi is instantly addictive - the interludes, the springing pace of the song and Chitra’s vocals impress again, while Roshan and Chitra ace the rhythmic, banter-styled duet, Neelo anuvantha – it has also been arranged really well! The composer himself joins Chitra in an incredible moment half-way through the austere, student-guru session Kari varadhuni and Chitra totally takes over Guru Brahma, invoking pleasant memories of Ilayaraja’s Sindhu Bhairavi. The latter’s minimal thavil-styled background helps in bringing both the voices incredibly well. Sharreth’s short Sa Ri Ga Ri showcases his amazingly adept singing and the dulcet duet, O nene o nuvvani too, with Hariharan and Kalpana, with mild shades of Rahman’s sweeping style is tantalizingly beautiful. Pallavinchani is the only, albeit mildly odd one out, with its done-to-death backgrounds that are oh-so-Tollywood. Kalavaramaye madilo has a brilliant soundtrack and Sharreth Vasudevan, both as a composer and as a singer impresses big time. The maturity with which he scores the massy melodies and the classically inclined tracks is remarkable. Sharreth sure has a fabulous future ahead!

Keywords: Sharreth Vasudevan, Sharath Vasudevan, Kalavaramaaye Madilo, Swati, Satish Kasetty

R.I.P Michael Jackson. Regardless of all those nasty controversies and jokes, I’ve grown up with his music (as also the other controversial Michael - George Michael, another HUGE influence!) and there’s a part of me that today feels missing. Though, that part was still stuck back in the 80s and 90s.

Rangu rangu brings the mental picture of a 80s Tamil hero dancing - beautifully lilting tune, unique to Raja. Shringara sindhura, Kogile koogu baa and Yaarivalu are predictable Raja melodies from his recent synth-dominated repertoire; the latter still impresses with its spunky arrangements. Badavara manege’s tune is no doubt soulful, just that it is an old’ish soul. Giliya mariyondu’s orchestration is nostalgic but way too similar to myriad other trendsetting Tamil songs from the master, but Hodadavne surprises with its spunky, street-smart appeal! Raja’s time-warped music is now mirroring his past closer than ever. Is that bad? Or just repetitive?

Keywords: Ajay Rao, Sheela, Ilayaraja

Minimal techno-wizardry and even more minimal tune makes Luck aazma a poor title song, but the duo spring a surprise with Salim’s vocals in the laid-back melody of Khudaya ve. Jee le is at best a left-over from the duo’s Chopra clan association and beyond all the superficial catchiness, it is plain and routine. The title song’s other version, sung by Shruti and Clinton Cerejo is a much better attempt, with its rock’ish backgrounds and super singing by the ladies. Laga le too, with its Pancham-style tune is absorbing. Luck is average fare from Salim Sulaiman – trendy, but largely lackluster.

Keywords: Sanjay Dutt, Imran Khan, Shruti Hassan, Salim Sulaiman

Overlaying a familiar, repetitive sapera-been piece to a hyper-energetic tune in Twist is a total winner all the way; Neeraj Shridhar rocks in the catchiest track of the year, so far! Chor bazari too works with its foot tapping and spunky arrangements, but to a lesser extent, since the tune isn’t as interesting. Main kya hoon’s funky orchestration saves a largely passable, free flowing tune; KK’s vocals generously help in turning this track around. Aahun aahun ups the ante significantly - another spirited tune with Pritam in super form arranging it; right from the guitar prelude, to the addictive and imaginative sounds the composer produces…this is yet another highlight in this soundtrack. Rahat Fateh Ali Khan’s Ajj din chadheya is lilting and lovely…a breezy melody that gains tremendously with his serene vocals. The folk’ish shaadi number, Thoda thoda pyar takes a huge leaf out of the Chopra style of filmi music, but the authenticity in the music and lyrics work in its favor. Yeh dooriyan has Mohit Chauhan doing his thing, as usual; but even as the gentle melody breezes past, the tune isn’t really sticky. But overall, Love Aaj Kal’s soundtrack has everything one expects – take a bow, Pritam!

Keywords: Saif Ali Khan, Deepika Padukone, Irshad Kamil, Imtiaz Ali, Pritam, Florence Brudenell-Bruce

Kailasa’s Chaandan Mein is perfectly in sync with what is expected from the band. The title song shines with Paresh’s guitar and a sweet tune sung with his usual passion, by Kailash. Na batati tu, in an interesting twist, has a playful tune with lively sitar phrases, courtesy Sunil Das, while Teri yaad mein’s simplicity is also its biggest strength - Kailash’s earthy words work very well in the otherwise conventional tune. With a mildly Indian Ocean’ish turn, Bheeg gaya mera mann (Cherrapunjee) is the album’s highlight - the joyous tune symbolizing rain and the arrangements that complement the feeling are scintillating - the band soars to beautiful highs with the jazz tinged additions later down the track. Ishq ho gaya’s woebegone outlook sticks out annoyingly while Sunil’s sitar resurfaces along with more folk’ish sounds in the blithe Rang rang ma. Piya ghar aavenge lays out its beauty gradually, with alternating santoor and flute pieces teasing Kailash to soar with his vocals. Kar kar main haara has more of the striking sitar even as the singer expresses the hopelessness in his lovelorn deeds evocatively. Kailasa does it again – getting it right the third time in Indipop is no mean task!

Keywords: Kailash Kher, Naresh Kamath, Paresh Kamath, Kailasa