25 April 2007
People talk of the pressure of expectations on Sachin Tendulkar whenever he steps out to bat in Indian colours. But spare a thought for A R Rahman too. The Mozart of Madras is in no less unenviable position. Every time a film’s audio for which he has scored music is out, the whole world sits up to listen. And for Sivaji, the pressure is three-fold, as he has to satisfy his own fans, that of Rajinikanth and Shankar too. In such a situation, when you have constituencies to live up to, the music inevitably is populist.
In Sivaji, Rahman’s music works at two levels — as he shows glimpses of his own splendid arrangement-orchestration skills. The second is in smart packaging in an effort to live up to the myriad demands of diverse sections. The seven tracks in the album don’t fit in a particular genre. And that is to be expected. Some of them appeal instantaneously. And some, like many Rahman numbers, take time to settle down. Mass elements are inevitably there.
Balelakka: SPB, Raihanah, Benny & Chorus
A Rajini introduction song is a non-negotiable instrument of sorts. It has to have SPB belting it out with his unmistakable gusto. It has to have some pulsating beats. This song makes you do all that and plus some more. SPB is amazing with his breath-controlled rendering. The interludes and the rhythms give an extra pep to the proceedings.
Style: Rags, Tanvi, Suresh Peters, Blaaze
The song works in many ways as it has a variegated pattern to it. As the initial words suggest, the song talks of style, which is the essence of Rajini. Rahman has worked the tune in a slightly recondite way, in that it moves around an attractively bewildering manner. Style is in Rajini and Rahman too.
Vaaji Vaaji: Hariharan, Madhushree & Chorus
Perhaps this will be the anthem of the State for some time to come. Musically, the song may have nothing new. But Rahman’s genius lies in packaging. Building layer by layer, he lets the song rise up like a beautifully created skyscraper that is high on both aesthetics and utility.
Athiradee: AR Rahman, Sayanora
This is straight away Rahman turf. The man knows which song to pick and sing. His nasal twang may not appeal the first time, but they just take control of you over a period of time. The rollicking beats and the guitar ensemble give a good edifice for the song as Rahman gives it all he has.
Sahana: Udit Narayanan, Chinmayee
Chinmayee is Rahman’s big weapon. He uses her for songs that deserve something special. Here too the young girl sings with a rare elan which comes from the combination of talent and intelligence. The Rahman interlude (in voice) adds a special mystique appeal to the number. A honey-dipped flower.
The Boss: Blaaze, Naresh Iyer, Raqueeb Alam
Probably the theme number. Or a kind of leitmotif in the movie. The song has its limitations as it is perhaps situational. Naresh Iyer's dulcet voice manages to leave a mark even in this small piece.
Sahara: Vijay Yesudas, Gomathi Sree & Chorus
This seems to be a modulated version of the Sahana song. But what a beauty it is. Rahman’s mastery is all pervading. He has fused a variety of ideas into this one number and his unquestionable brilliance with soft instruments show up elegantly. The song-stealer is Vijay Yesudas.
All things considered, you can unequivocally say that Rahman has delivered. Sivaji songs will be heard for a long, long time.