Posted in Music, Oru Pada Paadal

Oru Pada Paadal #9

I requested my good friend Srilakshmi Indrasenan who blogs at iamStri. I don’t listen to much Hindi songs except for a selected few and she suggested she would do this and Thak you for that Srilakshmi and over to her.

Music Director in Focus: Pritam
Album: Gangster
The movie was released in 2006. Those were the times, when I used to ogle at Emraan Hashmi. My sister and I went FDFS for this movie just for Emraan. Shiney Ahuja wasn’t famous or rather “infamous” back then and this was the debut movie for Kangana Ranaut. The trailer was quite appealing, especially the “Ya Ali” music in the BGM. Also, the concept seemed intriguing– a drunk girl, a bar singer, and a gangster – Ah! Those were the days of love triangles. I even remember the tagline on the poster – “She fell in love with him, the day she betrayed him.”

Speaking of the music, until I watched the movie, I haven’t heard any track except Ya Ali. After watching this movie, both my sister and I were addicted to the songs – and I’m happy to say that I am still addicted. Pritam Chakraborty has been in the industry for 17 years now. However, he started being a solo music composer only in 2004 for Dhoom. While I love most of his songs, I would easily call Gangster is the best album.

There are primarily 5 songs, 3 mix versions, and 1 remix – making it totally 9 songs. I am going to talk primarily about the 5 main songs.

Tu Hi Meri Shab Hai:

This is one of the best songs till date for both Emraan and Pritam. Yes, there are many more lovely songs by the duo, but this easily takes the first spot. I don’t know if it’s the mesmerising voice of KK or the magical verses of Sayeed Quadri, this song just enters into your hearts and melts it delicately that at the end of the song, you will feel weak on your knees. This song is perfect for almost everything – be it long drives, nighttime lullaby, slow dance, party number (mix version) or date night.

Favourite Lines From The Song:

“Aankhon se padhke tujhe dil pe maine likha;
Tu ban gaya hai mere jeene ki ek wajah.”

Bheegi Bheegi:

Better known as “Hamaari Adhoori Kahaani,” this song is quite opposite to the previous song here. While Tu Hi Meri Shab Hai calms your senses, this song just hits your senses like a shot of espresso. Not-so-well-known Bengali singer James rendered his voice for this beautiful song, and the fast-moving happenings in the movie during this song will just keep all your senses hooked. The lyrics for this song were by Mayur Puri.

Favourite Lines From The Song:

“Roota roota rab, chhuta chhuta sab;
Toota toota dil, tere bina ab;
Kaise ho jeena gawara?”

Lamha Lamha:

Penned by Neelesh Misra, this song was sung by Abhijeet Bhattacharya and Sunidhi Chauhan. The visuals of this song are so dreamy that you cannot resist falling in love with the lead pair – Emraan and Kangana. Also, this was one of the boldest performances of that time by a debut actress. I would even call this the best ever debut performance by an actress in Bollywood. If I die without slow dancing for this song with my significant other, I would probably roam as a ghost with this as an unfulfilled wish.

Favourite Lines From The Song:

“Behakti shaam aayi hai tujhe lekar ke baahon mein;
Tujhe chhu loon ke rakhu main chhupakar ke nigaahon mein;
Sharmati ithlaati hai machalti hai.”

Mujhe Mat Roko:

Another song penned by Sayeed Quadri, Mujhe Mat Roko by Kavita Seth is just poignant. If listening to this song doesn’t give you goosebumps, I don’t know what will. How will you feel when you betray someone and get betrayed at the same time? Well, this song is the answer. There aren’t many female-centric sad, love failure songs. I always wonder why, but this one song does justice to the genre totally, and this is the one love failure song we all need.

Favourite Lines From The Song:

“Dil ki aankhon ne meri apana sanam dekh liya;
Ab isi dar pe mere dam ko nikal jaane do.”

Ya Ali:

Another Sayeed Quadri number, Ya Ali was rocked by Zubeen Garg. Yes, I wouldn’t call this singing, but this was some serious soul-stirring rocking, smashing, and killing – all in a positive way, of course. If you haven’t shaken your legs for this song at least once in pubs during Bollywood Nights, it’s high time that you do it at least now. Writing this I remember all the Nautanki dance moves we did in our college night parties for this song.

Favourite Lines From The Song:

“Bina tere na ek pal ho, na bin tere kabhi kal ho;
Yeh dil ban jaaye pathhar ka na ismein koi hulchul ho.”

While songs in Dhoom were totally peppy and dance-worthy, this movie showed the versatility that Pritam displays in his compositions. From a tragic love song to a racy, feet-tapping number, Pritam just takes you on a musical ride with this album. The BGM of the movie, again by Pritam, was just so perfect – be it during emotional scenes, sensual scenes, or racy sequences. One of the most worthy, subtle BGM mentions would be the one during the terrace conversation between Emraan and Kangana – the whole scene is just flawlessly perfect. While this movie did decently well in the box office, I would still call it one of the underrated movies in Bollywood.

Happy Listening… 🙂

Posted in Music, Oru Pada Paadal

Oru Pada Paadal #8

Music Director in Focus: G.V.Prakash Kumar
Album: Aayirathil Oruvan

Aayirathil Oruvan is the album next line. After 10 years of its release now the movie is getting the spotlight it should have received then. G.V.Prakash Kumar’s finest work till date. He definitely had to fill the void of Yuvan – Selvaragavan combo which gave five consecutive hits. I remember mentioning about the Indiana Jones style in the first half of the movie and the second half of the movie was a travel back to the time of Kings. GVP’s BGM and the songs played a huge part in the second half of the movie. This album features six songs, two mix versions and 2 themes which don’t include “Adho andha paravai” from 1965 movie of the same name.

Oh Eesa (Composer’s Mix)

This song is set up when the movie took some twists and turns. It has a very captivating music with Karthick and Andrea crooning their voices for Tamil and English respectively. Penned by Selvaragavan and Andrea. I absolutely loved the stunning visuals of this song which reflects the English album feel.

Un Mela Aasadhaan

I remember watching the Audio launch of this movie on TV and was excited to see Dhanush, GV, Andrea and Aishwarya Dhanush singing and dancing. Such a peppy number it is, penned by Selvaragavan. Apart from the voices, I hate the lyrics for its highly misogynist nature or is it only me who thinks that way? Perfect song for after sarakku parties when you are in a dancing mood.

Thaai Thindra Manne (The Cholan Ecstasy)

A song which depicts the state of the once royal Chozhan king and his empire. The prelude of this song uses “Yaazh” an old musical instrument which isn’t widely used these days and the whole song is filled with the music of “Udukkai” an instrument which is known to be used by Lord Shiva. Tamil lyrics is penned by Vairamuthu and rendered by Vijay Yesudas whose emotions are clearly visible through Parthiban on screen. I lost words seeing and hearing the song, my goosebump and the sad moment is when the poor king yearns Puli kodi poritha chozha maandhargal, eli kari koripadhuvoo!
Kaatrai kudikkum
thaavaramaagi kaalam kazhipadhuvo!
Mandai oodugal mandiya naatai, mannan aazhuvadhoo! Mannan Aazhuvadho!
Telugu lyrics of this song is penned by Vetturi Sundararama Murthy and rendered by Nithyasree Mahadevan.

Celebration of Life

It is an instrumental where the king and his people enjoys the camp fire along with some drinks to celebrate the new winner of their barbaric game. One can make their own assumption but I see it as a meagre enjoyment they have in their sad and pathetic life. I am unable to identify the instruments used but the particular fluteish music is unique accompanied with the drum beats is truly a music to celebrate.


Another song penned by Vairamuthu. Yet another song about the sad state of the Chozhas and their king who lost a war with the Pandiyas and their Military. This song marks the comeback of legendary P.B.Srinivas and the lady’s voice is rendered by Bombay Jayashree. The tone of the song itself is set to feel the pain and the yearning of the Chozhas and propagates their royal life which went into drains.

Maalai neram another beautiful song rendered by Andrea is one of my other favourites from this album.

G.V. Prakash Kumar very much musically talented and proved that on multiple occasions in various movies. This particular movie is one of his best compositions and he clearly would have had a bright future if he had continued to only compose, instead he went on to pursue his acting career and his music is deteriorating by every other movie. The BGM in this movie has a stark difference in the first and second half. The first half has a racy adventurous tone were the second half has a worried tone of music throughout, except the war sequences. It would be appreciable if he comes back to composing instead of acting.

Happy Listening… 🙂

Posted in Music, Oru Pada Paadal

Oru Pada Paadal #7

I requested my friend Arun to write this post because when I started this series he suggested me to spotlight Music Director Ghibran who is underrated and underutilised. Apart from few of his albums I haven’t listened to all. Hence, I requested him to Guest post for me and I believe he happily agreed to 😛 and over to him.

Music Director in Focus: Ghibran
Album: Uthama Villain

Uttama Villain, one of Kamal’s recent masterpieces, featured a newbie in Tamil music industry, Ghibran. Why would a big shot like Kamal sign up a newbie for not just one, but three consecutive movies of his? Well, any fan of Tamil cine industry will know how trained and talented Kamal is with regard to music. And, if we are to comment whether Kamal’s judgement is in any way lacking, we are reassured once again that it wasn’t. For Ghibran delivers a magnum opus that does not stay just as a lingering element in the movie, but acts, actually, as one of the guiding forces of the movie. The album Uttama Villain features 17 performances that include 7 instrumentals, 3 Karaoke versions and 7 songs.

Lovea Lovea:

The song that lampoons Kamal’s own, and a few other senior actors’, conduct in Tamil cine industry doesn’t, however, manage to convey its intent. The satire was not clearly visible and the music wasn’t good either. Probably it was deliberate but could have been better. The unwanted techno music during the bridge of the song was more than irritating. If this single song was provided as a sample for this album, I would probably lose heart to listen more from this album.

Kadhalum Kadavul Mun:

This song that beguiles Mutharasan into believing that Karpagavalli had given in, is marked by fluid dance movements and melodious Carnatic music. Of note is the throbbing drumbeat which carries the song through its completion. Avoidance of any electronic/digital, and usage of only traditional, instruments adds more élan to the song.

Uttaman Introduction:

The fusion between Tamil Nadu’s “villu paatu” and Kerala’s “Thaiyyam” dance form is rendered in such an eye-catching fashion that one who appreciates art cannot help but watch it with their mouth agape. It is, of course, no little feat to have utilised, in an era of head-spinning digitalisation, purely conventional musical instrumentals in sculpting this song. A big kudos to Ghibran.

Uttaman and Mutharasan Kadhai:

What immediately follows is Uttaman Kadhai but it is best to clump these two songs together for the purposes of comparing and contrasting them. Kamal’s narrative voice in both the performances, his flawless pronunciation and the poetic element are so wonderful that one will not tire of it no matter how many times one listens. Ghibran so skilfully maintains a powerful chord throughout Mutharasan Kadhai, symbolic of king’s power and a sort of comical tone throughout Uttaman Kadhai indicative of Uttaman’s character. I suggest you, reader, to listen to them sequentially and you will understand the genius of Ghibran.


This very short song that basically caters to the audience one of the takeaways from the movie features some of the never-before-used instruments used in Tamil cinema such as Jal tarangs. The song is laden with rich lyrical meaning and is actually rich in its wordplay—for example, the line “seyyul pol oru kaathal vendum” can be interpreted in a minimum of 2 ways by any listener. The chorus “kelaai manna!” feels like yet another evergreen chorus such as the overused “thaandavakone!” or “gnaana penne!” And is informative as well—including references being made to Kaniyar, ancient Tamil mathematicians; to abiogenesis; and the sun growing in size and consuming the earth. All in all, one of the defining songs of this movie.

Iraniyan Naadagam:

The final song of the movie—personally speaking, my favourite—is not just a visual treat but also an auditory treat: thanks not just to lyrics but also music. The song marks some of Kamal’s personal beliefs and is a cornerstone in Tamil song sequences. The closing chant “Hari Hari” was rendered comical—the way Kamal would have wanted—thanks to Ghibran’s breath-taking music. I, of course, am at loss of words to describe the content of this song. The song ends with a man killing the god (Kamal’s atheistic stance), a deliberate satire of Prahalad’s story.

Uttama Villain Theme:

Although a separate subheading was given to instrumentals alone, I cannot help but dedicate a paragraph to the theme song. The song features a coarse kind of voice that is meant to mimic asura (villain) and the chant “mrithunjayan,” the key theme of this movie makes it worth listening to. And what is noteworthy is the inculcation of the fear element in the music suggestive of a dangerous villain. The drum beat throughout, rarely used in other pieces, manages to just “hug” the whole performance and guide it through its completion.

Miscellaneous instrumentals and karaokes:

Ghibran’s prowess as a music director is evident perhaps in the instrumentals and karaokes, for the songs distract a casual listener from paying much attention to the music. Instrumentals titled Uttaman & Karpagavalli, Father & Son, Father & Daughter, and Guru & Sishya, I would argue, needn’t even be named explicitly so, because these four, if listened consequently to compare and contrast, will show the genius of Ghibran where he manages to capture in such a perfection the nuances between the concerned characters. One can finger where and when and why a particular instrumental play—such is the exactitude of Ghibran in conveying the scenes.

The instrumental Dr Aparna features one of the most poignant, unparalleled, and sweetest string music in Tamil music industry—I assure you that only if you will sit back, close your eyes and listen, will take you to a different world altogether. This very short music will leave you yearning for more. Letter from & to Yamini starts off with a very smooth two-toned piano music, with a mellifluous string accompanying it; oh, and the crescendo, alongside the female voice just would make you cry, if you are an emotional type.

The bottom-line observation about Ghibran:

No doubt that this album is, in every single way conceivable, a unique venture in Tamil music industry. The karaokes and instrumentals exhibit such an extremely strong and powerful symphonic orchestration, the kinds which one can expect only from Ilayaraja or Ravi Shankar (no, not even ARR). Ghibran, sure, is tremendously talented in orchestration and is unafraid of failures. What, however, he should add some more focus on is the individuality of each tones—although he makes such grand orchestrations, the instruments sound in a way hodgepodge without much differentiation—most of the times all of them blind together and make it difficult to follow the path taken by each and every instrument. But that is not to say that Ghibran is in any way lesser; he is one of those rare up-and-coming music directors with such a remarkable potential.

Happy Listening… 🙂

Posted in Music, Oru Pada Paadal

Oru Pada Paadal #6

This post was written by my Friend Vidhya who blogs here. She is a trained Carnatic Singer and also writes about Carnatic Music in her blogs. Please do read her blog to know about various artists, vidhvaans and ragas.

Music Director in Focus: K.V.Mahadevan
Album: Thillana Mohanaambal

When Pratip and I were discussing about the guest post for KV Mahadevan in his series Oru Pada Padal, we started off with Sankarabaranam; then I texted him saying I might write Thiruvilayadal. No, that would have taken minimum 3 part post. Then it struck me; Thillana Mohanambal – how did I forget Sikkal, Mohanangi, Jillu, or Vaiddhi! A movie about coming together of two artists, and a celebration of two art forms. So here goes…

The movie itself is an adaptation of the tamizh novel by the same name. It is about a Bharatanatyam dancer and a Nadhaswaram player falling in love after some initial differences at a concert. But her family and unfriendly opponents create a challenge in their coming together.

The film’s soundtrack and score were composed by K. V. Mahadevan, while the lyrics were written by Kannadasan. It is one thing to compose or play music for a film, but nadaswaram vidwans MPN Sethuraman and MPN Ponnusamy gave life to the character Sikkal Shanmugasundaram.

There are 6 songs in the movie and I just noticed that all of them are stage performances/concerts in some kind or the other. Reserving the lyrical and popular songs for later, let me first talk about the beautiful instrumental pieces in the film.

Aayiram Kan and Western Notes (instrumental)

My favourite number in the movie is the sequence where Sivaji Ganesan and troupe performs outside the party hall, as it is accessible to the general public too. They start off with “Aayiram kan podhadhu vannakiliye” which is incidentally a movie song from Pavai Vilakku, also scored by KV Mahadevan. This song has been set to raga Maand.

Later, they continue to play western notes, as per the English Durai’s request. This notes / nottuswaram as we call them was composed by Carnatic composer Harikesanallur Muthiah Bagavathar mimicking the western compositions and set in C Major scale. The western notes are popularly known as Madurai Mani Iyer notes, after the musician who popularised it through his many concerts.

Nagumomu (instrumental)

The first performance of Sivaji Ganesan and AVM Rajan in the movie is the song “Nagumomu ganaleni”. Our movie heroine Mohanambal also gets introduced in this song. The song is originally a Thyagarajar composition set in Aabheri ragam, but in the movie, only the first two verses are played followed by a bit of improvisation, before it gets interrupted by fireworks and drama ensues.

Kanada Thillana (instrumental)

This is the song that depicts the intense competition between Sikkal Shanmugasundaram and Thillana Mohanambal. The melody kick starts with a Lalgudi Jayaraman’s thillana in ragam Kanada, but it is the brilliance of KV Mahadevan to incorporate ragas like Bageyshree and Kaapi that adds to the lustre.


Nalandana is the song that is featured during the collaborative performance of both the nadaswaram and the bharathanatyam ‘sets’. It resembles raga Neelamani to me, a raga aptly chosen to embellish the pathos mood of the story at that point in time.

Maraindhirundhu Paarkum

This popular dance number set to tune in raga Shanmugapriya. Padmini carries off the entire song with grace. She, emoting the navarasas in the song, is probably the reference point (at least for me) to those emotions. P Susheela has lent her voice to both this song and the previous.

Pandian Naanirukka

The song that takes off the heaviness of Carnatic music throughout the movie, this breezy folk by Jil Jil Ramamani is a welcome variety to the music album. The song is rendered by SC Krishnan and LR Eashwari. Who else but Manorama could convincingly perform and do those dance steps like a man.

Happy Listening.. 🙂

Posted in Music, Oru Pada Paadal

Oru Pada Paadal #5

One more Guest Post by mu beloved friend Aishwarya Ashok who blogs here and on Quora. I am not going to go on with Guest posts for this Series but I really thought some of my friends could bring a best out of these albums.

Music Director in Focus: Karthik Raja
Album: Dumm Dumm Dumm

A light rom-com paired with striking melodies–that’s how you can rightly denote Dumm Dumm Dumm. The music director, though considered not-so-popular (Well, if you take his cognate ties, he is popular, being the son of the Maestro Ilayaraja), has truly done justice to his film by composing songs of catchy tunes, and instilling in us a sense of remembrance. And that’s how I get to write about this classic, my-all-time-favorite movie, even after so many years. Let’s get going.

Let me decode the songs of this movie:

Suttrum Bhoomi

The song starts with the chirping of birds and gives a fresh feel. The song revolves around the care-free, happy life of the female protagonist and the fun she gets by being herself. Not to leave out the raillery of her sisters, much to the coyness of their soon-to-be-married sister.

A tapping beat sets the mood of the song, thanks to the drums and low notes of strings (guitar). Harini’s voice is just beautiful and suits the happy theme of the song. The chorus that goes “Athiri Bhathiri” and “Thillalangadi” reminds us of our native, funny-yet-awesome terms. The string interlude before the first charanam (1st stanza) uplifts the song and appears to be antipodal to the rustic setup, yet acceptable.The background music sticks to mild beats and the drums join to the tunes of the strings just before the second charanam (2nd stanza). The song is sure to leave one in a happy state.

Some personally favorite lines:

Sattai paiyil ulagam, Kaikkuttaiyae vaanam,
Kattalai ittadhum kaetkum,Ye thennai maramae thennai maramae,
Udambil valayalgal yaeno, Thirumanam unakku thaano

Athan Varuvaga

Oh! I’m sure most of us would know this song. It was the so-called popular pre-wedding song of those times and still gets referred to, in the same way. The song is folkish and considered to be perfect for dance moves. With blushes, occasional teasings, boisterous laughs–the song is sure to give a positive air, all filled with happiness. The ghatam tunes along with the brief taal clangs and singer’s swaras start the song, giving it a semi-classical feel. The singers choice is commendable–Malgudi Shubha, Tippu, Harini and Chitra Sivaraman. All voices blend perfectly and are simply a treat to listen to. Harini’s aalap and Tippu’s simple-yet-breezy vocals before the 1st charanam (1st stanza) are cute. The violin symphony-kind interlude, along with alternating mridangam tunes is just superb. Overall, a wonderfully made and rendered song.

These lines are simple, but rightly captures the love at first sight feeling:

avagha vandhu ninale
seriya kaadhu kekadhu
mulusa parve theriyadhu
ozunga pesa mudiyadhu

Un Perai Sonnale

My best choice in the album is this song. It’s melodiously rendered by Unnikrishnan and Sadhana Sargam. A slow song that grows on you as you keep listening to it. Also, it has a mystic charm and slightly resorts to a missing-of-love feel. Again, this song has gentle string tunes, along with some keyboard notes. I just love everything about this song– the reverberating beats, the sweet background tunes, the vocals, the soothing chorus portions, and the lyrics. The song captures the sadness, loneliness, and helplessness of two souls so perfectly.

Some beautiful lines:

Un Perai Sonnale
Ul Naakil Thithikkume
Pogaathey Pogaathey
Unnodu Sendraale
Vazhi Ellaam Poo Pookume
Vaarayo Vaarayo

Saanjaadum Sooriyane Chandiranai Azhavaithai
Sogam Aen Solvaaya
Senthaazham Poovukkul Puyal Ondru Varavaithaal
Ennaagum Solvaaya

Ragasiyamai Ragasiyamai

Another captivating song I should say. And the magic of strings and drum beats repeat. The composer has neatly handled both these instruments and has shown striking variations in the way they’ve been used, in each song. The soothing vocals by Sadhana Sargam and Hariharan melt any person who listens to the song. Your heart sways with Hariharan’s “Ooo….” at the end of the pallavi. The song shows the dreamy love of both the protagonists and shows wedding rituals of different traditions. And the violin interlude before the 1st charanam (1st stanza) adds to the beauty of the song. The song never misses its romantic feel and oozes with love wholly.

Lyrically wonderful lines:

Solla Thudikkum Vaarthai Kirangum
Thondai Kuzhiyil Oosi Irangum
Ilai Vadivil Ithayam Irukkum
Malai Vadivil Athuvum Ganakkum

Desingu Raja

The nature of the song is like a squabbling, not literally though. The backdrop of the song is set to a dynasty, and the entire song proceeds as clashing arguments between the king and the queen. Not taken just as a direct love song, it still is considered one, argumentatively in love may be. The clarion of the trumpet begins the song, like how it would begin a war. However, this doesn’t make the song very serious. A pinch of seriousness is woven along with the softness of Sujatha’s and Harish Raghavendra’s voices. Beginning on a bold note, the song moves to a smooth tune with mild keyboard notes and drum beats, with occasional trumpet sounds.

Krishna Krishna

Personally, I don’t like this song very much. It’s just another youthful, bachelor boys’ song. It’s sung by Harish Raghavendra and Febi Mani. The song isn’t very catchy, and definitely, it’s not up to the mark of the other songs on the album. But yes, it adds to the freshness and youthfulness of the album. Like a song tailor-made for the male protagonist, the 20th century’s supposedly cool and yo-yo type guy.

Overall, the album is definitely a good attempt with the right selection of singers, great use of instruments, and snappy tunes.

Happy Listening 🙂

Posted in Music, Oru Pada Paadal

Oru Pada Paadal #4

A guest post by my Good friend Megha who blogs here. She is the one who inspired me to Write this series and she suggested me this album. I thought it would be great if, she herself writes it and hence, she did. Thanks a tonne Megha 🙂

Music Director in Focus: A.R.Rahman
Album: Ravanan (Tamil)

Usure poguthey (Karthik-  Vairamuthu)

This song can be easily said to be a masterpiece. This has brought out the best of all the three people involved in it- The composer, the lyricist and the singer.

Appearing to be a self-justification given by the lead (Veera) for falling for Ragini, who is another man’s wife, this song starts with sounds. Erratic cymbals, crumbling dried leaves, the sound of waterfalls and the sound of wading through a pool of water find a place in the starting of the song. The intensity of the song is like the wild forest fire which starts with a spark and grows slowly and ends up in a fearsome blaze.

Vairamuthu has re-emphasised why he is put up there, on a high pedestal, when it comes to lyrics. My favourite lines are these-

“Manasu sollum nalla solla maaya odambu kekala”

This line begins to describe the dilemma that Veera, the lead character, also perceived to be Raavanan ( Ramayana context) about what is acceptable and what is not in the social parlance. This line also says that the feeling he had for Ragini was lost since it was mainly concerned with the body and not with the mind.

Karthik’s voice romances with all possible ranges within the given pitch and the flow is impeccable and effortless. Total class!

Kaattu Sirukki (Anooradha Sriram and Shankar Mahadevan- Vairamuthu)

The element of air and the eerie silence builds the base for this song. This song describes the earthy beauty of Sita (Ragini) and how Raavanan fell for her beauty.

With the legendary Shankar Mahadevan and an equally talented Anooradha Sriram giving voices to the beautiful words of Vairamuthu, this song predominantly hovers in the high pitch.

To give words to the beauty of a lady is not new. But the way it is done with such language and choice of words does make this number unique and novel.

My favourite lines in this song would be-

Thandai aninjava konda sarinjadhum anda saraacharam pochu
Vandu thodaa mugam kandu vaanaandharam vaangudhey perumoochu

Rough translation would go like this-

When the lady with her hair tied up beautifully with ornaments lied down, the entire world went missing.
On seeing her flawless face ( also an expression that implies not devoured by amorous activities ) the vast expanse of skies sigh out in jealousy.

Lovely isn’t it??

Keda Keda Kari – (Benny Dayal, Rayhanah- Vairamuthu)

Most Mani Ratnam movies have a wedding song. We remember Yaaro Yarodi from Alaipayuthey, Kummi adi Kummi adi from Sillunu Oru Kadhal and more recently Sarattu vandiyil from Kaatru veliyidai. Keda Keda is one such wedding song which has rustic Tamil lyrics and sounds.

Weddings are chaotic. Dancing in total sync with super coordinated lyrics and stuff happens only in movies we say. This song supports our view that weddings are chaotic. With various scenes and voices playing around, ARR has done a great job in painting a close-to-reality picture about weddings.

Among the many voices that sung the song, Benny Dayal’s and Rayhanah’s stand out and sets the flavour for the song.

And of course, this is also one of my picks from this movie. So when I get to have my pick in songs, why not my lines from the pick??

Iva kannaala paatha Saanaki Amsam
Kattil mela paatha soorpanaka Vamsam

Roughly translating to – She is as demure as Sita outwardly, yet as wild as Soorpanakha (Ravana’s sister) in bed.

This is yet another pointer that says villages had procreating as one of the major goals of marriages and they were unabashed in expressing it. This also gives us a glimpse into the lives in the backbone of India, where our age-old traditions and customs stay untouched till date.

Kodu poatta – (Benny Dayal- Vairamuthu)

This song is about an uprising. A revolution. A revolution against the ruling class.  The song goes along the lines of revolting and rebelling against the written rules of the land and how unfair they are to the lower class of people.

In the movie, this song is placed at a strategic point. Ragini gets to see Veera in a more lively avatar and maybe she starts to understand his point of view. Maybe this is where she starts to feel sympathetic to his cause for the fight, for the abduction of another man’s wife. Ragini sees a Veera, who is a lovable leader of his group of people.  She sees a Veera who is the darling of his subjects, who would give their life for Veera.

Somehow in many places, this song reminds me of the tunes in the movie “Ayudha Ezhuthu” also from Mani Ratnam. The song “Yaakai Thiri” has a striking resemblance to this number and both are set in a very similar stage in their respective stories.

Naan Varuven- AR Rahman- Vairamuthu

This song is peaceful and deep. Placed in the climax of the movie, this song actually seems like Ragini is haunted with the memories of her time with Veera. A tabooed topic, she still harbours feelings for her abductor. If her feelings were out of love or sympathy, my guess is as good as yours.

The above video supports my view about this song. With scenes from her life in the woods interspersed by the silhouette of the composer, it is a pleasurable watch. If you are thinking that you have heard this tune somewhere else, look nowhere else but Anbe Sivam. The title song of Anbe Sivam has its starting very similar to the notes of this number.

Veera Veera- Vijay Prakash- Vairamuthu

A typical title song, Veera Veera is fast-paced with wonderful chorus supporting the lead vocals. The entire song has a tribal tone to it and is peppy. A bonfire song and a happy number- that would be my description for this one.

The sound of hand claps and short, fast beats make this tap-dance worthy. A must listen number if you want to get your mood up to party mode.

Kalvare kalvare- Shreya Ghoshal- Vairamuthu

A much-hyped song, this number has a feeling of gentle swaying to it. Something like rocking a craddle.  This is one such song, which is typical of ARR songs. You don’t like it immediately but definitely after listening multiple times. The structure of the song is unconventional and hence might be difficult to reproduce with perfection.

I am not a big fan of this song personally, because I like earthy tones and I find Shreya Ghoshal’s voice too sweet for my liking. Well, I am a Sunidhi Chauhan kinda person I think.

My favorite lines from this song –

Ummai Enni Ummai Enni Oomai Kangal Thoongathu
Thalaiva En Thalaiva Agamareveero.. Arulpuriveero..

A rough translation of this would be –

My unaware, innocent eyes won’t sleep, thinking of you
My beloved, my lord, would you read my mind and grant me that?

This song describes the love between Ragini and her husband. This was may be shown to convey how good a couple they were and how much in love Ragini was with her husband.

To me, Kalvare sounds like a lullaby, a very good one at that.

Happy Listening 🙂

Posted in Music, Oru Pada Paadal

Oru Pada Paadal #3

This post has been written by a good Friend Gopalakrishnan Krishnasamy. In the blogger’s circle, he is known as Prabala Padhivar Gopal and he blogs at Movie Herald. You can watch out for his Movie reviews here.

Music Director in focus: Sean Roldan aka Raghavendra

Sean Roldan started as an Indie musician with his own band then Ventured into Tamil Film Industry with Vaayai Moodi Pesavum directed by Balaji Mohan. Later on, he also composed for movies like Sadhuranga Vettai, Mundasupatti, Joker and few more to his credit. Pa. Pandi put him in limelight as a musician apart from him singing for other music directors.

Pa Paandi is a drama movie written and directed by Dhanush Kasthuriraja. The movie stars Raj Kiran and Revathy in the lead along with Dhanush, Prasanna, Chaya Singh and Madonna Sebastian. The score and songs of the movie are composed by Sean Roldan. This is one of the finest albums of the composer who made waves with his indie compositions.

I chose this movie in the series majorly for one reason as the songs were aptly integrated into the movie and each song conveys a different mood. The brilliance of the composer and director is naming the song in perfect sync with the emotion and story it conveys through the same. This album came as a sea breeze at a time when the complexity of the tunes and music is highly praised. This whole album is with minimal programming and many live instruments played. The lyrics are well crafted and given importance to singing more than music. You will get a feel of listening to a retro Illayaraja album.

The Life of Power Paandi – Vaanam

As the name suggests this song is about the day to day life of our protagonist Power Paandi. This shows his happiness, his world and how he enjoys the life. The soothing composition is sung by Ananthu who is known for singing Maaya Nadhi from Kabali and is written by Selvaraghavan.

The Mass of Power Paandi – Soorakaathu

This song is a typical hero worship song which we have been seeing for a long time in Tamil Cinema but here it is rejoicing of an Old man who after a long time had a chance to stretch his muscles. This song expresses the joy of an old man who entered his forte after a long long time. The song is written and sung by Dhanush himself.

The Youth of Power Paandi – Paarthen

This is a love song showcasing the lover of younger Power Paandi. Dhanush plays the role of younger power paandi carries the role with ease. The song is crooned by Sean Roldan and Shwetha Mohan and written by Selvaraghavan. This particular song is my pick of the album.

Power Paandi – The Nomad – Veesum Kaathodadhaan

This song shows the trip of Power Paandi. The cruiser bike in a highway and guitar riffs are always better than any other love. Bikers will enjoy the picturization and the rustic voice of Sean Roldan and Anthony Dasan. The song is written by Raju Murugan.

The Romance of Power Paandi – Venpani malare

Three versions of the song are available on the album. One sung by Sean Roldan another by Shwetha Mohan. After the release of the album due to fan’s request, there is a version sung by Dhanush was released. The song was penned by Dhanush and portrays the core theme of Old age love is beautiful manner.

Happy Listening.:)

Posted in Music, Oru Pada Paadal

Oru Pada Paadal #2

When I decided to start this series all I wanted was to share the movies whose complete album have great songs but suddenly it struck me that every Music Director must have definitely be given a “Complete album hit” and I decided to go with the theme of Music directors.

As per my list of movies, this post should have featured a different album but I am going with a Telugu movie, the songs are close to my heart. All songs in this movie are pleasant to hear and in fact, this is the album which has beautiful romantic songs. So, Music director for this post is Radhan. He has scored for six movies in total, were three for Telugu and three for Tamil respectively. When it comes to Tamil such directors throw trash on us but in Telugu, they score some beautiful piece of music. :/

Andala Rakshasi:


The film was directed by Hanu Raghavapudi. SS Rajamouli is one of the producers of this film. Music composed by Radhan. This movie is a debut for Naveen Chandra (Sarabam fame), Rahul Ravindran (American Maapilai in Vanakkam Chennai) and Lavanya Tripathi (Brahman lead). The album has total six songs.


The song is set in the typical love at first sight mood. Hero sings about his love, his distance, he flying in the air of sorts. Typical lyrics but the song starts with beautiful Veena strums in the prelude followed by the joyful voice of Haricharan also you could find Veena interludes in the song. This song just places you in the shoes of that man who fell in love recently. Do give it a try and it would definitely lift your mood up.

Manasa Marchipo:

A sad song was written by Lakshmi Bhupal,  rendered by Sathya Prakash and Bhargavi Sridhar. Sathya Prakash definitely emotes the disappointment, pain the guy goes through when he never expected that name from the girl. On the other hand, the girl shares her inability to forget her dead boyfriend.

Manasu Palike

A beautiful soul stirring song written and sung by Rakendu Mouli. The Veena strumming prelude will be so beautiful to listen. This song comes along the movie shot in the rainy and foggy Ooty was picturesque. Rakendu have a unique voice which shares the belief in love and a guy’s yearning for his love to be reciprocated.

Ye mantramo

Yet another love at first sight song from another lead of the movie. Unlike the first song which was soft, this ain’t. I like how a song portrayed the character of the lead guy’s and this one would sound in a rebellious tone. Written by Vasishta Sharma and sung by Bobo Shashi (Kulir 100 Degree fame).


A song which talks about the crazy love the guy has on the girl (ROFL!). A peppy number is sung by Ranjith and written by Krishnakanth. Anyone can sure relate to this song which will instantly lift your mood up. Ignore the persuading part but otherwise a beautiful peppy number.

Ne Ninnu Chera

Soon after persuading the girl shouldn’t she fall for the guy? *smirks*. As per the Indian cinema tradition, this is set in various locations with matching colour costumes and a peppy number too. Sung by Ranjith and Veena Ghantasala and written by Krishnakanth. Another mood lifting number with a spritelier tone.

Do listen to all the songs and share your thoughts. Though I don’t agree with most of the things in the movie but songs presented in this movie are definitely worth a shot. Here, I end the second episode in this series. Happy Listening. 🙂

Posted in Movies and related, Oru Pada Paadal

Oru Pada Paadal #1

If, this title reminds you something sure you were one of those 80’s or 90’s kid who used to listen to this particular show in All India Radio. The show will play popular songs of that time from one particular movie and I think that show spans for 30 minutes. I tried to dig my vague memory but couldn’t remember because I was a child back then 😛

I’m starting a New series. Well, I’m lazy enough to post one on a daily basis but I will try and post atleast once a week. The inspiration for this post came from my friend Megha who wrote two blog posts on Quora. The songs were from two movies composed by A.R.R and here are the links for those two posts Rhythm and Kandukonden Kandukonden. I am not going to stick to one particular Music director but varied ones. Starting this series with my favourite Movie and my favourite music director.


I assume no introduction needed to this movie. Truly a musical gangster movie I would say. Yuvan experimented with his musical finesse in this movie and it came out extremely well. Album came out with six songs and four instrumentals. Four of those songs and instrumentals featured in the film but two were not, which happen to be my most favourite one in this album.

It all comes down to this “Oru Naalil”

This song is one of my favourites in this whole album. Penned by Na. Muthukumar & Selvaragavan. It was rendered by Yuvan himself. What attracts me to this song is the violin piece after the Pallavi. Lyrics depicts the life of a gangster “Kokki Kumar” in the film from start to where he was struck. I really wished Selva could have shot this song and played it at the end credits of the movie.

Peek into Assasin’s life “Neruppu vaayinil”

This song comes along the story and I love this song for its lyrics which was written by Na. Muthukumar and sung by Ulaganayagan. I am not sure why Yuvan chose Kamal for this song but I couldn’t imagine this song without him because he perfectly emoted the feel of a Gangster who had to hold his life until the next day. The lyrics and the emotion perfectly synced with the way it was shot. Prelude of this song pushes you into the rush and tension of the gangster. You couldn’t place this song in any type because of its mixed nature.

Our Story “Enga yeriya”

A fast number which was shot majorly in the fisherman’s area of the city. I remember this is one of the songs which played umpteen times in various events those times censoring some cuss words in the beginning of the song. Sung by Dhanush (Rap part majorly), Premji Amaran and Yuvan. The First part and the song followed by the interludes were shot in the market set which had its grandeur.

Night Life “Variya”

This song mostly contains the music part except for the “Variya” part here and there and few lyrics at the end. Well, I remember this been played in the radio stations umpteen number of times and it was also a chartbuster once. The song is placed in the movie where “Kokki Kumar” gets accepted as a henchman.

Gangster’s Marriage Party “Pul pesum Poo pesum”

This song particularly has some intriguing music (To me at least) which gives you a kind of local party feel. The Song is setup in a marriage function with all its setup and feel. A kind of violin music in the interlude gets you trippy. Sung by Vijay Yesudas, Tanvi Shah, Premji Amaran and Yuvan.

An out and out experimental album from Yuvan and he tried to explore various aspects. Songs mostly penned by Na. Muthukumar gives us a raw feel to this album. I would definitely say Yuvan tapped the character of the lead and emoted with his music brilliantly. I don’t have a particular reason to choose this movie first. I had few more albums of Yuvan but thought to start with this because when this movie released Yuvan was at his peak.

Here, the complete Jukebox of this album:

Happy Listening and Watching.:)