Saarattu Vandiyila - Melody is easy, rhythm is zingy, percussive arrangement is crisp, mood is festive, the whole song is conventional, comforting and an instant ear-worm. The song is Rahman’s take on the most popular tamil folk riff “Thanna na naa dhinam, Thanna na naa dhinam, Thanna na naa dhinam, Thandhaanae”. Vairamuthu pours into the one-trick melody lots of beautiful words and phrases filled with playful imagery and innuendos. Sample this, “Avan kaigalil udayattum kanni kannadi” — the image of bride’s virginity as a brittle glass that would be broken in the hands of the groom on the wedding night. Vairamuthu’s earthy Tamil syllables have always had problems sitting comfortably on Rahman’s polished musical phrases and sophisticated production (example, purusan in Yaaro Yaarodi), but in Saarattu vandiyila marriage between the two sounds almost perfect. That final crescendo, where all the best riffs of the song come stacked in many layers, blossoming together like petals of varied colours in one flower, it makes you go “Pudhu Ponnae, Adhu dhaandi Rahmanin baani”.
Wednesday, March 1, 2017
Wednesday, February 15, 2017
Vaan Varuvaan - Here comes again, flying from above, the sound, that Rahman Sound! The sound defined not by contrapuntal layers of melodies, but by endless layers of sparkling e-sounds enmeshed together to be a carrier and a cushion for the voice, the melody and the mood. After the opening Piano chords, any hint of acoustic instrumentation in the layers underneath the melody is avoided fearing they might hurt the serenity of the central melody. Even the omnipresent flute and choir do not play or sing any definitive melody; maybe they do, but they are not allowed to be heard in its original form; a whiff of the sound, just a whiff of it, picked at a moment precisely before the basic sound dissolves into silence is used to fill the sonic canvas. Despite the seductive soundscape and Saasha’s sensuous rendition, it took a while for me to embrace Vaan Varuvaan. The first few times I heard the song, the long opening line of the melody, with multiple “Vaan” words in succession, remained elusive. Melody sounded constrained by the monotonic words in the poetry (which isn’t a problem in the equally wonderful Telugu version “Mairmarupaa”). But, that was, only in the warm-up phase. Suddenly, when you are totally unaware, the contour of the melody reveals itself, and in that moment of Rahmanealization, Vaan Varuvaan does what every magical Rahman song does — finds a sweet little spot in our memory, digs a tiny hole, locks itself up to stay in there, forever.
Wednesday, February 1, 2017
Azhagiyae - Fresh as the first dew at dawn; Warm as a tight hug; Sweet as a gentle kiss on the forehead; Cute as a cream swirl-topped Cupcake; Light as a snow flake; Breezy as the ride along the coast; Beautiful as a just blossomed flower; Frothy as the tide crawling to the shore; Romantic as the twilight at dusk.
It has been twenty five years since Roja, Maniratnam and A.R.Rahman get younger by the day and continue to churn charming, irresistible tunes.