The first time I listened to the songs of Aayitha Ezhuthu(Yuva), I decided that this was Rahman’s worst composition ever. Then, I had the opportunity to listen to the tunes in my office with the aid of headphones. I realized that the momentum was slowly driving me in favour of the dynamic tunes of the album. The jazzy tunes of the album has already driven me foot-tapping and crazy. The ease with which the music wafts into the ears is just awe inspiring. I would go a step ahead to declare that this is Rahman’s best ever composition after the much gained monumental success of Roja.

The songs have been composed in such a way that the audience is left spellbound by Rahman’s technocraft and digital synthesizers. The tunes are totally different compared to the tunes of other albums which have two small stanzas and two long stanzas. This album breaks the conventional myth of a sequential composition. The tilting tunes have re-established the undying faith of Mani Rathnam in Rahman’s sizzling musical. There are no words to describe the effect of success that this combination has enjoyed from Roja and now to Aayitha Ezhuthu.

The highlight of the album is the song Fanaa, sung by Rahman. This song has all the ingredients to be declared as the song of the highest quality. Rahman’s high frequency pitched voice fanaaaing in the background creates a magical setting for the ears, with the lyrical composition sung by the female playback singers. If this is not enough, you have the Hello goodbye nanba song which furrows from a seductive and lilting low voice to a stimulating rich tone filled with energy and dynamic enthusiasm. The O Yuva composition might not match the dynamo of the other two super dupers but is enchanting in its own right.
 
The only melodious tune in this album is supplemented by Sanda Kozhi sung by a newcomer Madhushree. Rahman has this impeccable talent of picking up newcomers and this young girl(atleast by the voice it sounds that way) or a lady(to be more diplomatic) justifies the selection for this wonderfully composed song packed with a good lyrics package. The persistence of Rahman in Adnan Sami in the song Nenjam shows why Rahman has all the reasons to stick with the charismatic voice, which is in sync with Sujatha’s melodious and superfluous voice. The dol dol tune did not find much favour with me because the other tunes truly surpassed its glory.

Mani Rathnam and Rahman, as earlier said have found a lot of acclaim from the audience over the last many years. The founder of Rahman’s musical richness should be rejoicing the amount of success this album has achieved with the ever-demanding audience. People who say that the lyrics are drowned by Rahman’s jazzy music may be right but that gives all the more reasons to listen to Rahman’s musical greatness.

There are some people who will be able to bring about the best in others. Time and again, we have seen Mani Rathnam bring about a wide repertoire of Rahman’s musical abilities. Roja’s innocence in a pleasant musical left the audience to enjoy Dil Se, and made the mind Alai payuthe, rejoicing Kannathil Muthamittal and now Aayitha Ezhuthu/Yuva is going to be another leaf in the rich history of Mani saar and Rahman’s book.

Best time to play this is when:

At all times