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Azhagiya Tamil Magan Music Review Print
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Azhagiya Tamil Magan - Any time music
IndiaGlitz [Tuesday, October 23, 2007] Among the combinations
in Kollywood, Vijay-A R Rahman is rather intriguing as the idioms that define
the duo are totally different, and twain looked unlikely to meet. To be sure,
Rahman had indeed scored music for a Vijay starrer previously. That was the
unsung Udaya, a film that was laid low by many problems. Except the eponymous
title track (and was certainly beguilingly brilliant), none of the numbers
hardly had anything to redeem or remember. Vijay, in the meanwhile, had become
the commercial star and this kind of films demanded a kind of music, which if
it came from Rahman would be disappointing. Rahmans musical methods are
believed to suit a different canvas.
So before settling down to listen to the Azhagiya Tamil Magan songs, the
feeling was rather mixed, and the belief was that something, or rather someone,
had to give. But after a single listen, we are happy to report that Rahman has
packaged Vijays musical needs in a different flavor. But one that doubtless
will have the Ilaya Thalapathis fans dancing in the aisles with gusto.
Rahmans genius lies here in the fact that he has not compromised his core
constituency.
The six numbers, including a remixed one, carry that unique Rahman stamp ----
rhythmic razzmatazz, quaint harmonies and experimental interludes all creating
a symphonic sounds cape.
1 Ella Puzhal
The title track in a mass Tamil movie is microcosmic to the overall genre. It
has to have elevating lyrics. It has to have simple but catchy beats. It has to
set the tempo for the scrip to feed on. But Rahman here bucks the trend. He
provides all the necessary rhythms. He has, in a sense, redefined the intro
song with a tempo that is reflective without being ponderous. Rahmans own
vocals in typical nasal high-pitched twang ---- provide a further newness.
The beats are not all-out or in-your-face, but carry forward Vaalis
undoubtedly exalting and ennobling ideas in attractive packets of snappy strums
and bewitching beats. It is not impossible to imagine what the reaction of
Vijays countless fans whenever the word thalapathi is uttered in the lyric.
2 Pon Magal Vandhal
Rahman, among the music directors, had steadfastly avoided the abhorrence of
remixes. The one time he had to attempt that, Rahman did the honorable thing of
re-tuning it (Thottal Poo Malarum in New), rather than add some high-octane
rhythms to the original and preen to the world as if it is indeed a new
original, so to speak. But here settles for the straight forward remix; the
only liberty he takes here is a bizarre rap interlude. Aslam has sung with his
all his energy, and Embars rap bit also works. But remixes are not Rahmans.
3) Nee Marilyn Monroe
This is Boys song meeting Anniyan. Both in terms of the musical trope as well
in terms of drift of the language. Full of city youths Esperanto, the words of
Na Muthukumar (almost in bilingual with liberal use of Party, Saturday
night, scanning) will have the dancing feet tapping incessantly. Benny
Dayaland Ujjaini sings with that stylized lilt that such songs are expected to
sound. The chorus pattern is interesting and provides a defining staccato feel.
The way Nee Marilyn Monroe is enunciated is certainly very alluring and
provides all the right impact for the song.
4)Valaiyapatti
Imagine a rambunctious Tamil folk madly cohabiting. And now, as if for a lark,
throw a bit Carnatic nuggets. What do you get? A song that defies imagination.
It takes musical effrontery to conjure such mix n match song. Rahmans
brilliance is in pulling this amazing number, on which explanatory words are
ineffective. Naresh Iyer, like a stone waller is being asked to play the
pinch-hitting role in cricket, has been asked to let his curly hair down and
sing with uninhibited effulgence. Naresh does and provides the song the perfect
patchwork. The twist into the by-lanes of Carnatic ragas (like Bageshwari,
Saraswathi and Neelambari) is sheer genius. Ujjaini and Madhumithas voices
climb the higher octaves with felicitous zeal while Muthukumars lyrics again
match the mood. One for the album of mind!
5) Kelammal Kayile
Saindhavi sounds from just the upper part of the throat. It is a style that is
fraught with risks. But it works to all our amazement. Pray why? The curious
musical arrangement of Rahman and the male vocal of Sriram Parthasarathy,
perhaps the most talented and bankable of young singers around. The pattern of
the number is difficult to grapple immediately. But as ever, it takes hold of
you slowly and before long you are captivated and traveling inside those lovely
musical loops that every Rahman experience gives us. Thamarais words carry
that love emotion quite effortlessly.
6) Maduraikku Pogathadee
Does a mass rhythm song have to be gross and cheesy, and sound soulless? Need
not be. Rahman shows how. This is a folksy number that combines the resonance
of Goanese beats, but is full of robust energy and rhythms that immediately
transports the listeners to, say, rural Madurai. The singers Benny Dayal,
Archith and Darsana voice Pa Vijays inspired words with an élan and ease that
come to those who want to prove a point. The natural drift into the rural
symphony is a stroke of musical genius.
And Rahman is certainly one. The audio is available exclusively on Raaga.com.
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