Single Saavn playlist of all the 51 songs below:
Aashiq surrender hua, Roke na ruke and Tamma tamma again – Badrinath Ki Dulhaniya (Amaal Mallik and Tanishk Bagchi)
Poori qaaynaat and Kuch parbat hilaayein – Poorna (Salim-Sulaiman)
Enga pora Dora and Vaazhavudu – Dora (Vivek-Mervin)
Oxygen and Theeraadha vilayaattu pillai – Kavan (Hiphop Tamizha)
Sokki poraandi, Kannodu kannodu and Uyirile – Mupparimanam (G.V.Prakash Kumar)
Aagaayam and Pudavai nilave – Yaadhumaagi Nindraai (Ashwin Vinayagamoorthy)
Kuyile, Kanavugal aayiram and Vinnulaka devathai – Engeyum Naan Iruppen (Afzal Yusuf)
Na BC centarlu – Winner (SS Thaman)
Pranam poye badha, Thelupana and Yemaindho yemo gani – O Pilla Nee Valla (Madhu Ponnas)
Johny Johny yes papa and Ardhamaina – Kittu Unnadu Jagratha (Anup Rubens)
Aa chandamama, Sarangi O Sarangi and Guchi guchi – Maa Abbayi (Suresh Bobbili)
Aanandham and Vayyari kalahamsika – Om Namo Venkatesaya (M.M.Keeravani)
Removed from a Rajamouli’s vision or demand in a film like Baahubali, Keeravani’s music in the film is rather generic. The listenable songs too have a predictable sound, beyond the other pedestrian sounding songs. So Aanandham evokes memories of S A Rajkumar’s Pallanguzhiyin vattam (from… surprise!! – Anandham!) and manages to sound catchy. Vayyari kalahamsika is the soundtrack’s best, with a breezy faux-classical melody that takes on interesting contours, layered with Keeravani’s strings all through. Revanth and Sunitha handle it brilliantly.
Boogie woogie and My wife – Showtime (M.M.Keeravani)
The other Keeravani soundtrack that falls flat, with minor succor. Boogie woogie has some spunk left in Sony’s (the female singer) parts, and the tune too is confidently offbeat. The soundtrack’s genuinely interesting song is My wife, with Kaala Bhairava’s fantastic baritone and a breezy jazz flavor that Keeravani aces with a lovely profusion of background strings and brass.
Anaghaa Anaghaa and Pranam Paravana – Aakatayi (Mani Sharma)
Sri Krishna’s voice is mauled beyond recognition using digital advancements in Anaghaa Anaghaa, but Mani has the tune sorted alright, particularly the anupallavi. Pranam is that whispery melody that Mani owns and produces mighty regularly. The rest of the soundtrack is oddly lackluster but, like his Gentleman last year, these 2 songs make up for it!
Onnurangi and Paripparakkum kili – Aby (Bijibal)
Ayalathe and Do naina/La vettam – Angamaly Diaries (Prashant Pillai)
Varminnal, Ilamai and Enthanu mone – Adventures of Omanakuttan (Arun Muraleedharan)
Aaro ee yathrayengo – Ayal Jeevichirippundu (Ouseppachan)
Aaro is a delightful cocktail as it moves from the main tune to a joyous Goan festivity phrase! Ouseppachan keeps the tune in perfect sync even with these vibrant deviations.
Emanmaraii and Ivalaro – Oru Mexican Aparatha (Ranjith Chittade and Manikandan Ayyappa)
The soundtrack of Oru Mexican Aparatha is throbbing with a revolutionary zeal. Ranjith Chittade’s lone song, Emanmaraii is the pick of the album, with its vibrant and powerful sound and Shebin Mathew’s punchy singing amidst a profusion of chendai drums. Manikandan Ayyappa’s composition Ivalaro is the opposite, with its breezy, romantic outlook and a guitar’y disposition. But the chendai base soon catches up to add spice!
Thera haadu – Saheba (V.Harikrishna)
Adda bidde madesaa, Preetiya hesare neenu and Kaurava Theme – Happy New Year (Raghu Dixit)
Gapu gapalli, Ringa ringa and Kanasina – Srinivasa Kalayana (Midhun Mukundan and Raghavendra Thane)
Antaricha – Rubik’s Cube (Vishal Mishra)
Except for the typically Marathi sound in the words, obviously because of the lyrics, the overall sound is very Bollywood! Vishal Mishra’s tune could have been part of a conventional Bollywood film, but the beauty of Marathi lifts the song significantly. Not that the melody is any bad – it is a lovely listen. As of on cue, the song goes Hindi mid-way with ‘Mahiya’ ‘Tere bina’ etc.