What
This is the 30th year in Illayaraja's life as a film Composer. 30 years is usually a very long time for indian music directors. Most of them fade away in 10 years. Only very few managed to survive for a decade or more, no one can for 30 years and still be respected. It is true that for the last 10 years, he painted himself in a corner with the choice of movies and songs not aimed for commercial and countdown programs, and abdicated rightfully, once what was his, the leading person to define and reshape the popular film music, to other younger music directors. Still it is remarkable that he retained relevance for his presence, though he struggled to find that new sound and direction, which can be all of his own. My first reaction after hearing Mumbai Express songs, at last it looked like he might have found one.
How
Apart from being one of the best in what ever he tried, Kamalhassan also have another one in abdunace, that is loyality. If he likes some one, and admires their skills, he will try to work with them again and again and again. So it is not surprising to see Kamal, Illayaraja and the production house Raj Kamal stay together for the last 25 years. Illayaraja have always reserved his best works for Kamal movies right from 'Raja Parvai', with out any exception, with Mumbai Express also joining in.
About
The first song 'Kurangu Kaiyil Malai' has two versions. The first version is by Kamal and Tippu. Though it is fair to say that tune is a typical Raja's Number, but it is the arrangement that will blow you over. It has an overflowing jazz flavour, which is a rarity in indian film songs. The song starts with a synthesized music enhanced by the brass section, with the background piano notes. Tippu starts the pallavi and Kamal joining him later. A femal humming fills most of the first interlude, with Raja attempting some thing similar to the Vikram title song. A small but dis-joint brass section prepares you to the saranam. Saranam is again adequate with the piano in the background, and small chorus lines holding together the different parts of the saranam. The second interlude starts with synthesized drums, which give away to a full blown jazz flavoured instrumental piece. It is a two part brass section and sax involve in some delightful interplaying, with drums and piano playing along. The song ends with pallavi being repeated twice. Already it is very clear this is going to get better and it sure does.
The second song 'Poo Poothatdu' starts with a kid's voice. Then music takes over with synthesized music with chorus lines 'Tha Tha Tha' tailing off the pre-interlude. The singers are Sonu Nigam, Sheriya and Shaan. Pallavi is very soothing. It has a leisurly pace, but with out being delibrately slow, which can be attributed to some of Rahman's recent numbers. The beats adapt very well to the tune. Again it is the interludes, which will get your attentioin. Again lot of jazz flavour, but this time lot of soft piano notes. Saranams are again very soothing, but, Raja has decided not to sweat over the tune and relied on his past memory to stretch the saranam. Saranam does remind you to one of his recent song in the movie Kadhal Rojave. The second interlude starts with brass section with piano and chorus adding finishing touches. The chorus sectioin in both the interludes are long and that is very unusual for Raja. Overall this one is a great song. It is amazing to see this man trying out new things in the arrangment even after all this time.
The third song 'Yelae Nee Yetippo' should be the tour de force of this album. Again the interludes are divine. There are no words which can explain adequately the beauty of these interludes. There are lot of interplay between singers. The singers are Sonu Nigam, Shaan, Sheryal, Tippu and Kamal. Saranams are beautifully woven together. The whole song is like a roller-coaster ride with ups and downs with different singers singing the various parts and all hold together well. There is a female voice over in the second interlude suggesting what kind of city Mumbai is. The beats through out the song is remarkably underplayed, yet you can feel the pulse. It is fair to say that this song in all sense looks like a new face of Raja. It is not that he has not done any new things like this before. He has sucessfully attempted so many path breaking music before. This looks like another new avatar.
The fourth song is 'Kurangu Kaiyil' II nd version. This song looks like a theme song appearing in the movie in small bits. This version is longer. There are subtle difference between both the versions and both are very enjoyable, just for the arragements alone.
The fifth song is a diluted kid's version of Vande Matram. In all fairness, this looks like a situational song. I relaly have issues with Kamal including the situational songs in the audio releases. These kind of songs usually not enjoyable for listening alone. Secondly, these kind of songs can bring down the enjoyment level of an album. He basically killed the Hey Ram album by including non-sense situational songs. Glad that there is only one in this album.
The last one is the 'Theme Music'. Theme music has become an hot property now a days, with almost every album including one. Raja, being the master of the background scores and instrumental music, he just needed this track to show, that he is indeed the mastero. Again lot of Jazz, lot of WCM, lot of inter play between the Brass section, Sax, and the Piano. It is very well done just for the fact that it is a 5 minute piece and you won't feel that it is long.
I am curious to see the movie, just to find out where this music is included. I sincerly hope it is not during the credits.
Finally
All the music directors after some time would worn out their fans. Raja definetely has his share of worn-out fans. It has been few years since any of his songs hooked me on the first hearing. Mumbai Express songs have surely got my attention in the first try. It not only gave me satisfactioin that Raja, the musician is still alive, but also reconfirmed my belief that this man is not done yet.
This is the 30th year in Illayaraja's life as a film Composer. 30 years is usually a very long time for indian music directors. Most of them fade away in 10 years. Only very few managed to survive for a decade or more, no one can for 30 years and still be respected. It is true that for the last 10 years, he painted himself in a corner with the choice of movies and songs not aimed for commercial and countdown programs, and abdicated rightfully, once what was his, the leading person to define and reshape the popular film music, to other younger music directors. Still it is remarkable that he retained relevance for his presence, though he struggled to find that new sound and direction, which can be all of his own. My first reaction after hearing Mumbai Express songs, at last it looked like he might have found one.
How
Apart from being one of the best in what ever he tried, Kamalhassan also have another one in abdunace, that is loyality. If he likes some one, and admires their skills, he will try to work with them again and again and again. So it is not surprising to see Kamal, Illayaraja and the production house Raj Kamal stay together for the last 25 years. Illayaraja have always reserved his best works for Kamal movies right from 'Raja Parvai', with out any exception, with Mumbai Express also joining in.
About
The first song 'Kurangu Kaiyil Malai' has two versions. The first version is by Kamal and Tippu. Though it is fair to say that tune is a typical Raja's Number, but it is the arrangement that will blow you over. It has an overflowing jazz flavour, which is a rarity in indian film songs. The song starts with a synthesized music enhanced by the brass section, with the background piano notes. Tippu starts the pallavi and Kamal joining him later. A femal humming fills most of the first interlude, with Raja attempting some thing similar to the Vikram title song. A small but dis-joint brass section prepares you to the saranam. Saranam is again adequate with the piano in the background, and small chorus lines holding together the different parts of the saranam. The second interlude starts with synthesized drums, which give away to a full blown jazz flavoured instrumental piece. It is a two part brass section and sax involve in some delightful interplaying, with drums and piano playing along. The song ends with pallavi being repeated twice. Already it is very clear this is going to get better and it sure does.
The second song 'Poo Poothatdu' starts with a kid's voice. Then music takes over with synthesized music with chorus lines 'Tha Tha Tha' tailing off the pre-interlude. The singers are Sonu Nigam, Sheriya and Shaan. Pallavi is very soothing. It has a leisurly pace, but with out being delibrately slow, which can be attributed to some of Rahman's recent numbers. The beats adapt very well to the tune. Again it is the interludes, which will get your attentioin. Again lot of jazz flavour, but this time lot of soft piano notes. Saranams are again very soothing, but, Raja has decided not to sweat over the tune and relied on his past memory to stretch the saranam. Saranam does remind you to one of his recent song in the movie Kadhal Rojave. The second interlude starts with brass section with piano and chorus adding finishing touches. The chorus sectioin in both the interludes are long and that is very unusual for Raja. Overall this one is a great song. It is amazing to see this man trying out new things in the arrangment even after all this time.
The third song 'Yelae Nee Yetippo' should be the tour de force of this album. Again the interludes are divine. There are no words which can explain adequately the beauty of these interludes. There are lot of interplay between singers. The singers are Sonu Nigam, Shaan, Sheryal, Tippu and Kamal. Saranams are beautifully woven together. The whole song is like a roller-coaster ride with ups and downs with different singers singing the various parts and all hold together well. There is a female voice over in the second interlude suggesting what kind of city Mumbai is. The beats through out the song is remarkably underplayed, yet you can feel the pulse. It is fair to say that this song in all sense looks like a new face of Raja. It is not that he has not done any new things like this before. He has sucessfully attempted so many path breaking music before. This looks like another new avatar.
The fourth song is 'Kurangu Kaiyil' II nd version. This song looks like a theme song appearing in the movie in small bits. This version is longer. There are subtle difference between both the versions and both are very enjoyable, just for the arragements alone.
The fifth song is a diluted kid's version of Vande Matram. In all fairness, this looks like a situational song. I relaly have issues with Kamal including the situational songs in the audio releases. These kind of songs usually not enjoyable for listening alone. Secondly, these kind of songs can bring down the enjoyment level of an album. He basically killed the Hey Ram album by including non-sense situational songs. Glad that there is only one in this album.
The last one is the 'Theme Music'. Theme music has become an hot property now a days, with almost every album including one. Raja, being the master of the background scores and instrumental music, he just needed this track to show, that he is indeed the mastero. Again lot of Jazz, lot of WCM, lot of inter play between the Brass section, Sax, and the Piano. It is very well done just for the fact that it is a 5 minute piece and you won't feel that it is long.
I am curious to see the movie, just to find out where this music is included. I sincerly hope it is not during the credits.
Finally
All the music directors after some time would worn out their fans. Raja definetely has his share of worn-out fans. It has been few years since any of his songs hooked me on the first hearing. Mumbai Express songs have surely got my attention in the first try. It not only gave me satisfactioin that Raja, the musician is still alive, but also reconfirmed my belief that this man is not done yet.
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