25 Favourite Tamil Songs from 2007

17. Valayapatti Thavilae

Movie: Azhaghiya Tamizh Magan
Composer: A.R.Rahman
Singers: Madhumitha, Naresh Iyer, Ujjaini
Lyrics: Na.Muthukumar

How often we get to listen to a song which is a jughalbandhi of filmy folk, Mallu folk, Carnatic, qawwali and Hindustani music? This mix doesn’t happen in just one aspect of the song, the orchestration, the vocal melody, the interludes everything pass through all different genres of music. In an attempt to mix everything Rahman never turns the song too experimental, weird or unconventional. Also, he does it all within the unwritten rules of a commercial dance number in a Vijay movie.

Azhaghiya Tamizh Magan - Some more thoughts

In many of his recent movies, especially the Tamil ones, A.R.Rahman composes the tune after the lines are written and that badly shows up in some of his songs. He tries so hard to set the lines to tune and fit it within the basic rhythm pattern looping throughout. This is again evident with the ‘Ellapughazhum’ song from Azhaghiya Tamizh Magan. It starts of well with an identifiable tune, but it slowly looses its flow in the second stanza when he repeats ‘Athai Nee Marakkathey’ or ‘Indrai Ilakkaathey’ which sounds nothing but a filler to fit the rhythm pattern. And in the third stanza, Rahman literally reads few lines with the hooky pattern in the background. But with mastery over layering rhythms and sounds, he covers it up. Often these kinds of variations are mistaken and praised as surprising twists and turns.

Rahman has used a lot of new voice in ‘Azhaghiya Tamizh Magan’. There are no known big names here. But I feel, though ARR introduces many, he is unable to nurture everyone these days. He uses only a few singers often like a Naresh Iyer or a Madhusree or Karthik. Though ARR has been constantly giving songs to singers like Aslam or Chinamyi, I think he could use them more often. Two notable singers in the ATM singers list are Madhumitha and Saindhavi. When I watch their live performances on TV, I wonder why these brilliant singers are under-utilized in Tamil Film music or in Rahman’s music. With right opportunities a Chinamyi or a Madhumitha or a Saindhavi could have easily become ‘Shreya Ghosal’ of Tamil film music. Any song of Madhusree would easily sound much better in a Chinmayi/Madhumitha/Saindhavi’s voice. One more versatile singer who isn’t getting enough opportunities is Maathangi.

In ATM soundtrack, my pick is ‘Valayaptti’. This is one song where Rahman stamp is all over in every instrument used, every layer and every beat of the rhythm. Though it sounds a lot like ‘Kummi Adi’, the interesting parade of different genres of music on a common road of rhythm, sounds so refreshing. Even the interludes are made like a collage of different genres and sounds.

Having understood the conditions in which Rahman would have scored music for this music, I am not complaining or regretting. But I strongly feel that Rahman should stop doing music for such Tamil movies simply for the sake of having a presence in Tamil Film music. He should do only movies in which he gets the time he needs to give his creative best. Having said that I am sure, ‘Sakkarakatti’ soundtrack won’t be much different.

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Azhaghiya Tamizh Magan Soundtrack

A.R.Rahman and Vijay combination after ‘Udaya’ did raise lot expectations but one must be clear about what one can expect from such a combination to happily accept the quality of music delivered. In Azhaghiya Tamizh Magan, Rahman delivers good enough crowd pleasing numbers sprinkling with some of his trademark fresh sounds here and there.

Rahman injects a fresh energy into an otherwise hero-pleasing-his-fans intro song 'Ellapughazhum', with catchy rhythm pattern, rocking guitars, rough vocals and grand orchestration. ‘Pon Magal Vandhaal’ is an interesting rework of the old classic with enough pep in the tune and thump in beats. ‘Madhuraikku Pogathey’ takes us back to ‘Kizhakku Cheemayilae’ times, a simple, earthy and catchy number without usual Rahman mix of e-beats and with bass layers joining only at the end.

‘Merlyn Monroe’ immediately catches our feet with its soft and peppy bass pattern that loops throughout. It is peppy, soft and even melodious at times without any heavy beats. It has been quite a while since Rahman made such not so complicated peppy tracks. ‘Valayappatti’ interestingly swings between a pleasant classical melody and folk music; it seamlessly traverses from one form to the other without meshing it up and giving a fresh sound to the song.

‘Kelamal’ sounded like IR’s ‘Aaghaya vennilaavae’ in parts but otherwise a nice melody but I am surprised by all- techno orchestration for such a melody. It would have sounded much better with some live orchestration. The tune wanders a little and struggles to reach a point in charanam but I hope it will grow on repeated listening.

On the whole, Rahman delivers a hit material.

Some More Thoughts

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