The album opens with the reassuring voice of the inimitable Ilayaraja. Sections of the song hint that the song is delivered for and by the fishing community or people whose livelihood depends on the sea. The lyrics too reflect the same. The song’s structure is most definitely vintage Ilayaraja, especially in the manner that he utilizes his male chorus. It’s really impressive how the composer still retains that strong command over his vocal chords even at this age.

A sensual number sung by Andrea in the right emotions. The song follows a familiar pattern of an Ilayaraja composition with the choice usage of chorus and the build up to a crescendo. This is probably the only song in the album that has the heaviest semblance of a ‘digital’ sound.

A classic tune ‘Aasaiya Kaathula’ that featured in Rajinikanth’s Johny has been used in its entirety on this album. Only the lyrics and the singer are the fresh addition and both departments deliver their best. Very little needs to be said about the tune as it’s a timeless melody.

What strikes you the most is the precise craftsmanship of the composer. The tune is rendered by the distinct shrill voice of Bhavatharini. The song retains the core sound of Ilayaraja that was prevalent from the late 90s especially the use of the synthesizer. Overall, a mellifluous tune that makes for very pleasant listening.

From the song’s mood and lyrics, the track suggests some sort of courting between the couple. Mano’s voice and exuberance over this composition takes the listener to a different time, especially with the rhythm patterns that remind us of the early 90s. The song features some excellent bass playing that compliments Anitha’s singing as she builds a crescendo with her voice.

As the song breaks out from its fast spoken word intro, the opening melody carries a resemblance of a recent composition of the music director. Ramya shows commendable dexterity with her articulation but her delivery seems a bit restrained when the mood of the song demanded a bit more pride in her performance. The song relies heavily on the native percussions to sustain the bottom end.

Another popular track rehashed for this film – Machana Patheengala from Ilayaraja’s first film Annakilli. Even if the lyrics are again rewritten, and that too in Telugu, the second rehashed song on the album does come as a surprise. If the makers believe that including classic Raja songs could do no wrong, they are probably in the right because despite being a rehash you just can’t seem to resist the joyful tune. Geethamadhuri sings with gusto and delivers a delightful performance.