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 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.:)