Sathya Prakash breathes life—as much as Chinmayi does with her humming—into Rahman’s evocative melody in Nallai allai. Vairamuthu’s beautifully Tamil verse sounds pitch perfect in Sathya Prakash’s careful diction. But for the ill-conceived Punjabi detour, Azhagiye works brilliantly, with a spritely energy, Haricharan’s (Or is it Arjun Chandy leading the singing?) lively vocals and Karky’s cleverly colloquial lines. Vaan varuvaan harks back to Rahman of Taj Mahal (Kulirudhu kuliridhu)! Shashaa Tirupati holds the song with her phenomenal singing even as Rahman adds her voice in multiple layers for added effect! The instantly catchy Saarattu vandiyila comes with an addictive lilt and Vairamuthu’s gently erotic man-woman banter. Raihanah and Tipu are in perfect sync with the lyrical exchange, significantly enhanced by the guitar in the background. Tango kelaayo‘s allegiance to is a bit too obvious, but Rahman moves the song into highly interesting zones, including a markedly retro-style ‘Unnai pirindhaal’ and a dramatically more modern ‘Oh nee ennai piriyaai’ before flowing freely into a haunting combination of strings and accordion! Jugni is Rahman’s Ram Gopal Varma material, with a profusion of pleasant music that crescendos impressively amidst a passable tune. In the 25th year of their collaboration, Mani and Rahman prove that the spark is alive and kicking.
Keywords: Kaatru Veliyidai, A R Rahman, 200, #200
PS: Yes, I was wrong about the diminishing marginal utility part in my review. In hindsight, after Kaatru Veliyidai, it seems like a one-off middling work from the duo.
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