A re”sound”ing tr(i)ack by the maestero
It was some 25 years ago when Ilayaraja composed songs for a movie which was half way through- R.Sundarrajan’s Ilamai Kalangal. Then almost few years ago the same isaignani composed songs for Kamal Hassan’s HeyRam. These were the framework in which Ilaiyaraja could tune songs post-production. Now comes the same genre in this Algarsamyin Kudhirai songs. It is said the songs have been made to effect after the entire film was shot. Hence it is quite natural that something new or huge expectations would have flourished. And as usual, the maestro has not disappointed despite his ageing spheres of talent.
With lyrics penned by Francis Kiruba, Ilaiyaraja himself has sung this song in an enchanting voice modulation. The song depicts the melody at its best and the penchant for natural flair. Right from the second one till the end, this song has all the charm for music and voice blend in full perfection. In a way, the song has come out as a resonance for every nuance of the composing – rhythm, bass effect, ideal synchronization, the acoustic elevation. The song reminds us of the Ilaiyaraja of yester decades wherein he had the craftsmanship of lyrical clarity and notes being catchy and separated skillfully. The string effect glides here and there all through the song and it is there that Ilaiyaraja stands apart from others in the foray. All that we can say is this song is yet another masterpiece from the maestro. Kudos to him and three cheers!
Ilaiyaraja has revived the folklore of his peak period in this song too with too many number of voices. The song, penned by Snehan, has the real folk tune as the composer has the intention to fuse the music with the real time joy and spice. The instrumentation speaks itself and Ilaiyaraja has once again proved that he is still the emperor in folklore. On most occasions such songs would not stick on to any given situation but this song has the privilege to get its berth in the collection.
Yet another swing into the melody of the maestro through the voices of Karthik and Shreya Ghoshal. The lyrics are from Yugabharathi and Ilaiyaraja has the niche to identify the right choice for right situation and lyric. Karthik’s voice is akin to the Oliyile Therivathu song and Shreya’s Voice adds the momentum to the desired effect. What makes this song quite surprising is the deviation from the utterance of the charanam after the first stanza. The song begins with the lone gatam and gradually flows into the melody lane with Celtic violin standing out. Ilaiyaraja has been quite marvelous with guitars and this one is no exception. The piano is in the same vigor as from the old days of En Vanile. The song is apt for double crowning and the maestro takes the credit for creating such a boost to the collection.
The songs are at their feet to reach the mass so fast. They will be on air at least for a quite long time, though not for a perennial moments of listening. There are chances that the songs may top the listings once the movie was released. The Kudhirai is certain to take over the recent collections in the race.
Tags: Adiye Ivale, Azhagarsamiyin Kudhirai, Azhagarsamiyin Kudhirai Music Review, Azhagarsamiyin Kudhirai Song Review, En Vanile, folk, Francis Kiruba, HeyRam, Ilamai Kalangal, Ilayaraja, Illayaraja, Kamal, Kamal Hassan, Karthik, Kudhikkira, maestero, Music review, Oliyile Therivathu, Piano, Poovakelu, post production, R Sundarrajan, rhythm, Sherya Ghosal, Snehan, Thanjai Selvi, voice modulation, Yugabharathi