Mercury is a silent thriller directed by Karthik Subbaraj, starring Prabhudeva. The film has one promotional track in Hindi composed by Mithoon, and it’s out of Mithoon’s usual composition style, so let’s get started with the review!
The last time I checked, The Mercury Song was over seven minutes long. Now, it seems they’ve cut it short and now it’s just four minutes long! Well, all the better for them because the song was quite tedious earlier. Now, I’ll review this short version. The song is really different from what we usually get to hear from Mithoon; I give credit for that to Subbaraj, the director. He is probably the one responsible for giving Mithoon the freedom he needed. Earlier this year, we’ve heard maudlin tracks like “Tum Mere Ho’ (Hate Story IV) and “Lo Safar” (Baaghi 2) from Mithoon. Here, he composes a catchy dance song that is perfect for Prabhudeva. Haricharan sings the song amazingly, almost in the vein of Benny Dayal’s style of singing. I’m guessing Gajendra Verma is responsible for the rap (which is boring). Mithoon’s programming is impressive, but also gets repetitive as the song progresses. I can’t believe Sayeed Quadri has written the song. I mean, what’s the point of roping in Quadri if you don’t want something poetic?
It was necessary to hear something like this from Mithoon, just to remind us that it isn’t his fault that he’s been composing boring songs lately!
Total Points Scored by this Track: 7
Final Rating: सा < रे < ग < म < प < ध < नी < सां
Note: The letter which is underlined is the final rating.
Music Album Details ♪ Music by: A.R. Rahman ♪ Lyrics by: Vairamuthu, Madhan Karky, Navneet Virk & Shellee ♪ Music Label: Sony Music ♪ Music Released On: 20th March 2017 ♪ Movie Releases On: 7th April 2017
Kaatru Veliyidai Album Cover
To hear the full songs of this album on Saavn CLICK HERE
Kaatru Veliyidai is an upcoming Tamil language drama/romantic thriller which stars Karthi and Aditi Rao Hydari in the lead roles, and written, directed and produced by Mani Ratnam. The film is a romance between a military pilot and a doctor. Since I do not know Tamil, I cannot make out anything else about it, but I can make out that the film is a Mani Ratnam directorial and that means that it is also an A.R. Rahman musical. Scoring six songs for this movie, Rahman is expected to have taken the magic of the Ratnam-Rahman combo even further. So let’s see how far this album sticks to that!
Rahman starts off the album with a charming love song, that will surely please your senses. The composition is a breezy romantic one, with all the elements of a successful romantic song included in it. The mukhda is an apt introduction into the song, with a very soft and soothing sound, and very minimal arrangements. The hookline, when it comes, blows your mind. It is vintage Rahmanish magic — the kind where he gives something utterly simple (and which fake Rahman fans will call ‘Rahman being out of form’) and making it extremely catchy and soothing at the same time. The antara is wonderful, with its low and sombre notes. One bar of notes in that stanza sounds a lot like a bar from ‘Tu Hai’ (Mohenjo Daro). There are two antaras, composed in the same way, something we find Rahman doing very less — sticking to this convention. The arrangements are just as breezy and soothing as the composition, especially the guitars (Keba Jeremiah) which are the highlight of the arrangements. The first interlude has that guitar piece, which resembles the guitar piece in the interlude of ‘Enna Sona’ (Ok Jaanu) so much! Again, I’m not complaining. The vocals are amazing, Sathya Prakash hits the nail right on the head, and his variations and nuances are amazing. Chinmayi, though having no words as such to sing, hums a beautiful tune in the second interlude once, and once at the end of the song. Both times, her voice gives you the goosebumps very efficiently. As I’m not well-versed (what well-versed? I’m not even versed) in Tamil, I cannot comment on the lyrics, but I’ve heard from many people that Vairamuthu has used very archaic Tamil, from the Sangam Age, in this song. That is interesting, Tamil being one of the oldest languages of the world. 🙂 A breezy, love ballad that will soak you with its sweetness.
After the breezy romantic track, we have an upbeat youthful romantic song, and whatever Tamil albums I’ve heard, I’ve heard atleast one such song in each of them. And yeah, most (maybe even all) of them were by Rahman, so I guess Rahman loves to add such songs in his Tamil albums. Anyway, the composition redefines the meaning of ‘fresh’. A breeze of fresh air blows over you as you immerse yourself in this youthfully magical song. The hook composition is insanely catchy, and without understanding it, I loved it more than a lot! The way Rahman seems to have composed separate, individual mini-songs and put them all together into one song, is amazing. The seamless flow from Tamil to Punjabi and back, is something that I’ve experienced for the first time! (Yes, my mother tongue, Marathi, does have songs where Marathi and Hindi are mixed into one song, and it sounds horrible!) The humming portions by Jonita have been composed so majestically! She provides a splash of water in the fresh air that the song is. (Sorry if that was cheesy, but get my feelings!) The composition isn’t all-in-your-ears and determined to be on top of the charts, and that’s what I appreciate about it. Rahman has very humbly put a very medium-sized guitar riff (Keba Jeremiah) in the background, and decorates the rest of the composition with amazing strings (Murali, Mohan, Basker, John). The digital beats too, sound great. The harmonium and dholaks in the Punjabi interlude sound amazing, and I wish Rahman had composed such a song (I mean a whole song out of the Punjabi part) in Bollywood before the Tamil industry! The a capella backing vocals are amazing, and I wish more of it would’ve been there. The vocals are simply awesome. Arjun Chandy is in charge of the hookline, and he renders that beautifully, and charmingly. Haricharan does well in the Tamil portions, while Jonita hums her part impeccably well! Those nuances!! 💘 I wish she had more portions! (I guess I just wish everything was of more quantity in this song!!) A song effervescing youthfulness from every note.
After two breezy romantic songs, it is time to get more intense, because here comes the vintage Rahmanish heavy composition, that just manages to find its way into every one of his albums. This composition is surreal, something that you just can’t ignore or dismiss as boring. It has some divine energy in it, which makes it universally appealing. The song has been composed on a very slow pace, and that makes it grow like slow poison. It starts with repetitions of “vaan varuvaan varuvaan…” which fade off. The sultry composition picks up even more at the “kadhal vandhaal..” part. The antara is just more entrancing. The magic is just unbelievable; it soothes you from head to toe. The arrangements are a masterpiece. There are no live instruments, except the flute (Kiran) and the piano, and the rest is digitally produced sound, which sounds amazing. I like the reverse sound effect that Rahman has added at olaces, where the sound seems to be sucked in towards the end. Sparkling, heavenly sounds accompanying the melody are just beautiful ‘tune-side’ attractions. The interlude with the vocal “ta ta ra…“, Sounds odd at first, but sets in later. The vocals by Shashaa are amazing; she has sung it very soulfully. An amazingly intense romantic song, that will leave the listeners in a trance.
A traditional Tamil wedding song is up next on the soundtrack, and this is something I’ve never heard before. It is so beautiful to drown into some other wedding song, than the typical Punjabi wedding songs we hear in Bollywood. The composition is aptly upbeat, and trademark Rahman composition styles find their way into this one too. The hookline is really catchy, and the folksy beat really makes you dance hard. The arrangements are really vast, and awe-inspiring. The percussions (T.Raja, Yash, Kumar) are what stand out right away, the thavil resounding beautifully. Right from the beginning,the percussions are present. The santoor (Subhani) enters next, and its folksy sound makes everything sound even more beautiful. The flute (Kamlakar) is really sweet, and the solo interlude on the flute is amazing, where the ukulele (Lokesh) joins it. Again the guitar (Keba Jeremiah, Chris Jason) plays an important part in the arrangements. The vocals are really energetic, and the way the female singers, A.R. Raihanna and Nikita Gandhi, bring that sharp edge to their song, to sound more rustic, is really commendable! Tipu is great as the male singer. Backing vocalists play an integral role in the song too. A nice trip to a traditional Tamil wedding.
5. Tango Kelaayo
Singers ~ Haricharan & Diwakar, Lyrics by ~ Vairamuthu
Now, from here, I felt the album slipping out of my hands. (Or ears.) The next song is a Tango, named ‘Kelaayo’. Rahman has provided a very efficient tango song, and the composition is aptly sensuous, and sultry. The sharp pauses and smoothly flowing notes, that usually define Tangos, are all present, yet I felt some barrier preventing me from loving the song to infinity, like I did the previous ones. Might be because of the composition, which is a quite typical one, if you compare it with other Tangos. The “unnai pirindhaal” effect has increased the song’s viability, without which it might just have become staid. The antara is a bit below expectations too, but that crescendo taken by Haricharan is beautiful. The arrangements are heavenly, getting the Spanish theme right. The accordions (Karthik Devaraj) and the strings hit the bullseye. The jingles and castanets too, are intriguing. There is one complete musical piece at the end which is basically a Spanish music showcase, and it provides a hard-hitting end to the song. Haricharan sings it well, and as Rahman cleared in one of his Facebook replies to a fan, Haricharan’s voice itself has been tweaked and pitch modulated to sound like that female voice you can hear in the song. Interesting fact! A song that is good, but you connect to it only partly.
The last song is the song I liked the least, from the album. Yes, it is also the only song from the album I totally understood as far as language goes. However, I guess I didn’t understand it as far as its composition and arrangements go. The song is such a typical Punjabi affair, that I am confused whether I like it or not! The composition is very, very monotonous, and that “JUGNI! JUGNI OH!” hook sounded quite irritating. The beats are groovy, but that didn’t make up for the flawed composition, which I just couldn’t catch up with. It goes all over the place, in the usual Rahman way of composition, but this time, I couldn’t grasp any of the tunes, except the aforementioned one, because it was irritatingly catchy. The arrangements consist of gratuitous bass, which sounds good for some time, and gets boring later on. The stereotypical “oye oye” which has been added in many places, is weird. But Rahman has used more great flute work here, and an entrancing sound. The arrangements on the most part are intriguing, but the composition is at fault. Tejinder Singh, “Voice India 2” finalist, excels with his rendition, but again, the composition doesn’t let him marvel too much. Rahman’s parts are those irritating outbursts of “jugni!“. Shellee’s lyrics make it out to be some kind of introductory song for the female lead, where she’ll be shown as a badass main character. A song where the composition plays the spoilsport, and how!
Kaatru Veliyidai is an album that radiates the Rahman-Ratnam combo’s magic out-and-out. With the exception of one and a half songs, all songs are something that will go down in Tamil music industry’s history. Rahman has tried to finish up that small link which was missing in his last album for Mani Ratnam, ‘O Kadhal Kanmani’, and covers it up beautifully with this, which definitely supersedes ‘OKK’. For me, as a Hindi music listener, I found this album an intriguing mix of Western tunes, Tamil folk rhythms, romantic tunes and mixes of world music. Another masterstroke from the Mozart of Madras!
Total Points Scored by This Album: 5 + 5 + 5 + 5 + 4 + 3 = 27
Album Percentage: 90%
Final Rating For This Album: सा < रे < ग < म < प < ध < नी < सां
Note: The letter which is underlined is the final rating.
Lingaa is an upcoming dubbed action thriller movie, which has already released this Friday in Tamil and Telugu. The film, directed by K.S. Ravikumar and produced by Rockline Venkatesh, stars Rajinikanth, Anushka Shetty and Sonakshi Sinha in lead roles, with Jagapati Babu in a negative role. The movie, sure to go unnoticed in the north until it plays on TV 😂 has also received mixed reviews in the south. However, the reason I have to review it is surely valid. Here is the reason: Music is by the one and only ‘Mozart of Madras’, A.R. Rahman. This year Rahman has been on a roll, with one album releasing after the other — ‘Highway’, ‘Kochadaiiyaan’ (Tamil, Telugu and Hindi), ‘Lekar Hum Deewana Dil’, ‘Kaaviyathalaivan’ (Tamil), ‘I’ (Tamil; Hindi & Telugu yet to release) and also his non-film album ‘Raunaq’. Not to mention the two Hollywood soundtracks, ‘Million Dollar Arm’ and ‘The Hundred-Foot Journey’!! So it is clear that he has been one busy man this past year, so let’s see whether he could take out enough dedicated time to provide a spectacular soundtrack for the Thalaivar in this album! 🙂
The Maestro starts off the album with a grand affair — a kind of introduction song for the character of Rajini in the film. And who better to sing it with the required grandeur, than the one and only S.P.B!? With his unique and weighty (on particular words and syllables) voice, he steals the show for himself! The attitude of a boss is clearly reflected through the song, and I guess that’s all that’s needed for a Rajinikanth intro song! Rahman’s arrangements are worth listening and talking on and on about. He has given the song a beautiful feel of a mixture of Spanish, Arabic and a wonderful 70s-80s Bollywood retro touch as well. The brass portions have been carried out well, and the backing vocalists are awesome. I guess the backing chorus is comprised of the same people as the Tamil version, with the replacement of Aaryan Dinesh Kanagaratnam with Jaspreet Jasz. The composition is a catchy one, with many interesting elements, the Spanish guitars being one of the main attractions of the song, giving it that Flamenco touch. Gulzar has evidently tried his best to dub it and also make it sound natural, and it has turned out pretty good, except for the fact that in some places the lyrics aren’t fitting that properly into the rhythm, causing just a teensy-weensy disturbance, but overall turning out to be a good attempt — I mean, I don’t think dubbing is all that easy! A grand opening to the album, with a senior once again proving his talent! Kudos to SPB and double thumbsup for Rahman and Gulzar!#5StarHotelSong!
2. Chalke Re Singers ~ Aditi Paul & Srinivas
A very pleasant strings orchestra welcomes us to the next song, a beautiful romantic duet by Aditi Paul and Srinivas. Aditi, who got her big break in Bollywood through Sanjay Leela Bhansali’s ‘Ram-Leela’, features in her next Hindi song, this time composed by A.R. Rahman! And she still sounds just as melodious. Rahman has composed a splendid song, on the 90s template. The dafli beats act as attention-grabbers and surely make you instantly love the song. Rahman always uses the matka in a very beautiful way and in this sing he has done no less! Throughout the song, he has infused nice orchestral strokes and all on a traditional Indian template. The shehnaai portion is magnificent, also enhanced by the percussion and the sitars. Another thing you must pay close attention to, is the wonderful sargam by the female backing vocalists, and the Jathi or the tabla bols in one of the interludes. Srinivas does seem a bit uneasy to sing in Hindi, but only a little. The composition is overall nothing new; we have heard this type of stuff many times from Rahman, but everytime it comes covered in a new wrapping and still attracts our attention towards itself — that would be the magic of the Maestro. Gulzar’s lyrics sound as if they are not at all dubbed, but the lyrics of an originally Hindi song! Wonderful dubbing done by him! Another appealing romantic song from Rahman, sung wonderfully and with just as splendorous arrangements!#5StarHotelSong!!
3. India Re Singer ~ Javed Ali
Rahman’s typical grand patriotic introduction kicks off the next song, with a nice choir and impressive percussion as always. Then comes the awesome orchestra and Javed Ali, with his booming yet calming (I have no idea how they go together, but they do, in this person named ‘Javed Ali’! 😂 ) voice starts singing the sweet and patriotic composition. At places he sounds like Rahman himself. Rahman has placed an awesome backing vocal chorus, which really increases the beauty of the song. The second interlude witnesses Rahman give us a majestic orchestral treat. The antara That follows is just as awesome! The entire mood shifts and gives the feeling of determination and commitment, that is to come together as compatriots. The arrangements just keep getting better and better as the song progresses and so does the composition. The hookline is very catchy and full of grandeur, yet sounding sweet at the same time. As I have said before, the backing vocals make it sound even more sweet. Javed’s variations have come out brilliantly. Gulzar has written awesomely patriotic lyrics, and they actually sound great in the tune! Again, it sounds as if it is originally a Hindi song! 😃 This one is an ingenious patriotic composition by Rahman! The arrangements are so magnificent that the cinema-gfoers will be in for a wonderful surprise!#5StarHotelSong!
4. Mona Gasolina Singers ~ Mano & Neeti Mohan
Sometimes the effect of Rahman’s music doesn’t strike you after the very first listen, but it gets stronger and stronger with each time you hear it later. Well, this song here has exactly the same problem (I mean this in a positive way) The first time I heard it, I was like, “Okay, this is something different, ummm… But what exactly is it??” The next time, “Rahman is an expert at bringing something new to the industry!” The third time, which is supposed to be a lucky number, I was literally singing along with the lyrics and grooving to them! Of course, all this happened while hearing the Tamil song, so by the time the Hindi sing released, I was ready to attack! 😂 Anyways, as you must’ve already deduced from my rave about the song, Rahman has tried something new and wacky and crazy and insane and everything you can think of. Just as ‘Mawali Qawwali’ from ‘Lekar Hum Deewana Dil’ was a brilliantly wacky song, this song also steals your breath away after you start liking it. After you start liking it, you won’t stop humming it! Rahman has brought to notice the naughty side of Neeti’s voice, and Mano has sung extremely well, with that rough texture to his voice. The hookline, the Mukhda, the antara, all are wonderfully composed. The arrangements are something else I should rave on and on about. With the opening flute, and some weird noises that follow, the song opens on an utterly crazy note. The pigeon sounds that can be heard throughout the song are just so…. Weird! And awesome! Neeti has an awesome combination of smooth and thunderous voices that she can make with that awesome voice of hers, that instantly appeal to you. The little nasal bit in the antara is just breathtaking! The percussion that Rahman has done is so strong and grand! The guitar portions are also wonderful. Rahman has even used classical Carnatic instruments like thavil in the song! Gulzar’s lyrics, though unintelligible at some places due to Mano’s pronunciation, are just as wacky as the song. So now, before I reveal all the secrets of what this song has in store for you, go hear it!! This song finds itself at the peak of insanity! And also the peak of cathciness and innovativeness! In my opinion, the best song of the album!Another #5StarHotelSong!!!
5. Din Dooba Hai Singer ~ Haricharan
A melancholic orchestra triggers the next song, a sad song rendered soulfully by Haricharan, a very talented young singer of the South. Of course, the composition is also very soulful, and appeals to you, but only to a certain extent. After the first antara ends, and you find that there is another one to come, you would actually get very bored for the rest of the song. Haricharan has sung the song very nicely, with lots of feel and expression, but since the song is so monotonous and dull, the required effect doesn’t really come. He sounds a bit like Mohd Irfan at places, with his smooth and clear voice. In fact, I have a doubt that Irfan himself has sung the song. Rahman’s arrangements are again, very beautiful and he has tried to enhance the composition, at which he only succeeds to some extent. Gulzar has dubbed the lyrics amazingly, and the lyrics do give some reason to hear the song, other than the nice vocals and arrangements. Due to the length, it turns out to be boring and tedious!
Lingaa is another soundtrack in which Rahman proves yet again that he is the one and only Rahman. This time, without doing too much of experimentation, he succeeds to win over the listeners’ hearts. With the exception of one song, all of the songs have the power to control your brain and male you repeatedly press that repeat button. Though being a dubbed soundtrack, it still sounds original, thanks to the amazing work by Gulzar. All the songs have been recorded and arranged beautifully, leaving no scope for criticism in that aspect. I would say — Another addition to the hit record of Thalaivar and Mozart of Madras!!
Final Rating for This Album:- सा < रे < ग < म < प < ध < नी< सां
Note:- The letter which is underlined is the final rating.
Which is your favourite song from Lingaa? Please vote for it below! 🙂