Naan Yaarumilla makes up for its medley’ish tune (based presumably on Vakulabharanam raaga, evoking MS Viswanathan’s Engeyum Eppodhum) with outrageously funny lyrics by C S Amudhan and Chandru that skewer the superstar culture of Tamil films. Vaa Vaa Kaama‘s sensuous lyrics and melody harks back to Ilayaraja’s similar numbers—particularly over the charanam lines, “Urugida Vidu Puthu Rasam Edu” and “Thazhuvidu Enai Thathumpidum Suvai”. Kalavarame, besides the catchy gimmick of the rapid-fire utterance of certain words, has a wonderfully immersive melody (a possible blend of Naatai, Gambeera Naatai and Maand raagas), besides being sung brilliantly by Chinmayi and Pradeep! En Nadanam too is mighty impressive, with its grand prelude, stupendous singing by Sharreth and Vijay Prakash and a really lush and majestic melody accompanied by veena and superb tabla. Evada Unna Petha has Ranina Reddy inciting violence all around in C S Amudhan’s hilarious parody starting with STR’s Evandi Unna Pethan! Jithin and Sowmya’s Chella Penney has a breezy, guitar-led ballad sound, while the 3 short tracks pass muster. The most interesting aspect about Tamizh Padam 2’s soundtrack is that it ‘sounds’ fantastic while also making you strongly suspect that the joke will be on you when they appear on screen!

Keywords: Tamizh Padam 2, N.Kannan, 200, #200

Listen to the songs on YouTube:

Milliblog Weeklies – India’s only multilingual, weekly new music playlist. Week 30:
On Apple Music | On Saavn | On YouTube
So much new music… so much joy! 28 songs this week and Saavn comes closest with 27 songs available! These weekly lists are also a great way to know which of the 3 platforms gets new music the fastest, and usually, all 3 take turns in leading – this week, it’s Saavn! It’s missing just the last song, which is directly from Facebook. Please do check the list below to know the missing songs from YouTube and Apple Music playlists – there’s a lot of unmissable music this week.

A note on the songs in the playlist.

Title song (Soorma, Hindi): Like Bhaag Milkha Bhaag’s Zinda, but the trio up the ante! This is goosebumps-inducing material! The way they build the tempo, adding the guitar layer with the lines, ‘Zara nazar utha ke’, the ‘Soorma’ hook, the chorus that follows it… everything just adds up so well!

Saye, Goth Ramachi (Youngraad, Marathi): Hriday Gattani debut as a film composer is turning out to be very promising. The 2nd song from Youngraad sounds even better! Sung by Shashaa Tirupati and Hriday himself, this is a lovely tune that intersperses a gorgeous chorus to the main melody. The effect is fantastic! In Goth Ramachi, Hriday ropes in Shankar Mahadevan to add to the song’s considerable heft. The tune’s ‘Rang rang’ hook is mesmerizing, interspersed with the slower, softer portions!

Adbhutam, Anthe Kada Mari (Lover, Telugu): Lover imports the Bollywood’ish approach of multiple composers (a rarity in Telugu film industry). And it also has only one Telugu composer in that multi-composer mix – Sai Kartheek! The other composers are Arko, Rishi Rich, Ankit Tiwari and Tanishk Bagchi! Incidentally, the songs by Ankit and Tanishk are the soundtrack’s best. Tanishk’s Adbhutam, featuring Jubin Nautiyal and Ranjini Jose has a lovely semi-classical fusion base featuring guitar/mandolin and nadaswaram. The melody is absolutely gorgeous. Of the 2 songs by Ankit, Anthe Kada Mari is an easy winner, with its pleasant lilt evoking memories of 80s Hindi film music.

Morrakka & Ala ala (Lakshmi, Tamil): Sam C.S. creates a highly melodic dance song that also gets wonderfully rhythmic as it progresses. The highlight of the song is clearly the little girl, Ditya Bhande, and her killer moves. Sam amps up the Madras kuthu sound towards the end and brings the roof down. In the other single from the film, Ala ala, what comes to the fore are 2 things – one, Sam roping in singer-composer couple, Saindhavi and GV Prakash Kumar to sing the song! And two, the splendid work with Cochin Strings *and* Chennai Strings Orchestra… and the effect shows all through the song magnificently!

Dhadak (Zingaat, Hindi): Ajay-Atul reuse their cracker of a song, Zingaat, in Hindi. The original’s manic rhythm made for a compelling, highly infectious dance song, and the Hindi song reaches that high to a large extent too… if you haven’t heard the original Marathi song.

I See Love (Hotel Transylvania 3, Jonas Blue featuring Joe Jonas): The end credits song Hotel Transylvania 3: Summer Vacation. Incredibly catchy and ebullient song that’s bound to be the one tune you’d be humming as you are done seeing the film 🙂

Connection (OneRepublic): With an anthemic hook (Can I Get A Connection?) that repeats helpfully… very easy-on-the-ear! OneRepublic’s new single from their upcoming album is already a winner.

Naked Truth (Mad Love – The Prequel, Sean Paul featuring Jhené Aiko): The best song from Sean Paul’s new album (with 9 songs featuring Sean’s collaboration with the likes of Migos, Dua Lipa, David Guetta and Ellie Goulding!). Sensuous and instantly groovy at the same time.

Swagatham Suswagatham, Parada Jarupukoni, Veediponidhi Okateley, Maarey Kalaley (Ee Nagaraniki Emaindi, Telugu): That’s Vivek Sagar second recent home run, after Sammohanam. Music review of the soundtrack:

Oru Theepettikkum Venda (Theevandi, Malayalam): Kailas Menon closes the Theevandi soundtrack in style after some impressive numbers released as singles earlier. This time, Anthony Daasan handles the heady title song with his usually ebullient voice, with the music traversing some eclectic sounds.

Kadhalikathey, Neeyum Naanum Anbe (Imaikka Nodigal, Tamil): Hiphop Tamizha’s usual brand of music, yet again – it’s almost like a guilty pleasure now, given the repetitive templates. Kadhalikathey makes up for its terrible lyrics with its highly energetic sound on top of what’s essentially a nice gaana song. Neeyum Naanum is an interesting melody where the composers a nice, soaring melody befitting the 3 male singers – Raghu Dixit, Sathyaprakash D, Jithin Raj.

Pora Pora (Yaar Ivargal, Tamil): Javed Riaz, who showed considerable promise with his melodies in Maanagaram, scores for Balaji Shaktivel, who has a mighty good track record with his films’ music. Pora Pora impresses with Diwakar’s thoroughly engaging singing, and the percussion + strings combo.

Nawabzaade (High Rated Gabru, Hindi): This is T-series optimizing its music library, and if Guru Randhawa is the current blue-eyed boy of the label, can his incredibly popular song be left behind from the film soundtrack scene? Nope. Here it is. Delightfully energetic, as always!

Mujhe Chaand Pe Le Chalo (Sanju, Hindi): The 2nd A R Rahman song from Sanju, after Ruby Ruby. I’m tempted to say this is Nikhita Gandhi’s stunning show all the way, but the mysteriously swerving jazz’y and retro tune by Rahman does something to your mind!

Raati (Madras Gig, Tamil): The 3rd song from the Madras Gig album… and this one’s by composer Santhosh Dhayanidhi, along with Bamba Bhagya. Dreamy and lilting song with a lovely dash of nadaswaram. This album/effort is turning out to be pretty impressive!

Thullimazha (Ennaalum Sarath..?, Malayalam): Ouseppachan pulls off something cheeky in this song – the song’s rhythm is so-obviously modeled on Roja’s Chinna Chinna Aasai, while the first interlude alludes to Ilayaraja’s iconic song from Olanagal, Thumbi Vaa! The tune too, all the while, is wonderfully pleasant, in Swetha Mohan’s charming voice.

Minsarey (Vijetha, Telugu): The background score composer of Arjun Reddy gets his own film as music composer. It’s a middling effort, largely, but for this one song that easily stands out. The waltz’y backdrop sets the melody for Karthik very nicely.

Mayamanjeleri, Aaranu Nee (My Story, Malayalam): Shaan’s soundtrack for the film is deeply seeped in melodies, barring Pathungi. After Mizhi Mizhi, Shakthisree’s Mayamanjeleri impresses effortlessly, with its wonderful lilt. Aaranu nee is Shaan’s domain all along! A nice mix layering in the very-Bollywood’ish tabla base as a catchy diversion.

Laila Oh Laila (Vaasu Naan Pakka Commercial, Kannada): The 3rd song from the film, and Ajaneesh’s tune has a wonderful, frothy early-Rahman style pattern. Sanjith Hegde’s lead vocals go perfectly with the song’s light-hearted feel.

Log Kehte Hain (Chandreyee Bhattacharya, Sanjoy Das): Chandreyee sings Hariharan’s ghazal ‘Log Kehte Hain’ (originally sung by Asha Bhonsle in the album Abshar-e-Ghazal) with an musical accompaniment that is largely unusual for a ghazal – guitar, by Sanjoy Das (guitar as an exclusive/only accompaniment for a ghazal)! Asha’s rendition was phenomenal in the original, and this new version offers a new, interesting perspective to the already-wonderful melody.

Swagatham Suswagatham is quite an unusual opening to the soundtrack! Cisco Chi sounds like Apache Indian 2.0 and the music too mixes a host of genres, sounding both curious and interesting! Aagi Aagi is trademark Vivek, with a breezy, guitar-led sound, and a melody that is easy-on-the-ear. Anurag Kulkarni holds fort till the anupallavi when Manisha Eerabathini saunters in, amidst Vivek’s favorite soft, jazzy sound. Collegee Agelona is a delightful pastiche led by a frenetic Electro Swing sound, and adding many other things in the heady mix. Parada Jarupukoni rides on Hemachandra’s superb vocals and Arshad Ali’s flamboyant sax, along with Vivek’s own electric guitars in the funky rock track. Maarey Kalale takes on a rock sound too, powered by Suraj Santosh’s vocals who is particularly fantastic in the song’s latter portions. This one aims for an anthemic sound and achieves it too, with help from Neil Joshua’s electric guitars. Veediponidhi Okateley is the soundtrack’s lone song with a softer tone. Vivek composes and sings this Simon & Garfunkel’ish melody, and guitars his way into it too, in style, along with a poignant violin phrase by Sandilya Pisapati. After Sammohanam, Vivek Sagar hits it out of the park yet again!

Keywords: Vivek Sagar, Ee Nagaraniki Emaindi, #200, 200

Listen to the songs on YouTube:

It’s almost 2 decades since I started ItwoFS! I started the background work in 1999. By the way, it’s pronounced I2FS (eye-2-f-s) – it is simply, and embarrassingly, Inspired Indian Film Songs (so 2 Is and FS).

I was in my early 20s, away from home, on my first job in Delhi. I had experienced ‘the internet’ in my MBA, to have my own email and even built my first corny website, a fan-site for George Michael. Finding music on the internet back then was a massive chore, given the abysmal speed and the very limited sources available.

From that point…
… to downloading and uploading just ‘originals’ (of the 2 songs from Nadeem Shravan’s Dhadkan), those 2 links finding a place in India Today…
… trawling the internet for leads to potential copied songs…
… building a full-fledged barebones website on a Spanish free server called ‘iespana’ (because Geocities kept deleting all my 30-second audio clips)…
… someone in the US offering to buy me server space and pay for registering a URL…
… moving the whole thing to my own server…
… many, many composers getting in touch with me through email/phone, but not even one was angry about the whole site (most of them were both pleased that they were not the only one!)…
… it’s been a long, eventful journey.

(I do intend to write a more detailed post on the experience of managing this curious passion… the connections I have made and the recognition it has given me over 20 years… but that’s for another day.)

In the process, the effort has been featured in many mainstream media, including me joining Karan Thapar’s show, with the other participants including 2 composers (See: Part 1 | Part 2 | Part 3), and also featuring in a documentary!

The site is positively outdated in present times – it still has real audio files 🙂 I don’t think I’ll have the time or patience to spruce it up from scratch.

But here’s an alternative – I have picked, depending on availability (on Apple Music – June Monthlies is exclusive to Apple Music) and my own preferences, 200+ Hindi songs from ItwoFS and created 11 playlists (covering Hindi film music from 1950 – 2000+). The playlists are in the format of one Hindi song followed by its original.

Each playlist has about 30-40 songs (roughly) and plays for about 2-3:30 hours. I have avoided including Indian film songs copied from Pakistani originals because I believe that requires a separate playlist in itself!

Why only Apple Music and not YouTube? Mainly because almost all uploads on YouTube are illegal and can be removed without notice (which will affect the playlists too).

Click on the covers for each playlist. Enjoy!

Milliblog Weeklies – India’s only multilingual, weekly new music playlist. Week 29:
On Apple Music | On Saavn | On YouTube
A wonderfully vibrant song mix this week, with 20 songs, covering English, Hindi, Tamil, Telugu, Malayalam, Kannada, Marathi, Bengali and Odiya! That’s 9 languages in one playlist! YouTube has 19 songs (one song from Pantham is missing). Saavn has 17 – Shweta Mohan’s song, Ahe Nila Saila by Sona Mohapatra and the song from Aatagadharaa Siva are missing. Apple Music, missing the same 3 songs as the Saavn playlist + My Story’s Mizhi Mizhi.

A note on the songs in the playlist.

Ruby Ruby (Sanju, Hindi): This is vintage Rahman, playing with an unconventional, non-format tune, with a tinge of 80s, and taking it in multiple strands much to our discomfort and joy! Shashwat Singh and Poorvi Koutish sound fresh and are excellent choices for the vocals.

Jonjo (Priscilla Renea): A new album from Priscilla after 9 years. Her debut, Juekbox, was more pop’ish but with a clear country edge; the new album Coloured has a more pronounced slant. My favorite is Jonjo that touches swing, country and blues, with tongue-twisting lyrics!

Ishq Di Baajiyaan (Soorma, Hindi): Diljit Dosanjh brings his own earthy Punjabi’ness to the vocals. The tune gets incredibly immersive with the antara, and the small touches like the reverberating “Na ja aankhon aankhon mein hi rehna” phrase and the delightful outburst of a chorus (Kabhi usey noor noor kehta hoon, Kabhi main hoor hoor kehta hoon) add to the charm.

Collegee Agelona (Ee Nagaraniki Emaindi, Telugu): Vivek Sagar scores again, with the 2nd song from the film. The song is a delightful pastiche led by a frenetic Electro Swing sound, and adding many other things in the mix. It’s a heady sound that works instantly.

Title Song (Dhadak, Hindi): While not going one up on Sairat’s title song (Sairat Zaala Ji), is still a beautifully expansive melody to sink into. The bridge to the (Tu ghata hai phuhaar ki, Main ghadi intezaar ki, Apna milna likha issi baras hai na) main hook (Jo meri manzilon ko jaati hai) is vintage Dharma Productions stamp! Interestingly, the sweeping strings all through the song take it closer to Sairat’s Yad Lagla!

Mulla Poovithalo (Abrahaminte Santhathikal, Malayalam): The first single from the film was by Gopi Sundar and it is surprising to see another composer doing this one! Sering Francis’s music is quite similar to Gopi’s, and the pleasant tune rides on Haricharan’s superb singing.

Mizhi Mizhi (My Story, Malayalam): Composed by Shaan Rahman, the song’s main melody is entrancing, with that ‘Uyiril Neeye’ hook. Shaan places Shreya’s and Haricharan’s respective ‘Uyiril Neeye’ to start as one is ending… and creates a beautiful effect.

Deshamante, Right Now and First Time (Pantham, Telugu): A significantly better Telugu soundtrack by Gopi Sundar after patchy soundtracks. Deshamante’s Kerala folk rhythm and the tune that riffs off Pallivalu Bhadravattakam gets a spirited articulation from Ranjith’s singing. Sithara Krishnakumar holds fort in the highly rhythmic Right Now in total style, while First Time has Gopi cleverly optimizing and reusing his own Innale Innale from Diwanjimoola Grand Prix.

Nankanakara (Ala, Telugu): The 4th song from Srinivasa Sarma Rani’s debut. While Vijay Yesudas sung Ala Loni is standard-issue pathos, this one works with its heady Telugu folk rhythm and Srikanth Lanka’s earthy vocals reminiscent of M.M.Keeravani’s.

Enn uyrie and Alathi anbai (Asuravadham, Tamil): A short (only 3 songs) soundtrack with 2 songs sung by Ananthu. Probably because of the singer, the songs do sound a lot like composer Santhosh Narayanan’s, particularly Alathi Anbai. The other song, Enn Uyire goes off more in Govind’s style with a poignant melody and beautifully realized interludes. Like Sanjay ‘Leela’ Bhansali, Govind calls himself Govind Vasantha (replacing Menon with his mother’s maiden name!).

Dadda Song (Sarkari Hi. Pra. Shaale, Kasaragodu, Kannada): Rama Rama Re-fame Vasuki Vaibhav’s new Kannada song! Typically Vasuki – whimsical, with a wonderfully corny edge to depict the travails of Praveen, a schoolboy who is deemed a dud by almost everyone!

Vay Youngraad Zhalay (Youngraad, Marathi): Hriday Gattani composes and sings this one. The mandolin base and EDM parts lend it a nice, universal appeal, while the sound of Marathi is always interesting and alluring to me.

Aaya na tu (Arjun Kanungo & Momina Mustehsan, Indipop): Considering this is from Mohit Suri’s VYRL Originals, the song sounds like something from the director’s film too! Nice mid-tempo melody, with excellent singing and nice electronic backdrop.

Kuashaa (Shaan, Bengali): Composed and sung by Shaan himself, the guitar-laden melody is simple and appealing. Reminded me of the famous Sajid-Wajid composed Sonu Nigam-sung pop song from Deewana, Is Kadar Pyar Hai Tumse.

Ahe Nila Saila (Sona Mohapatra, Odiya): The Odiya bhajan that’s in the center of a pronunciation-led controversy! Regardless of that, as a non-Odiya who has no clue about the pronunciation, I love the lilting song and glad that an Odiya song is being heard by a lot of people!

On the allegation of wrong pronunciation, here’s what I feel (as I had mentioned this over Twitter and the Facebook Page): I’m trying to put myself in that person’s shoes to see how I’d react if I heard a Tamil song being sung on a national/international stage with poor pronunciation. I already consistently criticize Yuvan Shankar Raja for his poor Tamil diction (while absolutely adoring his music sense), for instance.

As a reasonably Tamil-aware person, I cannot not hear the mispronunciation but I assume it is also like ‘Indian English’ – once you know that there is a legitimate/’correct’ way to use English, hearing other variants seem awkward. But largely, I’ve made peace with the fact that newer generations will evolve with newer ways of pronunciation and may not hold on to the original, classical ways with which a language was intended. This, for example, is very pronounced (pun unintended) in Tamil rappers based out of places like Malaysia. They have been trained in that pronunciation and that’s their belief, of how the language sounds.

I guess we can see the language as an umbrella, and it encompassing many variants, dialects that some of the purists may find cringe-worthy because they are used to/raised in one form that sounds different. Larger point is that the beauty and richness of Indian regional languages are getting eroded slowly and steadily in the onslaught of globalization and with each generation.

I’m sure we Indians across all states will keep the fight on, to maintain languages and its literature for the next century or so, but we’re a tiny subsegment in the overall globe. Each language, even more tinier! At least by sheer numbers, English and Mandarin (with 960 million speakers, across multiple varieties and dialects) may be the surviving languages, I suppose. Meanwhile, our small efforts in propagating Indian regional languages like taking one state’s language national, through music, like Sona’s version of Ahe Nila Saila (when was the last time you heard an Oriya song on a music fest stage?) is welcome.

This reminded of my 5+ years growing up in Bhubaneswar as a child. My favorite song was an Oriya song played by my parents very, very often at home: Akshaya Mohanty’s Jaare Bhasi Bhasi Ja Nauka Mora Bhasija It’s a lovely, lilting song that brings me back memories of my days in Bhubaneswar!

Here’s to the musicians who keep battle to keep regional languages alive beyond films-based music – Raghu Dixit, with his Kannada music, Joi Barua and Papon with their Assamese music, way too many Malayalee, Bengali and Punjabi musicians (to name individually) and the likes.

Idhenaa Nijanga (Aatagadharaa Siva, Telugu): Kannada composer Vasuki Vaibhav’s 2nd song this week, but in Telugu! The film is a remake of Rama Rama Re, so Vasuki’s News Nodi gets this Telugu version. Sounds fantastic yet again!

Yaavum enadhe (Shweta Mohan, Bennet Roland & Madhan Karky, Indipop): Bennet’s music (and the guitar, in particular) has the sound of early Indian rock/pop (like Indus Creed!). It is Shweta’s lively singing, though, that is the song’s clear highlight.

Milliblog Weeklies – India’s only multilingual, weekly new music playlist. Week 28:
On Apple Music | On Saavn | On YouTube
A packed week, with 26 songs! Apple Music is missing 3 – Bhuvan Bam’s Safar, and 2 Tamil songs – from Traffic Ramaswamy and Raja Ranguski. Saavn is missing 2 – songs from Traffic Ramaswamy and Raja Ranguski. And YouTube is missing just one – Koode’s Vaanaville.

A note on the songs in the playlist.

Orey Oru (Kolamaavu Kokila, Tamil): A sparsely orchestrated song with a highly engaging melody, and Keba’s guitar is a legitimate 3rd voice. Anirudh scores in the way he layers Jonita’s singing in a different pitch besides his own, and then reverses it. Imaginative nuance.

The entire soundtrack (Katheyondu Shuruvagide, Kannada): Fantastic Kannada composing debut by Sachin Warrier. My music review of the soundtrack:

Anhad Naad (Sona Mohapatra, Ram Sampath): Ram first explored this song by Munna Dhiman in Coke Studio Season 4, featuring Sona and Shadab Faridi. This solo version by Sona is decidedly more earthy in comparison, with a folksy percussion to add to the joie de vivre.

Bodhai Kodhai (Indipop, Tamil): The Gautham Menon, Karthik & Madhan Karky trio gets it right the 3rd time! The tune is enticing, lyrics meaningful, and a scintillating music video, featuring Atharvaa & Aishwarya Rajesh. Glad to hear Sanjith Hegde again in Tamil, after Kalakalappu 2.

Kanulalo Thadiga (Sammohanam, Telugu): The last single from Vivek Sagar’s soundtrack. Chaitra Ambadipudi is stupendously good. Full soundtrack review here:

Aararo, Vaanaville (Koode, Malayalam): Anne Amie is fantastic with her vocals in Aararo’s intimate, guitar-led melody, reminiscent of Raghu Dixit’s own Kannada song from Happy New Year, Preetiya Hesare Neenu. (His other song, Paranne is a hat-tip to the same film’s Adda Bidde Madesaa, btw). Jayachandran’s Vaanaville is Karthik’s show all the way, with him lifting the gentle breezy tune significantly.

TV In The Morning (DNCE): The best song from the ‘Cake By The Ocean’ band’s surprise new 4-song EP (People to People).

Kar Har Maidaan Fateh (Sanju, Hindi): Composer Vikram Montrose’s biggest outing, after some decent, but little-heard work in films like Bhay, in Marathi. Sukhwinder’s familiar voice, as also Shreya Ghoshal’s, powers this energetic track, along with Ishaan Das’s spirited guitar work.

Safar (Bhuvan Bam, Indipop): There’s steady progress in YouTuber Bhuvan Bam’s quality of music, from Teri Meri Kahaani to Sang Hoon Tere, and now Safar that’s the most accomplished of the 3. Energetic tune and music, well sung, and a lovely video shot in Kerala, as well.

Thandora Kannaala (Kadaikutty Singam, Tamil): Kadaikutty Singam’s soundtrack is largely on predictable lines of what one expects from Imman, with one standout, in singer V.V.Prassanna’s Thandora. The jaunty rhythm and gorgeous melody is intact, in true Imman style.

Orasaadha (Indipop, Tamil): The 2nd single from Sony Music’s 7UP Madras Gig, after the first one featuring Imman. Vivek-Mervin brand of electro-pop is like their usual arsenal of film music – catchy, with a simple, likeable and persistent hook that lifts the overall package.

Nigara Than Nigara (Aan Dhevathai, Tamil): Haunting melody by Ghibran that immediately took me to Raja’s Karpoora Bommai Ondru (KeLadi KaNmaNi) and Dheere Se Aaja, from Albela. Raaga similar? Sung by Vineeth Srinivasan who I’d love to hear more in Tamil.

Dope track (Pyaar Prema Kaadhal, Tamil): A very, very typical Yuvan Shankar Raja track! His singing is, as usual, middling; his Tamil diction, even more so. But the tune is vintage Yuvan, beautifully lush and thoroughly involving. The music, with an EDM explosion, is fantastic.

Pattukutty Neethan (Raja Ranguski, Tamil): More Yuvan. Similar electronic glitz on top of his uncomfortable Tamil diction and often bad singing. If only he roped in better singers, his fantastic tunes could be infinitely better.

Aayiram Pournamigal (Traffic Ramasamy, Tamil): A somewhat too obvious and too familiar use of Reetigowlai raaga by composer Balamurali Balu. But the raaga’s inherent beauty carries it through, along with Aishwarya Ravichandran and Srinidhi’s vocals.

Arey Arey (Pedavi Datani Matokatundhi, Telugu): Zenith Reddy is definitely a unique name 🙂 The composer’s song is not bad at all – I hear strains of Joshua Sridhar style music in it. Pleasant and nice, as Sathyaprakash carries it well with his singing.

Marayatholi Kannal (Ente Mezhuthiri Athazhangal, Malayalam): This is one soundtrack that has only one singer – Vijay Yesudas! Quite a feat in these days of multiple composers and singers. Like Neela Neela Mizhikalo, this song too, by composer M.Jayachandran, is a lush melody, with a profusion of violins.

Aagi Aagi (Ee Nagaraniki Emaindi): Trademark Vivek, with a breezy, guitar-led sound, and a melody that is so easy on the ear. Anurag Kulkarni holds fort till the anupallavi when Manisha Eerabathini saunters in, amidst Vivek’s favorite soft, jazzy sound.

Calypso (Luis Fonsi, Stefflon Don): The Despacito star’s latest mixes reggaeton and Caribbean, within his usual stock of incredibly foot-tapping sound. And he has British rapper Stefflon Don for company. Excellent summer pool party material.

Talk Fast, Better Man (5 Seconds Of Summer, Youngblood): The Australian pop band is older and wiser, and their new album goes—older—back to the 80s sound! Talk Fast is a good example, with its lively 80s R&B vibe, while Better Man’s groove is snappy 80s too.

Born To Be Yours (Kygo, Imagine Dragons): Typically Kygo-style tropical house synth, combined with Imagine Dragons’ brand of lush pop.

Daariya Kaledukondide is such a well-rounded, melodious package! Leon de Souza opens it beautifully, with his poised singing, even as Inchara Rao joins him in the anupallavi to offer a new flavor to the song. Sumesh Parameswar’s guitars easily stand out in the serene song, and the pitch changes in the anupallavi are especially fantastic! The tranquil feel continues in Bhoomi Baana Kaadambari too, this time Sachin himself handling the singing duty. The lullaby’ish song even evokes Neelanbari raaga, known to induce sleep, in the lyrics. S Nathan’s clarinet, in the interludes, add to the gently sedate nature of the song! Dheemtha starts, surprisingly, with a hat-tip to Bhoomi Baana, as a prelude, before moving to Deepak Doddera’s lead vocals, with the really catchy ‘Manase manase’ phrase. When Sangeetha Ravindranath joins in what is an unusually tangential tune in the anupallavi, she picks up the phrase, and both the singers join to close it in a warm union! The soundtrack’s most energetic song is aptly called Good Morning! Sumesh’s guitar and Jeevan Thomas’s trumpet add to the bouncy song’s enthusiasm, sung brilliantly by Sachin. After impressive Malayalam outings (Aanandam, Orayiram Kinakkalal), Sachin’s Kannada debut sees him confidently scale new heights.

Keywords: Katheyondu Shuruvagide, Sachin Warrier, #200, 200

Listen to the songs on YouTube:

Oohalu Oorege Gaalanthaa is every bit of a Vivek Sagar song, and that’s something, given the young composer’s relatively limited repertoire. The gentle jazzy feel is something Vivek does so well. Plus, he has Haricharan’s spellbinding singing (along with Keerthana) to go with it. The other song featuring Haricharan is top notch as well – O Cheli Thaara, with a melody that is delightfully lush. Vivek adorns it with some interesting instrument choices in the interludes – in the first, he opts for what sounds like mandolin, along with violin, while in the second, he goes for a wond-instrument, after an extended violin phrase. Manasainadedo is almost Mickey J Meyer, with a dash of world music exotica in the prelude humming! Varun’s electric guitar and Vivek’s own work on the banjo adds considerable heft to the already wonderful melody. Vivek handles the singing too particularly well. The soundtrack’s only female point of view is Kanulalo Thadigaa. Chaitra Ambadipudi is stupendously good, and considering Vivek’s tune is at once memorable and affecting, the package works wonders. From Catharsis to Pelli Choopulu, Sheesh Mahal, Yuddham Sharanam, and now Sammohanam – it’s heartwarming to witness the steady, confident progress of a promising composer!

Keywords: Sammohanam, Vivek Sagar, #200, 200

Listen to the songs on YouTube:

Milliblog Weeklies – India’s only multilingual, weekly new music playlist. Week 27:
On Apple Music | On Saavn | On YouTube
16 songs, this week. Apple Music has 15, and is missing Yug Bhusal’s Ab Dil Zara Zara. Do check the list below to listen to the songs missing in the YouTube and Saavn playlists.

A note on the songs in the playlist.

Clandestino (Shakira and Maluma): The 3rd song from the duo, after Chantaje and Trap, from Shakira’s 2017 album El Dorado. Irresistibly catchy reggae + reggaeton mix.

Maya (IYKU, ft. Nikhita Gandhi): The new single by Kolkata-based electro-hiphop act, with frontman/lyricist EPR Iyer (alias Santhanam Srinivasan Iyer) and producer/guitarist Kuntal De, featuring Nikhita Gandhi. A heady mix of electronica, dubstep, with Nikhita bringing in Indian exotica.

Main Badhiya (Sanju, Hindi): Composing duo Rohan-Rohan’s (Rohan Pradhan and Rohan Gokhale) big Hindi entry, after a considerable body of work in Marathi (and a minor Hindi debut in Mumbai Delhi Mumbai). The song, though, symbolizes more of Rajkumar Hirani’s whimsical style, with superb work by Sonu and Sunidhi.

Ab Dil Zara Zara (Indipop, Hindi): Composer Yug Bhusal is back! His new song, ft. Devika Bandana has that strong, instantly likeable Ilayaraja flavor yet again, like Chitrafit – 3.0 Megapixel’s Yeh Dil Madmast Malanga.

Ishq Ka Silsila (Indipop, Hindi): Composed by Kshitij Tarey, the pleasant and serene melody makes full use of Shashaa Tirupati’s vocal prowess. Interestingly, the song opens with ‘Meherbaan meherbaan’, and the actual title (Ishq Ka Silsila) appears way down the song!

O Cheli Thaara (Sammohanam, Telugu): Vivek Sagar has a winner, already, after 3 songs! His tune, accentuated by Haricharan’s fantastic singing, envelops you beautifully, adorned with carefully chosen instruments for the interludes!

Nachuthunnade Vachi & Andhamaina Chandhamaama (Tej I Love You, Telugu): Gopi’s 2015 Telugu form playing peekaboo, again. Nachuthunnade Vachi is a testimony to that, with Haricharan in blistering form. Andhamaina Chandhamaama is a close 2nd, with its winsome lilt.

Avuna Nena (Ala, Telugu): Even though the song meanders into a typical-Bollywood segment, debutant composer Srinivasa Sarma (of Kougillalo, from last week’s playlist) definitely has a winsome tune. Karthik, as usual, owns the rendition.

Dhooram (Jamba Lakidi Pamba, Telugu): The 2nd Gopi Sundar Telugu song of the week. That 2015 form, again! Wonderfully enthusiastic and energetic tune with the typical Gopi flourishes. And Karthik wins yet again.

Azhake Azhake, Kannane Kannalane & Kadhanam (Nieraali, Malayalam): The soundtrack’s music review on Milliblog.

Hoye Jetey Paari (Fidaa, Bengali): This could have easily been a Hindi film song! Arijit is singing it too 🙂 Composer Arindom has a simple, rhythmic and engaging tune, with a foot-tapping EDM layered into it.

Keh Do Na (Indipop, Hindi): Indian Idol Season 1 fame Rahul Vaidya is still around. His own composition is very, very competent, albeit it a tad too formulaic within the Hindi pop ballad style. It’s his singing that holds the song together.

Made In India (Guru Randhawa, Punjabi): T-series’ Golden Eyed boy (for now) is on a winning streak! Simple, foot-tapping fluffy Punjabi pop that checks all the standard boxes.

Azhake is classic Stephen-style soaring and serene melody. Mohanlal, despite the occasional quiver in his voice, does mighty well, while Shreya is wonderful, as always. Kannane extends Mohanlal’s current trend of having a highly-rhythmic very-Malayalee folk song – it checks all boxes admirably. Stephen produces a flamboyant package in Neeralippidutham, a cool Bond-style number, handled brilliantly by Vijay Yesudas. Neerali Reloaded, with a similar Neeralippidutham hook, offers a completely different, upbeat sound. The short Kadhanam, closes the soundtrack on an ominous note, with some fantastic percussion and Baburaj Menon’s involved vocals. 5 years after KQ, good comeback by Stephan Devassy.

Keywords: Neerali, Nieraali, Stephen Devassy

Listen to the songs on Apple Music:

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