Kaaviya Thalaivan Music Review
Cast: Siddharth, Prithviraj, Vedhicka, Anaika Soti, Nassar, Thambi Ramaiah, Ponvannan, Babu Antony, Singampuli, Mansoor Ali Khan
Direction: Vasanthabalan
Production: Varun Manian, S.Sashikanth
Music: A. R. Rahman
Alli Arjuna Voices: Haricharan, Bela Shende Lyrics: Vaalee
Probably the first glimpse of history has thus far been contained in, and brought to us first by drama. Being a period-set film that is clearly based on a drama troupe, the album opens with a song that would get you to visualize a drama staged live in front of your eyes. The song flows narrating the famous fable on Alli and Arjuna, presumably staged by the troupe in the film. Welcoming the crowd of audience, the song first sings praise of Alli the queen, her beauty and how Arjuna instantly falls for her.
Just as the dramatic entry of the deity is savoured, there is a distinct change in rhythm, yet the transition sounds effortlessly seamless. What follows is a rendition in Bela in her dripping sweet voice. As the scene changes, so does the music flow accordingly – rough, pleading, soft, cold and firm. Instruments predominantly used in this song are tabla, kanjira, flute, strings of various frequencies and keys. However, orchestra towards the tail of the song, in combination with mridangam, is a stronghold for this track.
However, in the picture, the song is split into eight sections, with each giving importance to a particular conversational portion, and divided and segregated on the basis of instrument usage, more than the others. With so many intonations and instruments all the way through the long tack, with just Haricharan’s and Bela’s voices flowing like butter, it is hard to categorize this song into anything but typical Indian classical folk.
Aye Mr. Minor! Voices: Haricharan, Shashaa Tirpathi Lyrics: Pa Vijay
The flick is period set, and this song is so right there! Be prepared to tune into the reconstruction of the 60’s or 70’s sort of melodious romantic duet, with both instruments and the rendition being very typical; only that this one sounds more contemporary. Be it the tapping rhythm of conga or the tingles of a xylophone, the song could get away as being one of those yesteryear classics; except only for the signature that it opens with, which is also equally a classic, but only of the more recent past.
Shashaa has the voice that the perfect place in both Indian classical and jazz books at the same time, and is the right choice for this song, while Haricharan is the highly convincingly adaptable singer that he always is. The prime importance in the sweet duet, that is aptly worded for the mood that it suggests, from the past, is garnered by the signature tunes thrown in between stanzas. All in all, this one is a sweet number.
Sandi Kuthirai Voice: Haricharan Lyrics: Pa Vijay
This one again seems to be a dramatic song, but sounds more like a song with an underlying message, with however a horse considered as the obvious subject of concern. The lyrics are comic, with supportive tones here and there, on a broadly jazz number with extensive use of congas, mouth organ, trumpet and xylophone. Further, this song is likely to be pictured as a staged comedy, as the laughter towards the end suggests. It is amazing how each note could carry a distinct word, and the song flows in a definite narrative sequence, in a seamless and breathless rendition by Haricharan. This one at four minutes is a lighthearted number.
Sollividu Sollividu Voice: Mukesh Lyrics: Pa Vijay
And now for the real majesty of a warlike scenario, as the bells would ring on the first mention of the film’s title. This song begins with the majestic thumps of drums and symphony of orchestra, and takes shape in a methodically metered number in the wake of rendition in Mukesh’s deep voice. Though the rhythm does not change all through the song, intonation in rendition changes from anger, angst and pleading. A song questioning the war, is an excerpt from the Mahabharata, as though one sung by Arjuna to Krishna, on the purpose and results of the war that they jubilantly fight. While it began with majesty, the song ends in a sharp contrast softened by only flutes to back the mellowed down in the imploring rendition by Mukesh, in his versatile voice.
Thiruppugazh Voice: Vani Jayaram Lyrics: Saint Arunagirinathar
One of the most celebrated yesteryear voices has been brought back to Kollywood retaining all the freshness, wrapped in her all-so-sweet voice, for the unparalleled classic – Thiruppugazh. Set to an enchanting tune supported by gentle veena and mridangam, this track in Vani Jayaram’s voice is a refreshingly divine revisit to the holy praise. Taking only a 2-minute excerpt from the voluminous Thiruppugazh, this one is a perfect interjection of prayer in a period-set album. Put your hands together.
Vaanga Makka Vaanga Voices: Haricharan, Dr. Narayan Lyrics: Na Muthukumar
This track has the most pleasant and warmly inviting advertisement for the drama troupe that the team is performing in. This is a track that we are already familiar with. Beginning with flute for support, the song takes shape in Haricharan’s strong voice against thavil, mridangam and veena. This track has almost all elements of a typical Tamil kutchery, and the distinct scent of the most ancient, classical and beautiful language, making for a lighthearted and enjoyable listening experience.
Haricharan’s and Dr. Narayan’s blend very well into one another’s seeming the song sound like rendition by single confident and optimistically enthusiastic voice. Worded in charming yet casual and colloquial Tamil, pictured to be sung somewhere about the temple town of Madurai, this one is an appealing number to the ears.
Yaarumilla Voices: Shwetha Mohan, Srinivas Lyrics: Pa Vijay
Beginning in flute gently backed by jingles, the song opens in Shwetha’s confident yet luscious voice of Shwetha’s. This is a love-letter sung out in rhythm, followed by the description of adoration. The track gradually gains strength in tabla and harmonium, with a melodious signature in refreshing notes on flute. From the feminine romantic solo, the song transitions through a gentle breezy orchestra of bass strings and flute, to the next section, where her fondness continues to fall in tandem with the rhythm. Srinivas’s voice is in the scene only for a brief hum, that adds depth and grip to the otherwise solo number. The song swings and flows in sweetness and love to a lilting and harmonious end.
Given that the film is period set and has a background of rich history to it, ‘Kaaviya Thalaivan’ album has the feel and temperament of music from a few decades back, with extensive involvement of street music, where dramas usually used to be staged. With one of the last few pieces of the legendary poet Vaalee and the one among the most famed prayer songs by Saint Arunagirinathar, also with bringing back Vani Jayaram to the pavilion and picking Haricharan for rendition predominantly, and he living up to the trust and promise, ‘Kaaviya Thalaivan’ is one of those rare classics that impresses you on each note and also would linger in your memory as one of the dire favourites, from AR Rahman.
