If there is a musical equivalent of magic , it should be Allah Rakha Rahman’s music . This may not be the universal truth , but it does sound true when one listens to some of his soundtracks which deserve to be called classics. This evening when I laid my hands on Maryan’s OST – I had a question on whether it will be magic to the ears . It took some time for me to get my answer , but once I had it , i felt it had to be shared and hence this blogpost.
Nenje Ezhu kicks off with chords and percussion which remind you of Rahman’s earlier works . The man himself takes center stage thereafter to sing about eternal hope , a hope which is born out of divine love. The song talks of never ending hope and eternal love and the superb lyrics make you repeat the song again and again and again. As ARR croons kadhal endrum azhivathillai , the song reaches it’s crescendo and takes you another world – a world where fairy tales come true. Yet this song is not without glitches. The tune has a heard before feel which I couldn’t shake off and I felt that the pronunciation of the inspirational words could have been better. That said , the flaws seem minor when compared to the feel of the song.
Innum konja neram is true to its words. By the time the song ends you wish that the song could have lasted longer , that lovely it is. The ghatam , accordion and the flute create a lovely menage e trois , which becomes all the more lovely thanks to the fantabulous lyric and the superlative singing by Vijay Prakash and Shweta Mohan. As the song goes on , one is taken back in time to a journey in a bullock cart , with the lovely bells from the bull’s anklets ringing in your ears .The singing , tune and the orchestra work is so very reminiscent of MSV , so much so that one wonders if this is ARR’s tribute to the maestro. The song clocks 5 minutes and 14 secs , yet once the song ends , you wonder why the song was short. Innum Konjam Neram Irunthathan enna indeed.
Vijay Prakash is on a roll these days. He completely pwns Innum Konjam Neram with his Hariharan-ish rendition and nails down the brief completely with Netru – so much so that , when one listens to this songs with eyes closed , his rendition reminds one of a young K.J yeshudas in superlative form. Vijay creates magic with the mellifluous tune , Chinmayi and the orchestral work adding to the glory. The orchestral work is very minimal but sweeping – like a banked fire , if one can call it that. In a matter of hours , this song has become a favorite and to me its one of the best songs of the OST , if not the best – you know you’ve hit pay dirt when you listen to a song for 30 minutes on loop.
Sonna Pareeya is the masala song of the album , if one can call it . To me it is that song of the album , where people take a break from the analysis and just go ho hum to the tune. To me it is one of the weakest song of the album and sounds almost like a kuthu song. What redeems the song is that nayanam in the interludes and the guitar work in the background in addition to the orchestral work. May be it’s because the song appears after two killer melodies , it didn’t stick with me at all.
Sakthisree Gopalan sure can make a living out of angsty tracks . She is almost as heavenly as she sounded in Nenjukulle and it is her singing which redeems the song along with the splendid tune and superb string work. Just like Aditi Paul’s version of ayyayyao was called a lady and the violin , Enga Pona can be called the Siren and the guitar – as they are the only things that stay with you even after the song ends.What works against the song are the horrendous lyric – wonder if the lyricist was not paid enough or on time , to turn in such third grade work .That said , a superb sophomore effort from Sakthisree.
Africa can as well be used by Africa’s tourism department or by the African Cricket team – cheenu mama able and willing. Blaaze collaborates with AR Rahman after a long time and ends up creating an almost Carribean sounding visiting card for the African Continent.One need not be an oracle to know that this song will be placed when the titular character lands on Africa and the song may sound better with Visuals.
Last but not the least comes Kadal Raasa. When I heard that yuvan had sung this number for AR Rahman , I thought it was prone to be a disaster but Yuvan surprises ( with or without processing) and how ! Kadal Raasa is all about a man’s yearning for his land and roots. The nadaswaram makes an appearance yet again and segues infinitely with the percussion work which goes on to take center stage.The lyrics are again crafted beautifully and give away the titular character’s feeling and condition and an inkling of the story. The song is a keepsake , just for the nadaswaram in the interludes , which stays in one’s mind hours after one is done listening to the song. While Kadal Raasa is not the best song of the album , its not the worst either and may be could have sounded better had Velmurugan sung it as initially planned.
To sum up , Maryan is not the masterclass that kadal was but its not mediocre like Jab Tak hai Jaan. What it is , is the musical equivalent of magic , thanks to innum konja neram , netru and yenga pona raasa.