and Zanzibar. We can look forward to a
couple of excellent fight sequences too.
Funny, Hariharan seems to have done a
Shankar Mahadevan here! Nice to hear him
express himself in a fast number. Catchy
rhythms (some native ones too), lively
trumpets, tender guitar sounds that blend
with soft female humming in the charanams,
all make it a busy number, probably accompanied
by some rapid dancing on the screen. The
song exhorts youngsters to break out of
self-imposed moulds and live life colorfully.
Easy lyrics of course, from Muthukumar.
Some delicate sangatis from Hariharan,especially
in ‘koottai nee thaandi vittal’.
Vocals: Harish Raghavendra,
Pleasing lyrics for this duet and sung
with such fine articulation by both. Conceived
on the Natabairavi scale, this song has
delicate string sounds, especially violin
and guitar built into it. Is that the
clarinet that sounds along with the violins
3 minutes into the song? Wispy sangatis!
And when the lady goes ‘deham malaraagum’,
the flute stylishly goes ‘dha ni
ga ri sa’. But at the end of it,
you somehow feel the rhythm is too rigid
for the mood of the song.
Vocals: Sayanora Philip,
Now, is this a sequel to ‘Dhikku
Dhikku’? Strong rhythms and synthesizer
sounds that vaguely make you recall Afro-American
music. But interestingly conceived and
an unconventional voice. Has the song
been shot in an exotic locale? Lyrics
drip with seduction.
This number shines for Karthik’s
fine vocals, good tabla work, very stylish
use of harmonica sounds that go ‘sa
sa sa sa sa ni---pa, pa ni dha pa’,
and the creative blending of ganjira,
hand claps and female vocal humming that
adds a certain teasing quality to the
piece. A song of yearning whose rhythms
make you recall some snatches from his
own ‘Vaaranam Aayiram’. But
likely to be relished as it is well put
together. Looks like the Harikamboji scale
Vocals: Benny Dayal,
Haricharan and Chinmayi
offshoot of ‘Adiye Kolluthe’
inspiration? Anyway is quite trendy and
it is great to see Chinmayi rise to the
demands of such a piece. The violins,
guitar and other string sounds have been
carefully airbrushed into the song, as
the rhythms override them all. Could catch
the fancy of youngsters if picturised
Harris Jayaraj’s crafting is elegant
as ever. But what disappoints us here
slightly is that the songs have influences
of his earlier albums here and there,
which could have been avoided. Harris
does have it in him to give us many more
‘wah wah’ numbers.