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Electronically Yuvafull A.R.Rahman
Mar 18, 2004 01:33 PM 13528 Views
(Updated Mar 18, 2004 01:55 PM)


At last ?Ayutha Ezuthu? album of the India?s best combo ever Maniratnam - A.R.Rahman ? Vairamuthu is released by Sony Music on March 15. And the Hindi version ?Yuva? is yet to be released. In film industry always the success lies when the much hyped creators work meet the expectation of the masses but for this combo reverse is the case they never meet the expectation of the masses and they deliver something far beyond everybody?s expectation nobody can think of such a mind blowing output which is the main reason of their success.

This is evident when we listen to this album; really the stuff of this album is surprising but pleasant. The album is full of youthful music filled with trancy numbers with high techno stuff and electronic sounds. This combos previous album ?Kannathil Muthamittal? had much of classy melodies and serious songs with much of instrumental orchestrations for which A.R.Rahman and Vairamuthu got National Award for best music and lyrics but this album is entirely different from KM and I really wonder how Maniratnam can extract two extreme kind of stuff from A.R.Rahman.The album has totally six tracks.

Hey good bye Nanba

Singers: Sunitha Sarathy, Shankar Mahadevan, Lucky Ali, Karthik

This song breaks the rules and comes with a new format with alternatively a melodies part by Sunitha and a foot tapping part by Shankar. Both of them have done a great job. Lucky ali has nothing to do much in this song except a few second humming. The song starts with husky voice of Sunitha but to our surprise the song goes to a greater height when Shankar starts ?nee yaroo naan yaroo? in high pitch with heavy pad beat in the background. And also the tune of ?kalla vizhigalil? and similar one more stanza is catchy and foot tapping. Suddenly the song goes to blues kind of stuff with pianos in the background. What a fusion!!!. The way the line ?kanthondri kankaana kaneeroe? is tuned is rahmanish and simply mind-blowing.


Jana Gana Mana

Singers: A.R.Rahman, Karthik

Undoubtedly this is the best song of the album. The track starts with a strumming bass guitar and then chant ?oh Yuva Yuva ?by ARR follows. The background music and the use of glass breaking sound emotes the perfect meaning of the lyrics written by Vairamuthu like the youth are making a march towards creating a revolution against all social evils and terror in the country and they are inviting other youngsters also to join the group. No other singer would have done justice to this song except A.R.Rahman. He is great in singing too. The way he starts ?Jana gana mana? is something that we never heard before. The glass breaking sound which he used in ?Chandralekha ?song is the highlight of this song. ARR shows lot of variations in tune, notes and pitch of singing for each and every line in the charanam which has a great impact. Bass guitar is used at many places emoting the force and power of the youth. He has proved that one can compose the theme with mere electronic sounds. BTW where is karthik?s voice in this song????God (ARR) only knows


Sanda Kolli

Singer: Madhusree, A.R.Rahman

The tune of the song is such that it hangs between north Indian and south Indian folk. He has used clay pots while starting and then again goes to mild electronic beats for this song too. The lyrics is funny, youthful, romantic and catchy. Madhusree has a good voice but she simply spoils and kills the language and that distracts the melody. The ending of the line ?Konja neram enna kollaiaya ayya ya? pulls you into the song. The best part of the track is alap of ARR in the first interlude simply great rendition of voice.

Rating: (for the wrong choice of singer)

Dol Dol

Singer: Blaaze and Shahin Badir

This is a perfect high techno trancy number. Foot tapping number but you can?t tap your foot because the percussions and beats are so fast to catch with your legs. The percussions and electronic beats are brilliantly arranged (though it is similar to that of ?Shakalaka baby?) and Blaaze as usual has done his rap part ?Dol Dol ma pe salaam namasthe? well. The ethnic vocal by Shahin badir sounds different and fresh to Indian techno music. When you listen carefully you can hear the use of ?Thavil?, a traditional south Indian instrument with pad beats and percussions once in the middle and also at the end of the track. Only ARR can come with such a fusion. The Trombone piece by Maxwell has traces of James bond music while it starts but as it proceeds it takes a different note.


Nenjam ellam

Singer: Sujatha, Adnan Sami

This is again a melody and a love duet but if you expect some good flute piece by naveen or veena or some violin orchestrations in the interludes it will be a great shock even this song is full of techno beats and sounds. The use of original instruments is 0% in this song. The tune is simple and catchy. Sujatha?s voice is a great relaxation amidst of north Indian singers spoiling the language. She has done a good job. Adnan Sami as usual spoils Tamil badly but even though the presence of his voice gives a new dimension to the song. The lyrics is average.

Rating: 1/2 (for choosing Adnan Sami)

Fanah??? Yakkai thiri

Singers: A.R.Rahman, Sunitha Sarathy, Shalini Singh

This is again an emotional track about Love. Actually the lyrics of this song is a poem about Love written by Vairamuthu for a weekly magazine. As Maniratnam got impressed by simplicity and effectiveness of the words he chose those lyrics for the song and ARR composed for it. If you haven?t heard the song, first read the lyrics and then imagine how the composition would be and then hear to the song you can?t believe your ears. What a different high techno composition for a hard core Tamil poem with in depth meaning. His voice takes the song to still greater heights. The ?Fanah??,?anbe???nenjae? at the end of each line is something that impresses you immediately. The song has a uniform pad beats from start to the end. The ?thoduvom,thodarvom? part is sung by both the female voices together. The best part of track starts when ARR starts to deliver classical swaras and alap with western beats in the background and it continues till the end. What an unimaginable variations allover the song.


It seems many of them are not satisfied with the album because they say the album is void of Old ARR style of composition and his melodies. Please don?t compare these songs to that of Dilse ,Roja, Bombay and all, this movie has an entirely different theme about the youth and the album justifies the theme. Maniratnam yet again squeezed best work from ARR for his movie to get such a mind blowing youthful stuff.

I am happy to be back to Mouthshut after a short break. Comments are Welcome

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