Sandi muni is a frenzied Mayamalavagowlai, delivered by Haricharan with the right attitude. Leon also assembles an engaging rhythm base for it! Shakthisree, in Vaaya veera lifts the melody to new heights, with Leon again creating backgrounds that are more interesting than usual. Thaman’s Motta paiya is similar, engaging melody with even more interesting backgrounds. Sriram Roshan’s kiddish voice makes for an intriguing gana in composer Ashwamithra’s Moda moda. Composer Sathya’s Sillatta pillatta is forceful enough to automatically make your tongue roll inwards – mighty catchy techno gana. Leon James makes an impressive debut, in this above average 4-composer soundtrack.
Keywords: Kanchana 2, Leon James, Thaman S, Sathya, Ashwamithra
To ju hain sees Ankit churning his standard template to the hilt. Where Ankit really scores is in his other two – Shukrana starts off meanderingly, but soon a pumping rhythm takes over and lifts the song up, while Alif se has catchy techno break-beats that work well. Jeet’s title song has a Bond theme’ish functional outlook, with Mahesh Bhatt asking us to call him names. Jeet’s other song, Teri khushbu, in both versions, (Arijit and Palak) is the soundtrack’s best – beautifully tuneful, given its possible raag Keeravani orientation. Ankit and Jeet deliver a listenable soundtrack, in Bhatt tradition.
Ethanai kavignen cheeky lyrics bring a smile instantly, and Karthik’s singing plus Thaman’s thrumming rhythm make it an easy winner. The title song is forceful enough to play in the background when a Telugu hero is rampaging on henchmen who dared to bother his area’s people. SPB Charan brings his under-rated charm to Penne penne, a lovely, rhythmic, easily likeable ballad. Its other version by Manasi is also a great listen! Nallavana kettavana is ponderous, catchy gaana, no doubt, but also uses a chunk of Harris Jayaraj’s Ava enna from Vaaranam Aayiram. The melodies lift and hold up this soundtrack.
Kalaasi and Marina beachula would bring tears of joy in Deva’s eyes, for using his gaana style and upgrading it a bit too! Orae oru murai has a pleasant Latino lilt and a good melody spearheaded by Sunitha Sarathy, but reeks of a time when Ranjit Barot scored VIP in Tamil! The two short songs, Dhaegam thaakkum and Aaja o re again usher in the 90s. Is Varshan the rechristened version (pun unintended) of a late 90s Tamil composer? The entire soundtrack of Purampokku sounds like it was composed back in 1999 and has somehow stumbled out of cold storage.
Ettum pottum, in Vineeth Sreenivasan’s confident vocals, is pulsating hard rock, with superb guitaring all through. Sarangiyil has the immensely talented Job Kurien hold forth, with his singing, on to a dreamy, Floyd-like soundscape – it is wonderfully captivating, and evokes memories of Rudhira suriyan, from Roby’s own Theevram. Azhalinte‘s techno sound too is mesmerizing, with even the autotune shenanigans over Roby’s vocals playing along to the feel of the song. There’s also a udukkai sound that comes along mid-way and adds a particularly haunting new layer to the song! Chiriyude pinnil‘s most repetitive phrases instantly bring pleasant memories of similar, repetitive phrases from Maragadhamani’s Azhagan song, Sangeedha swarangal (Naanundhaan nenechen, nyaabagam varala…), but that only adds to the song’s aura – a mind-bogglingly frothy, jazzy piece, with Madonna Sebastian sounding absolutely brilliant! As if not content with just one version, Roby also offers an upbeat version of the song, with Madonna devouring the vocals department again, impressively, but Roby’s almost-Amit Trivedi’esque sound is the real highlight – it is phenomenally addictive! Roby Abraham shows tremendous promise from his already good, but limited repertoire, in You Too Brutus, firmly securing him a place amongst the most promising new-age Malayalam composers.
I came across this piece in today’s Bangalore Mirror (Rajkumar song is not music to family’s big release), which says that Lahari Music and T-series have sent legal notices to the producers of the Puneet Rajkumar starrer, Ranavikrama, for allegedly plagiarizing 2 songs from their repertoire.
The title song is Ranavikrama is supposedly based on a song, ‘Jagave ondy ranaranga’ from the 1988 film Ranaranga, with music by Hamsalekha.
The article also says that another song from the film’s soundtrack allegedly uses a tune from a Telugu song from the film Seetharamaiah Gari Manavaralu (1991).
I checked out both the songs in question, from Ranavikrama. (Listen to the songs from Ranavikrama on Saavn)
The title song of Ranavikrama does use the line, ‘Jagave ondu ranaranga’, but the tunes are pretty different.Listen to the 1988 song from Ranaranga.
Hearing that phrase as the opening of both the songs could color your perception about similarity, but the tunes are clearly different, in my view. I’d clear Harikrishna’s (Ranavikrama’s composer) name in this case, at least based on what I hear. I don’t think Lahari and T-series have a case here.
As for the 2nd allegation, I heard the soundtrack of Keeravani’s Seetharamaiah Gari Manavaralu. The song, ‘Kaliki Chilakala Koliki’ seems to be only song that can be used in the context of plagiarism, and connect it with ‘Airdellu Airchillu’ from Ranavikrama.
Listen to Kaliki Chilakala Koliki from Seetharamaiah Gari Manavaralu.
But here’s the deal – both the songs are, again, different. The Telugu song has an authentic folk/classical feel and is a trademark of Keeravani’s style of music – simple and evocative. The Kannada song, with a different tune, has a mock tone – a spoof’y tone that makes fun of things in a in-your-face obvious manner. So, the use of an old’ish, folk’ish tune and modern words thrown in. The feel is that of a folk’ish tune, but the tune isn’t the same as the Telugu song at all. The overall feel is, even perhaps the rhythm, in an obvious way, but not the tune.
I do not believe Lahari or T-series have anything material here to send legal notices to the makers of Ranavikrama.
Mathagajame has the grandeur befitting a historical’s intro song, but eventually turns into a melange. Chusukovoy‘s rhythm and tune is perfect for… 1985. Now, it sounds bizarre. Ditto with Allakallolamai – angsty, outdated dance sound. The soundtrack’s real winners are the 3 melodies. Auna neevena is delightfully sweet, with fantastic orchestration that is so very Raja, while Punnami puvai ups the ante with an even more dulcet tune and fantastic singing by Shreya! Anthapuramlo too has a pleasant lilt and the harmonious mix of Chitra, Sadhana Sargam and Chinmayi’s vocals makes a big difference. Usual Raja stock, with 3 highlights.
Chirakurummi is an interesting concoction; Aparna Rajeev starts off in a different tune even as Najim Arshad picks it up and moves into a beautiful, possibly Vasantha-raaga base. Noore ilahi is a surprisingly old-school qawali, with the usual catchy hooks. The Abhogi’ish (Bagesri?) Swapnachirakil is a wonderfully pleasant melody, typical of the raga base, and lovely rendition by Sachin Warrier, Tansen Berney and Shilpa Raju. Remya Nambeesan breathes life into Raavin nizhaloram‘s fetching melody, while Unaroo stands completely out of the soundtrack’s predominant sound with its rock sound. Still, three very competent songs from composer Bijibal, to round-up the soundtrack.
Sneha Khanwalkar’s Bach ke Bakshy is mind-bogglingly eclectic, with a curiously addictive sound! Byomkesh In Love, by alt-rock band Blek is a less impressive reworking of their own superlative 2012 song Fog + Strobe. Joint Family’s Life’s a bitch and electro-alt-punk duo Mode.AKA’s Chase in Chinatown are fashionably and flamboyantly grungy, while Peter Cat Recording Co.’s gypsy-waltz Jaanam is a captivating listen. Ija’s Yang Guang Lives is trippy and edgy. The soundtrack’s best is Madboy/Mink’s insanely catchy electro-swing Calcutta Kiss, fabulously adapted from their own Taste The Kiss. Dibakar Banerjee assembles multiple indie artists for a mighty unorthodox film soundtrack!
Keywords: Detective Byomkesh Bakshy, Sneha Khanwalkar, Blek, Mode.AKA, Madboy/Mink, Peter Cat Recording Co., IJA, Joint Family
Arike pozhiyum‘s absolute highlight is Mithun Raju’s addictive guitaring. Govind Menon’s tune and singing are top class too – one captivating package! Hridayathin niramayi is nice enough, with a lilting waltz sound, though the accordion-led sound is standard-issue. Manjiloode, however, is an instantly likeable, cracker of a melody – Christine Jose Vadasseril and Divya S Menon sing it beautifully. Even Ninnekaanan has a fantastic Celtic-rock sound to give Benny Dayal company, though the occasional English lyrics seem forced and out-of-place in a very Indian rock’y way. Govind Menon is turning out to be a very dependable and consistently good composer!