“All my films have turned out well only because of the director’s brilliance, not because of me” + “I would like to break the experimental mode and get back to regular cinema” – OUCH!
Kallaale senju vacha evokes pleasant memories of Yejaman’s Oru naalum, but that could be because of the Sindhu Bhairavi base. The song is incredibly tuneful, with Hari Charan doing a phenomenal job in the vocals, which comes out really well given its soft, unintrusive backgrounds. For the song’s female version, Priyadarshini seems to be trying too hard, resulting in a significantly watered down version. Ungappan pera solli brings back recollections of dozens of Raja songs using Keeravani as the base. The man’s withered voice shows strains of age, but his orchestration – particularly the rhythm – keeps the song in good stead, besides Gangai Amaran’s playful lyrics. The question after Kaalayile maalai vandhadhu is definitely, ‘Who is this Saptha Barnar?’ – she sings oh-so-beautifully! The tune is another trip down 80s Raja – sounding a lot like a wonderfully spruced-up Megam karukkudhu (from Aanandha Raagam – possibly because of Abheri). Nandri solla vendum seems like a feathery reimagining of Raja-style Hamsadhwani and the man has rare gone wrong with this raaga anyway. The charm in the song is in the unusual rhythm too, that blends well with the raaga. The spark in R.Sundarrajan-Ilayaraja combo is intact, after all these years!
Keywords: Chithirayil Nilachoru, Ilayaraja, #200, 200
Note: Kaalayile maalai is by Saptaparna Chakraborty!
Aruvaakkaaraa is enchanting! Padmalatha rules over the mesmerizing melody, ably supported by Kaushiki Chakrabarty, Vairamuthu’s charming lyrics and Bonnie Chakraborty’s sudden Bengali infusion! Gold Devaraj and Samar Kalaikkuzhu are in superb form in the punchy Kaathu kaathu! Incredibly catchy tune, with really imaginative percussion. Sundar Narayana Rao gets the best written song of the soundtrack (lyrics: Yegathasi) in Aatha un selai, a deeply impacting tune, with superb backgrounds by Sofia Symphony Orchestra. Its instrumental version by Flute Nathan is terrific too. Gold Devaraj’s folk’ish Thaattiyare thaattiyare makes authentic use of urumi melam with rustic charm. Hat-trick of sorts by Ghibran!
Keywords: Kutti Puli, Ghibran
“Remember that Jodorowsky’s “Dune” would presumably have come out before “Star Wars”; when we look at the designs for this unproduced film, we see the birth of a design aesthetic that has shaped both pop culture and the physical world for the last four decades. Oh, and if you’re wondering about David Lynch’s 1984 film of “Dune,” yes, Jodorowsky went to see it, with great trepidation. He was delighted it was awful; not the most noble reaction, he admits, but human.”
“The album makes your jaw drop. If you’re a Daft Punk fan, it’s best not to consider this a continuation of their EDM legacy, but of their legacy of ballsy experimentation.”
“To submit this review from the same room in my Lucknow home in which I used to hear it (inspite of the various music releases that included albums like Bombay, DDLJ, Rangeela, Barsaat and many more), is a high for me.
The album has stayed with me for 18 years and it continues to sound wonderful. To me, that means a lot and if you trust my word, do try the album out. It is available on iTunes for less than 100 Rupees. ”
Composer Harikrishna and Yogaraj Bhat seem to be having a great time crooning Budu buduke… a simple, street-smart song. Soundharya samara starts off with an uncredited lady’s classical Panthuvarali singing and continues in semi-classical format, with Sonu Nigam acing the rendition – it moves off Panthuvarali only later, very oddly. Shachina Heggar’s breezy Hedarabyadre is considerably modern and is pleasantly tuneful. The composer’s wife Vani gets the soundtrack’s best, Bere yaro – an ambient, haunting melody. The short Jinke bedareruvaga sounds sweet but fails to make a dent. Hari seems to reserve his experimental best for Yogaraj-associated films, as usual.
Keywords: Yogaraj Bhat, Harikrishna, Kaddipudi, Suri
Atif and Shreya are in great form in Jeene laga, a hummable breezy tune, despite the slightly spruced 90s sound. Shreya joins Atif again in the pleasant, lilting melody in Bariyan, while Atif even briefly sings in a falsetto in Rang jo lagyo, his spritely, Atif’ishly sweeping solo. Mika’s Hip hop pummy is a perfectly functional dance track, but Jadoo ki jhappi, with its messy street band sound, hardly works. Peecha choote sounds utterly ordinary as a tune but for Mohit Chauhan’s spirited singing. Much like Prabhu Deva’s films, Sachin Jigar’s music in Ramaiya Vastavaiya treads the safe and predictable.
Keywords: Sachin Jigar, Ramaiya Vastavaiya
Fuk fuk fukrey is high on energy, with occasional dubstep and likeably coarse vocals by Ram and Amjad. Rabba is a curious, engaging mix of a seemingly folk’ish tune set to a pulsating mod sound, led by Keerthi Sagathia! Karle jugaad seems like Delhi’s anthem – phenomenally catchy hook and cleverly spruced-up qawali! Beda paar, despite the psychedelic sound and breakbeats barely makes a dent, but Lag gayi lottery gets its Punjabi+pop fusion adequately well, besides the enthusiastic hook! Sona Mohapatra’s Ambarsariya is a wonderful listen, with Munna Dhiman’s earthy lyrics and Ram’s lovely, guitar-led melody! Chak De Phatte Fukrey!
Keywords: Fukrey, Ram Sampat
PS: Wonder how Ambarsariya is credited in the CD, considering its earlier versions by others like RDB. Is it a traditional tune?
Rahman channelizes his sweeping patriotic template to a motivational song in Nenjae ezhu – adequately impactful. Innum konjam is absolutely hypnotic – splendid vocals by Vijay and Shweta! Naetru aval gets its sound right, but the rambling tune doesn’t help, while Enga pona is Shakthisree and Keba’s show all the way! Sonapareeya, despite the foot-tapping sound, feels contrived, while I Love Africa seems content playing off conventional notions of ‘African’ music. That same ‘African’ sound gets a superb fillip with Rahman’s fusion in Kadal raasa, sung brilliantly by Yuvan! Maryan sounds good, but doesn’t soar like Rahman’s music usually does.
Keywords: Mariyaan, Mariyan, Maryan, Maryaan, A R Rahman, Bharatbala, Dhanush
PS: Here is a wonderfully written counterpoint from Suresh on ‘Naetru aval’… as an alternative perspective!
Hun nai hatda seems like the most accessible start to the album, almost pop-style complete with catchy chorus and a superb Ranjhaa kardi interlude by Mukhtiyar Ali, all set to enchanting backgrounds. Saiyyon assi gets its piano and guitar combo brilliantly well! Vasundhara gorgeous vocals gel really well in the ambient, new-age style tune concocted for this age-old song! There’s something like the musical equivalent of an optical illusion in Sajan bin; Mukhtiyar starts on a scale and Vasundhara chimes in seamlessly, in a different scale… both sounding fabulous! Range so range tests Vasundhara’s range and she sounds distinctly Western thereby reducing the impact of an otherwise haunting tune. Tum se is the album’s most filmy, almost like a Shankar-Ehsaan-Loy number – great listen, overall! Man atkiya sounds very Indian Ocean, and demonstrates great vocal interplay between Vasundhara and Mukhtiyar. Mera sona sajan touches upon a raaga that one can seldom go wrong with – Ahir Bhiarav, and comes out victorious! Kahun na powe is the album’s weakest, with a tune that seems undecided on what it wants to achieve. The Shah Hussain Project Volume 1 is a delightful experiment getting everything mostly right; looking forward to the next volume!
Keywords: Vasundhara Das, Mir Mukhtiyar Ali, #200, Roberto Narain, Rajan Tisge, Vishal J. Singh, Hemanth Diwakaran, Shalini Mohan, Shadab Rayeen, The Shah Hussain Project Vol 1
Note: Given the album’s digital-only distribution, here’s where you can get it – Flipkart | iTunes. Project home page: http://theshahhussainproject.com/
Nithya Santhoshini and Lipsika sing Matakandani and Pilla galula almost like they’re praying, but, for these songs’ deep and exquisite tunes, it’s wonderfully appropriate. Ditto with Pranavi in Nee needana – an old fashioned melody with veena galore, but with a pleasant, feathery tune. Karunya – the only credited male singer – breezes through the short, ambient Alaa chandamaamanai, even as the theme pieces are resonant and very listenable. The soundtrack’s best is Kranthi’s Mabbulu kurise, that sounds like good old Ilayaraja-style use of Keeravani raaga! Pavan Kumar bucks the trend and makes a dramatically different debut in Mallelatheeramlo Sirimallepuvvu.
Keywords: Pavan Kumar, Mallelatheeramlo Sirimallepuvvu