AR Rahman - Kadal - Adiye

Aiyo Aiyo Aiyo! These chaps have planned for this murder (thats literal translation for - thittam ittu kolai saiya vanthutanga da). I mean the whole team that ARR has worked with here. I guess in this case, i must ask "enna enge nee kooti poren"? ARR's answer is "listen, follow and you will know".

Sid Sriram, who is this guy? Where did he come from suddenly? Kudos to him. Listen to the lines "unni nambi vaarene" and then difference in "un pinne suthurene". Awesome. That phrase in the song alone, was enough to swoon you. ARR lets Sid out of the box, and the fellow is singing like on an "unplugged" show. Free flow, thats where the magic begins here.

Oh and i am listening to the song, and i just noticed one thing. Every "Adiye" has a loud beat, like a clap, slap, a bang on the drum or in the early stages a forceful finger on the piano. I am sure it wasn't planned, but just a happenstance from the rendering of the song. Sometimes it takes a while for an ARR song to hit you. Adiye did to me, what Aromale did earlier. This song falls in the same genre, i think. The loud music, you would think would drown the song. ARR is sometimes accused of this. But this is a perfect example of the opposite. The loud seeming cacophony, plays in perfect harmony to the singer. Oh, ya, watch out for the volume setting, specially if you are listening with headphones. Be prepared for the "Adi" you get through out the song.

As said before the background singers. ARR, uses a bunch of 'oohs' in the background often during the song. It seems like one of the American R&B being played out to tamizh lyrics. Who would have thought? He experiments, all the time. Even the piano and the drums in the background add to the ambience created in the song. Another perfect love song, rendered completely out of the blue. The background vocals sing louder than Sid, who appropriately tones his voice down, to give the right effect - a love lorn hero. Again simply oooh oooh oooh.

Karky again does a good job, providing the right words, around which this melody is woven. I liked these lines that go "Meena thooki rekka varanja, Vaanam mele nee veesi erinja, Paraka pazhakuriye, Engirunthu vanthayo nee". It all comes together beautifully. Another fantastic masterpiece by ARR.

Lyrics: Karky Vairamuthu
Artist: Sid Sriram

manasa thoranthaye nee
engirinthu vanthaai nee
adi ye.. adi ye..
enna enge nee kootti pora
adi ye.. adi ye..
enge nee kootti pora?
enna enge nee kootti pora

pallanguzhi paatha puriyala
unna nambi vaarene
intha kaatu paya oru aatukutti pola
un pinne suthurene

pallangkuzhi paatha puriyala
unna nambi vaarene
intha kaatupaya oru aattukutti pola
unpinna suththurane

adiye.. adiye..
enna enga nee kootti pora
adiye.. adiye..
enna enga nee kootti pora
adiye.. adiye..
enna enga nee kootti pora
adiye.. adiye..
enna enga nee kootti pora

meena thookki rekka varanja
vaanam mele nee veesi erinja
parakka pazhakkuriye
engirunthu vanthaayo nee..

adiye.. adiye..
enna enga nee kootti pora
adiye.. adiye..
enna enga nee kootti pora
adiye.. adiye..
enna enga nee kootti pora
adiye.. adiye..
enna enga nee kootti pora

kannaala kannadi senju
en achchaththa kaatturiye
en thoosi thurumbellaam thatti..
ullam vellayadikiriye..

adiye.. adiye..
enna enga nee kootti pora
adiye.. adiye..
enna enga nee kootti pora
adiye.. adiye..
enna enga nee kootti pora
adiye.. adiye..
enna enga nee kootti pora

oh.. bhoomi vittu sorgkaththukku
nee vaanavillil paatha virichcha
manasa kayiraakki izhuththu poraaye nee..
sorgam vittu bhoomi vanthaa
meendum kizhakil sooriyan vanthaa
naan vizhichchu paakkaiyilla
kalanju povaaayo nee

adiye.. adiye..
enna enga nee kootti pora
adiye.. adiye..
enna enga nee kootti pora
adiye.. adiye..
enna enga nee kootti pora
adiye.. adiye..
enna enga nee kootti pora

AR Rahman - Kadal - Chithirai Nela

This is another soulful melody in this album. I know this word is being repeated for each song in the album, but i can't but say it - amazing. Once again, the song starts with very little music, virtually only a  slow notes from an organ playing in the background. The notes from the organ tho' slow and steady, but is not frail and equals the voice of the singer.

Vijay Yesudas, is blessed. Blessed with a voice very similar or sometimes exactly like his father. I do know there are a lot of people who don't like Yesudas's voice, but they are also the kind of people who think AR Rahman's songs are repetitive. Instead they find solace in a gana patty or a song from a Anu Malik factory. I love the way Vijay modulates his voice, starting slow, and then slowly increases the tempo as the song moves along. The way he sings "Manithan ninaithal, Vazhi pirakam", is different from "Kangallil irunthe Kaatchigal Thonrum" and increases the pitch to a crescendo when he delivers "Naallai thiranthal Nambikai sirikum". The same goes for how he performs with the line "Chithirai Nila", the first one as if he is crying to a dependent soul, and towards the end with a lot joy and pride, a new awakening.

How does ARR do this ? I have heard stories he let the singers have their freedom to deliver his tunes and he then mixes the interludes, and adds accompaniments to the song. If that is the case, i wonder if he gets the singer to do a retake when he feels some part of the song must now change. No wonder he works best when he is afforded the time. This song like many, is not easy to conceive the way it is. The minute but pronounced fluctuations in the voice and tune at different points, must have required a lot of thought or was an iterative process of delivery. Which is it? I wonder, but in awe of this genius. ARR lets the introductions go on for almost two minutes. Vijay plays around "Chithirai Nila", till about 1:48 into the song. Slow, and what would at first hear thing - boring - turns into another magic.

Only ARR can employ a chorus in a song very effectively. I have seen it many times, this background singers, who finally become masters in their own space, produce the right mix required. I recall, i forget the song now, but you can hear the distinct voice of Srinivas, even tho' at that time he was not a recognized singer. ARR does this often, and unless you pay attention, it will be difficult to even recognize the singers in the background sometimes.

You just love it when all things come together, i am now referring to the lyrics. I am sucker for these kinds of songs. Not that i am depressed and need these kind of words to help. But i love it, the endurance of human spirit, conquering despair or taking control of your own fate, rather than blaming it on someone else. There is good in everything, and everything happens for good - "Kalangalil irunthe Desangal thonrum , Tholviyil irunthe Gnyanangal thonrum". War is not bad after all. It is ok to make mistakes, learn from them. The second is one of my management mantra. How do you describe the moon as alone ? Never heard of that before. Usually people think the night sky is filled with stars. But our lyricist thought he must highlight that moon shines alone and equate it to a human condition, when we suddenly feel lonely, even tho' we are capable of burning bright.

AR Rahman - Kadal - Moongil Thottam

How can you go wrong with "Vera enna vennam, Nee pothume"? And ARR doesnt. Solo guitar, thats how he kicks of this soulful melody.

As is usual with Rahman's albums, i start with an instant favourite and slowly make my way to the other songs in the album. I picked this over "Chitirai Nila", only because if i needed more time to write about that one over this. But after listening to other four, over and over again - of course, this song did play every once in a while in some sequence or random order - i gave into "Moongil Thottam". Talk about something growing or rather creeping up on you !!

When i searched for the singers, i was surprised to see Harini's name. She is probably the only old singer (along with Vijay) that ARR has used in this album. She was an instant favourite of mine from "Nila Kaygirathu" (Indira). But Abhay Jodhpurkar was the revelation. I searched the net, and to no avail. Only his facebook page and a few other references to blogs and sites listing him as a singer to this song. Is this his first ? Amazing. Simply Amazing. It appears he is from Chennai, and so his Tamizh pronunciation is perfect as it can be - considering chennai tamizh itself is a bastardized version of the Semmozhi ;).

Vairamuthu as usual has excelled himself - "niranja mounam", "munthaanai eduthu,
nee mella thudaikka, naa unna anaikka" and "ushnam yaashikkum, udalum irukka, otha porvaiyila, iruvarum irukka". What more do you need, for someone to fall in love again?

But the best of all, is how ARR decided that this song does not require a lot of music, and let the voice float through. Most of the song is accompanied by the sounds strum from a lone guitar. He does fill the interludes with light melodious bits from an assortment of instruments. You can clearly hear each one, as they come to the foreground and fade to another. Listen to the few seconds before Abhay starts "Marangal Nadungum", you will understand what i feel here.

And finally the final notes as he chooses to close out the song. He has the Abhay and Harini, singing not together, but with a lag. He had done this same technique before (atleast thats where i first noticed it) in "Theendai" (En Swasa Katre). Simple twists, that make a fabulous song.

Lyrics: Vairamuthu
Artists: Abhay Jodhpurkar, Harini

moongil thottam, mooligai vaasam
niranja mounam, nee paadum geetham
pournami iravu, pani vizhum kaadu
othaiyadi paadhaiyil, unkuda podinada

ithu pothum enaku..ithu pothume
verenna venum nee pothume
ithu pothum enaku..ithu pothume
verenna venum nee pothume

kulanthaang karaiyile, kulikkum paravaiga
siragu valathume, thuliga therikume
mun kovam eduthu, munthaanai eduthu
nee mella thudaikka, naa unna anaikka

ithu pothum enaku......

marangal nadungum, maargazhi erikka
ratham uraiyum, kulirum irukka
ushnam yaasikkum, udalum irukka
otha porvaiyila, iruvarum irukka

ithu pothum enaku......

AR Rahman - Kadal - Anbin Vaasale

Movie songs in India, can be classified in to many different categories, love, sad, angry, happy, patriotic, devotional, etc. These are usually based on the story line, but are also influenced by other factors. But usually the songs tuned for each category, follow some basic patterns. Very few composers are able to transcend these confines and produce something different.

ARR has a special magic, where his composition refuses to stay within these accepted norms, and proceeds to write another unwritten rule in movie music composition. He has done this repeatedly and attempts to rewrite his own rules all the time. Maa Tujhe Salaam (Vande Matharam), is a case in point.

'Anbin Vaasale' is a prayer song, a grace to Jesus. The words literally translate, 'Door to Love' and the singer Haricharan renders this fantastic composition with fervour. The song starts with an appeal, with little or no accompanying music, just a passionate voice calling out to Jesus. Only to be disturbed by a band playing a loud drum, and a set of chorus singers. A lone church bell, sets the rhythm. What would be otherwise a turnoff, instead gives you goosebumps as all of them join this prayer. ARR shows again that he will make his own tunes.

Karky, Vairamuthu's son has done a great job providing the appropriate words to this prayer song. A song, usually, is not fully complete without the words that add justice. This prayer and ARR's composition, takes full advantage of the lyrics. The tune, modulations, and the cadence are amazing, and it shows. How beautifully the lines "kanneerai thekkum en ullathaakil, un perai sonnaal pooputhidatho" are handled. 'Causing you, the listener to join this appeal. Another high point in the song thanks to lyrics and the rendition is when Haricharan sings "Poovin mele, vannam neethane, Verin keezhe jeevan neethaane".

And then again when he closes out with the simple "Anbin Vaasale", it appears he is asking for the door to open up, wide and take him in. And you feel this in your heart. Religion to me has never been about one god, or rather it always has been about one god, no matter his name. This song does to me, what "Faya Kun" (Rockstar), "Ek thu hi bharosa"(Pukar),  "Maula Maula" (Dilli 6), "Ek Omkaar" (Rang De Basanti), or "O Paalanhare" (Lagaan) did. While some of these brought tears, and others joy, it always touched your heart. Like only ARR can do.

AR Rahman - Kadal - Elay Keechan

A few days back, i got an email alert from my friend at work, another ARR fan, who said that another single from Kadal is out. Soon i was on youtube, and falling for this new single - Elay Keechan.
Just imagine a fisher-folk song that is tuned to sound country. Not many sounds here, other than stringing guitar or banjo (something tighter than the guitar, but not as high as a banjo). And a chorus to hum in the background. Some clapping. And lo and behold you have a song to showcase the lives of fisherfolk in the movie.

Only in true ARR style, he takes a set of pure tamizh lyrics, and tunes into something out of the ordinary. The lyrics are by Karky, Vairamuthu's son, some fantastic lines there. My favourite is "Vaa Le, Konda Le, Kattumaram konda Le, Gundu meena alli vara konda le". Another line goes "Unakaaga valaiyonu valaiyonu virichirukkaen, na thavam irukken, nee vizhuvenu, velakkena uthikkitu muzhichu irukken na ara kirukaen". I guess it is country music after all, and so germane.

But the highlight i think is his rendition of the song. ARR has time and again shown he is quite a singer and i think that comes from his passion for music. He has picked an apt song to lend his voice to, and taken the entire composition to a different level. He adds just the amount of twists and turns in the tune and to his singing, so keeps the song's tone at a tempered plane. So its not just a routine ho-hum (up/down), but an interesting mix. So you tap your feet constantly, at varying pace, yet dont have to break a leg.