Apr 24, 2004 05:15 PM
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(Updated Apr 25, 2004 01:26 AM)
Surya, Siddarth and Maddy are three different characters, with nearly everything different about them. But a great transformation occurs when these three come together. Just like three dots are meaningless, but hold a great relevance when they are combined to form Aayutha Ezhuthu Ik ''. These were the most extrovert comments from the media mysterious Mani on his latest film '' Aayutha Ezhuthu''.
However Aayutha Ezhuthu album throws light upon three different personalities with similar traits. A greater transformation occurs when these three people cxome together. These three dots have given a lot of meaning to Tamil Cinema,and when they combine for Aayutha Ezhuthu, the resultant touches new heights of relevance and understanding. Countrymen, I am speaking about Maniratnam, A.R Rahman and.Vairamuthu, and their latest combine '' Aayutha Ezhuthu''
The album has a half a dozen songs each designed masterfully by the masters to give the listener the ultimatum of delightness.
Goodbye Nanba'' is one bolt out of the blue sky, something you expect from a Rahman-Mani combination. The song starts with an untraditional rendering from Sunitha Sarathy who carries the pallavi with her sexy voice, which sounds more like a dialogue. Thereafter Shankar Mahadevan takes off with an unbeateable complimentary rendering ''Nee Yaaro''. The combination is indeed unique and enjoyable. And Rahman keeps up the tempo raised by Shankar Mahadevan and continues into the charanam that sounds top class . And vairamuthu lets you onder forever with his lovely lines like ''Kan Thondri Kan Kana Kaneero'' (Are u the tear born in my eyes, yet not seen by me?) and with a deeper reading, you can guess the exact love affair between the couple. '
'Jana Gana Mana'' is my current anthem. Rahman always revels in producing revolutionary and patriotic songs. Be it Roja, Vande Mataram, Lagaan, Indian, TLOBS, Indra, Puthiya Mannargal, Rahman easily convets us into patriot or revolutionary. The case is similar with his latest ''Jana Gana Mana'', a metallic marvel. It is just another number that is to make the audience spirited, but the Rahman-Mani-Vairamuthu combo takes it to new levels.
The song starts with a train background score signifying the arrival and is followed by metallic hits all over conveying the intensity. This is once again followed by an intense rendering from Rahman and is continued with vociferous whistles alongwith metallic moods to convey the talent and determination. And when you look into the subtle yet significant beats, Karthik's cleverly programmed voices to go with those of Rahman, you are marvelled by the great fusion of techno music. Vairamuthu's lyrics really makes the song stand apart and those who heard Yuva readily agree Mehboob's lyrics were insufficient.
The lines ''Yezhaikum Vazhvukkam Irukkindra Idaivali Kuraithu Nilai Nirathu, Adha Kothathin Thittathai, Sattathin Vatthatai Thaduthu'' '' Aayiram Elaignargal Sernthu Vittal Aayutham Edhuvum Thevaillai'' ''Vithiyinai Maatrum Vithi Seivom'' have both power and beauty wriiten all over them.
''Adha Sandha Kozhi'' is a hummable number, which I personally felt was better in the Hindi version. Once again this song is characterised by a mix of tradition and freshness. Madhushree's voice is apt, but Rahman's tune is sexy and only better his is aalap in the middle of the song. Vairamuthu's simple lyrics strike an easy accord but those who dared to explore their inner meanings would only smile. An example is the line ''Mookuthiyin Ponkeethu Rathiriku Podhum''(My Gosh). It suggests a duet of different kind and yet again Vairamuthu and Rahman effectively deliver the goods for Mani.
''Fresh'' ''Trendy'' ''Peppy'' ''Kewl'' ''Lovely''. You can go on associating adjectives with ''Yakkai Thiri''. Rahman comes into the scheme of things with his unique howls from the deep bottom of his throat(Remember Dilse Re) ''Fanah''. And even as Sunitha. Shalini and the chorus build on the song, the song catches you by surprise. Even as ARR maintains his ''Fanah'' throughout, his aalap once again id of the highest order. And Vaiaramuthu introduces phrases like ''Yakkai Thiri'' ''Jeevan Nadhi'' ''Dvaitham Advaitham'' to this techno savvy generation. All in all, it is a frenzy number which has won friends with the youth.
With ''Dol Dol'', Blasse is back with Rahman. The song shows shades of uncertainity, roughness and rapidness that you may associate with an antagoanist. You cannot term this a song, its just a theme or background number. Nevertheles it is very effective, tanks to rahman's technos that wonderfully go along with the lines and voices of Blasse. One of the compulsive foot tappers of this year, which has already found its way into DJs and Dance competitions.
Adnan Sami returns back to Kollywood with a subtle duet in the lines of his previous number ''Boom Boom''. Adnan and the duet sounds better this time. This soft melody rendered by Sami and Sujatha does not boast of the techno intensity of its counterparts. All the same, it finds a way into your senses and you are caught humming. And Vairamuthu once again lightens up the romantic mood ''Kadhal Ennai Varudhum Puthum ... Un Kaamam Ennai Thirudum Pothum''..Well thought
To sum upp, Aayutha Ezhuthu album showcases the rich talents of Maniratnam, A.R.Rahman and Vairamuthu, three special sons of Kollywood. The trio bring back thier characaterestic freshness and richness making the album a triple treat. When viewed with Mani's visuals and Ravi.K.Chandran's camera, our senses should scale summits. The huge success of the trailor and the visuals in the website is indeed a shining(this one is true) example. As of now, it was a delicious starter and Kollywood fans are eagerly waiting for the dinner...
