 Vikram
to this day maintains that the song ‘Moongil Kadugale’
in his film Samurai is the closest to his heart. That was set
to tune by Harris Jayaraj. Saamy, among Vikram’s movies,
has had the best of numbers. Again that was the handiwork of
Harris. But when these two films arrived there weren’t
any great expectation. But when the audio of Bheemaa, once more
in the combination of Vikram-Harris, the scenario is slightly
altered. The anticipation is high because of the track record
that the duo in-tandem enjoys.
Bheemaa has been in the making for quite a while and, almost
uncannily, most delayed films’ music has a touch of melancholy
in it (or is it our imagination?). In some respects, Bheemaa
resolves this quandary, and underscores that the idea of sadness
is mostly a creation of the mind. Bheemaa’s songs -----
reflecting the kind of mix that we have come to expect from
Harris ---- are energy-filled without ever degenerating to the
level all-out mass madness. Tamil film songs of recent vintage
have been guilty erring on the side of stridency, and the rhythms
are dominating and drowning (others).
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Bheemaa doesn’t go for the jugular
as the attempt is not to satisfy music fans. The idea
here seems to have been to provide good music, which anyway
the aficionados are bound to like. The music is unmistakably
Harris’ (some might accuse him of being slightly
repetitive here) as his method and mix is more than par.
Harris has also experimented, or at least seems to have,
with his orchestration as the alignment is more holistic.
It is not often that you get to hear the soothing strains
of dilruba, sarangi, santoor, sitaar in every-day film
music (especially of the mass genre). But Harris has with
an insidious impishness has managed to wove it in. |
There are six numbers in the album
Oru Mugamo
Krish and Naresh Iyer voices represent the gem
next of Tamil film music. Both these youngsters croon out a
heavy-rhythmed (slightly predictable) belter. It is difficult
to identify who is singing at a given point, but the overall
impression is adequate and acceptable. It is not clear why the
music director needed two voices. The lyrics, by Pa Vijay, talks
evocatively of the valor of the hero. Perhaps the introduction
song or some kind of background lilts to the hero’s heroism.
The slightly stylized number is on the whole passes muster.
Mudhal Mazhai
The song typically starts with Harris’
fond humming with gibberish phrases. Almost all his films have
a number with this kind of start. It is nice to hear Hariaharan
at his best with lilting inflexions and voice feints in place.
Mahathi, in company, handles the heavy challenge with relish.
The number has a hazy slowness and Na Muthukumar’s sweet
words deserve this breather. The interludes are interesting
as Harris has fiddled around with multi instruments. There is
also the name of R Prasanna in the credits. Except for the initial
and intermittent humming there doesn’t seem to be third
voice. And that too seems to be a lady’s. So that begs
the question: Is Prasanna a woman?
Rangu Rangamma
The first two words confirm the genre. The start,
with strong woody rhythms, heightens the anticipation. It is
then when Vijay Yesudas, the most unlikely of choice for such
a number, breaks into a Bachchanesque heavy-throated rendering.
Vijay Yesudas’ participation is however minimal, but he
acquits himself handsomely. The bulk of the crooning is left
to Kailash Kher, and his earthy vocals (with a wisp of sorrow
hidden somewhere) are very good. For a man who has made a name
for himself with rustic and folksy Hindi songs, Rangu Rangamma
is a good challenge. And he is up top it. Swarnalatha of course
is veteran of this genre and she is full pep and poise. A foot-stomping
energy runs through the number that Pa Vijay has written with
kid-like enthusiasm.
Ragasiya Kanavugal
Hariharan and Madhushree, in a sense, represent
the sweetest of throats in film singing today. And it is just
the kind of number they will relish as Harris has chosen an
easy-flowing tune with pregnant pauses and the tempo is more
gondola than speed boat. The violin and quaint beats add a bizarre
but beautiful patch. The mixing is Rahmanesque, especially in
places when Hari’s voice is made to hum in the background.
There is decidedly a touch of Sadhana Sargam in Madhushree’s
voice. Yugabharathi’s words whip up the sentiments of
cozying up lovers with élan.
Siru Parvayale
Karthik begins with his typical verve. Harris
has made him sound bolder than he is usually. The result is
interesting, and worthy of the attempt. Harini, back after some
time, is as full of frothy excitement. The combination mostly
works in this every-day tune, which doesn’t hold any surprise.
Thamarai, a Harris favorite, pens a thoughtful love ballad that
is suffused with emotion. The music does justice to that.
Enadhuyirae
The real pick. With three female voices ----
Chinmayi, Sadhana Sargam, Sowmya Raoh (it is difficult to pick
out them in the number) — and one male voice (the Airtel
Super Singer Nikhil Mathew), it is a combination that is pregnant
with possibilities. Harris uses them all and has strummed a
very different moody number. The inherent passion is well brought
out by (I think) Chinmayi right at the start. Nikhil Mathew
(perhaps his debut number) gets the emotions right in his voice.
What he lacks in resonance is compensated by his expression
to Yugabharathi’s powerful words. The tune lingers like
mist on a cold morning at a hill side resort.
All in all, Bheemaa is a heavyweight.
To listen to Bheemaa songs at http://www.raaga.com/channels/tamil/movie/T0001206.html
(Source: Indiaglitz)
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