Vinnai Thandi Varuvaya

Vinnai Thandi Varuvaya's audio was released amidst great expectations on 12th January, 2010. And sources have noted that the response to the sales have been extremely overwhelming. (The day after the release, Amazon has declared that it was facing difficulties to support the purchase orders made). Not a surprise though. Vinnai Thandi Varuvvaya have been making news from the day it was first conceived.

This was not only the first film which sees Director Gautham Menon teaming up with ARR, it was also the first Tamil release of ARR after Oscars. In addition, the highly exaggerated "rift" and break-up between Director Gautham Menon and his one-time favourite composer Harris Jeyraj, coupled with the lavish London launch of the audio have all only made the expectations sky-high!

As far as the songs of VTV are concerned, I have to admit that for some reasons, I feel as if I've been having an age old "relationship" with the album. To tell the truth, when I first heard the songs, I did like the album for the overall presentation. However, as the songs kept playing in my cd player, I noticed that there was something extra special about this album. The more I listened to it, the more I'm engrossed with it. And the more I'm engrossed with it, the more I'm unwilling to part from it. In fact, I happen to come across a mail written by a friend of mine who claimed that she now takes a longer route back home in order to have some time alone with the soundtracks. The moment I read it, I just couldn't help but smile...because that's exactly how I felt when listening to the album myself...to spend some time alone with the album and to uncover the truth of what's making it so spellbinding!
The followings are merely my thoughts on my "new-found friendship" with VTV. I'm not a professional commentator nor do I have a profound knowledge as far as music is concerned, thus kindly pardon me if there's any inaccuracy or mistake in the expressions and words used below.

1. Omana Penne

Omana Penne starts on a blissful tune coupled with the soothing voice of Benny Dayal. I've always preferred Benny in soft melodies rather than in  fast beats or folk numbers. And as expected, Benny has done a wonderful job here.  The first saranam was given an "under-water-singing" effect which reminds me of Blue, nevertheless the similarities ends there.

The Kerala portion on the other hand, has a heavenly rhythm which leaves you asking for more. It's always a privilege to hear ARR's usage of ethnic music, even if it's only for a few seconds and he has done an excellent job here as well. And needless to say, Kalyani Menon was the perfect choice for this. On a further note, the nadaswaram used throughout the song was just mind blowing. Initially I had my doubts if the real nadaswaram was used for this particular number nevertheless clarifications given by fellow friends and a quick check with  ARR's official website cleared my doubts. Kudos to ARR and Natarajan for churning out an essentially ethnic and yet modern tune. Omana Penne is definitely here to stay!

 

2. Anbil Avan

The techno sound at the prelude seems to have traces of Santhipoma of Enaku 20 Unaku 18. To tell the truth, I didn't find this song to be particularly astounding at first. However, repeated hearing has made me to change my mind. Trust me, this song is "highly addictive". Devan did a great job, needless to say. I couldn't think of any other singer who would have given the song the same level of energy that Devan accomplishes. Nevertheless, I must say that Chinmayi was a revelation. I've always had difficulties identifying Chinmayi's voice as she has the talent of modulating her voice texture and style according to the mood of each and every song of hers. While she was soulful in Oru Deivam (Kannathil Muthammittal) and angelic in En Uyir Thozhiye (Kangalal Kaithu Sei), here she seems to present a western-based singing. In fact, when I heard this song for the first time, I had mistaken Chinmayi's voice to Vasundhara Das'. A check on the credits revealed the truth. She sounds amazing!

Coming back to the music arrangements, ARR has again surprised everyone with his choice of genre for a song such as this. The song basically expresses the lovers' dreams of their marriage. While most would  have settled for a melody for such a situation, ARR decided to grant a peppy, foot-tapping number. And what an apposite choice that was. He effectively brought out the elation felt by the lovers in a vivacious manner, while the inclusion of the marriage tunes at the interludes provided a wonderful, jubilant feel to it.

 

3. Vinnaithandi Varuvaya 

I was pleasantly surprised that ARR used Karthik instead of Hariharan for this soothing number.  This would have been a cake-walk for Hariharan who's a master in playing with the ragas. Nevertheless, I must say that Karthik has done a commendable job. In fact, full credits goes to ARR for using Karthik's voice in a very unconventional manner to such great effect. Instead of opting for the open-throat singing (which I believe is Karthik's plus point), ARR has brought out a rather husky side of Karthik here. Truly amazing!

ARR has used minimum  instruments here, letting the string arrangements to do the wonders. And wonders they did! I was instantly attracted to it from the first moment I heard it. In fact, I must say that I was amazed with the whole presentation of this song. Definitely one of my favourites!

 

4. Hosanna

Vijay Prakash is back after the amazing job rendered in Fiqrana. Among all the songs, Hosanna attracted me from the moment I first heard it. The song started on as a slow melody but ARR quickly transformed it to a fast tempo at the pallavi. Vijay sounds refreshing and he seemed completely at ease with the high notes. I especially loved the  way he presented the "idhayam" portion which comes at the beginning and at the end of the song. Absolutely delightful!

By the way, who said Blaaze sounded repetitive?? I don't usually like rap and I was never a big fan of Blaaze, but I dare say that he was great here! He seems to have adopted a more "Caribbean" feel this time which sounded cool to the ears. Suzanne on the other hand has added charm to the song with her blissful humming and chanting of "Hosanna". A highly lovable number, I must say!

 

5. Kannukul Kannai

The song started with great violin score coupled with the usage of percussion at the right places. The beautiful string arrangements at the interlude needs to be specifically mentioned here as I felt ARR has done a wonderful job with them. Naresh Iyer was truly amazing! The boyish-sounding Naresh is now back with a matured and well-developed voice and he handled the fast-pacy number gracefully. I admit that the  lyrics of the song have yet to grow on me but the amazing harmony of sounds projected here is too extraordinary to give this a miss. Definitely has potentials to hit the chartbusters!

 

6. Manipaya

The moment Shreya Ghosal rendered the first line, I knew that this is going to be a special number. But nothing prepared me for the surprise I was about to face. The whole experience of listening to this song just left me speechless. So much so that the moment the song ended, I had the urge to play it again and again. Shreya was just amazing. She totally connected with the song. Not only had she improve her pronunciation to perfection but the emotions she conveyed through her voice was so intense that you can't help but feel the pain and grief she executes soulfully. And ARR...what can I say about him? He just took the song to a higher level with his emotive singing. Truly, this song is just made for them.

The lyrics didn't particularly sound poetic, nevertheless, they spelt out the characters' feelings exceedingly well. The girl seeking forgiveness for failing her lover, and the guy responding by attributing each and every success of his to her was expressed poignantly here. In fact, the whole song has a pathos feel lingering around it that eventually leaves you emotionally drained. ARR has created a whole new dimensions to his music by not only evading the usual pallavi-saranam-pallavi sequence, but by giving each and every stanzas a life of its own. And adding to the magical effect is the inclusion of the wonderfully crafted and meaningful Thirukural. What more can you ask?

I would whole-heartedly agree that this song is definitely the best of the lot! Face it, "beautiful" is just too lame a word to define this song!

 

7. Aaromale

When Rahman infused rap into folk numbers, everyone was left awed by the final product. So how would you respond now that he blends rock with ethnic music? You can't respond, of course. You're just left flabbergasted with the sheer brilliance of ARR. Alphonse was an apt choice for this number. His powerful , solid voice suited the mood and style of the song marvelously. I loved the slokas-like tunes which gives the song a native touch and ARR inserts them well with the excellent support of percussion.  If there's anyone who can blend rock and ethnic music exceedingly well, then it has to be ARR. The more I hear this number, the more I'm drawn to it. Phenomenal!

 Overall, Vinnai Thandi Varuvaya left me feeling completely contented and excited. ARR has never failed to surprise me with each new projects he ventures. This time around, I was not only elated, but I was thoroughly absorbed and captivated with the final product. God bless ARR for triggering a special feelings in our hearts through his magical music once again!

Music of my life

Music, mainly Indian music has played a major role throughout my life. Needless to say, I have only one person to thank for the inclusion of music in my life...A.R.Rahman! A.R.Rahman needs no introduction. Nevertheless, I would still take the privilege to talk about him and how his music changed my life.

Born as Dileep Kumar, A.R.Rahman (ARR to most) began his career by playing keyboard for many renowned music directors. He then went on to compose ad jiggles before venturing into the Indian Film music as a composer in 1992 for the film, Roja.

A.R.Rahman during his early days as a Music Director

Roja must have been very special to ARR in a lot of manner. It was his first film as a film music composer after a stupendous career as an ad jiggles composer. In addition, the film was directed by Maniratnam, a genius in film making and produced under the banner of Kavithalaya, owned by K. Balachander (a renowned film director who gave path-breaking films in 70's and 80's). Moreover, this was also the first time Maniratnam collaborated with a different (and a fresh one at that) after his own successful collaborations with India's finest music director, Ilayaraja.

In fact, rumor has it that ace director Maniratnam had a tiff with composer Ilayaraja during their last venture, Thalapathy. Ironically, when Thalapathy was released in 1991, the soundtracks of the film went on to grab many accolades and praises and set the cash register ringing. Nevertheless, by then the tiff had left too much of water under the bridge and Maniratnam set out to find a new composer for his next venture. It was at this point of time that he got to know A.R.Rahman and on hearing some of ARR's compositions, Maniratnam was so amazed by the latter's talents and quickly signed him up for his dream project, Roja and the rest they say, is history!

The year was 1992. Roja was released amidst huge expectations and publicity. I was 9 years old back then...a school student who knew nothing about music let alone Indian music industry (the latter, for some reason failed to strike a chord in me). Nevertheless, when Roja was released, I went on to watch it in the theatre with my family members. The beginning scenes of the terrorist being chased and captured by the Indian army was a little too blur for my naive mind...so much so that I failed to notice the exciting BGM that followed the scenes. In fact, back then BGM was as vague a word to me as the whole scenes put together.

Then, the enticing music began to come. The whole screen seems to have come alive with the scene of sun-rise and the music that followed...Chinna Chinna Aasai was born. Even hearing it today would bring back many beautiful memories to me. The sound was so refreshing and energizing. It is undoubtedly the best introduction song for a heroine.

Roja fetched Rahman his first National Award. Not surprisingly, he set the history by becoming the first person to be awarded the National Award for his debut work. More movies came along after Roja. Most were memorable, many were magical and some were just too great to be described in words. (I would definitely write about some of his works in my next post).

Today, ARR is a global icon, having won the double Oscars for his stupendous work in Slumdog Millionaire (SdM) and is on the run for the Grammys later this month, while Jai Ho, the outstanding number from SdM has become a world anthem now.

Needless to say, I'm truly proud of the success he so deserved. May many more awards and success crown him with glory. To the rest of the world, he might be the global icon, the musical storm or the Mozart of Madras...but to me, he was the man who taught me to love music, and thanks to him, his is the music of my life now and forever! Jai Ho Rahmanji!