A R Rahman composing music exclusively for a Telugu film, simultaneous makes notwithstanding, is a rarity. Director S J Surya, whose last collaborative effort with Rahman was for Nani (Mahesh Babu, Ameesha Patel), convinces the Mozart of Madras to compose music for Komaram Puli starring ‘Power Star’ Pawan Kalyan and a debutante Nikeesha Patel in the lead roles.
Innovative sound, magical beats, mirthful marriage of varied musical genres; all these that have become more prominent post Rahman’s eminent international embellishments, are all served in delightful doses in this soundtrack. But what about the proverbial striking the right chord, whose echoes linger in our hearts long after the movie phases out from bountiful publicity overdoses? What about songs that touch our hearts than those that just make us tap our feet? Those are few and far between.
A rampant rant about Rahman’s songs in Telugu that the lyrics, for most part, act as mere fillers with scant attention to sensible poetic aesthetics is accentuated in this soundtrack, even when this is a straight Telugu movie, unlike the usual dubbed ones through which Rahman’s popularity among Telugu movie lovers thrives. More so, when the single card lyricist here is Chandrabose, and not Vennelakanti or such others that usually word Rahman’s dubbed soundtracks.
Moving beyond the gripe about lyrics and the other forlorn complaint about pronunciations by playback singers (which by the way applies not just to Rahman’s songs), this is a fairly enjoyable soundtrack with at least three songs that grow on you.
Power Star, the quintessential hero worship track, is high on frenzied and eclectic mix of sound and is sung by Vijay Prakash and Tanvi Shah.
Even though the zippy yet zingy rendition of Shweta Mohan (whose Chinukai Varadai from Village lo Vinayakudu is a piece of delight) sounds like it was technically altered for that effect, Amma Thalle, sounding a wee bit like Theekuruvil [from Kangalal Kaithu Sei, one of those rare Tamil films with Rahman’s music that hasn’t been dubbed into Telugu] is an interesting number with underlying classical music flavor. Naresh Iyer does his part with equal finesse.
Maaraalante in Rahman’s rousing vocals, KMMC choir’s spirited chorus and Chandrabose’s stirring words that change starts with you and within you, is a rabble rousing song that will work well on the screen.
Drenched in Javed Ali’s fabulous vocals that even sprinkle a tapori nuance when uttering chekumukE, sasimukhE, and Suchitra’s deliciously husky voice, Maham Maaye, is one hell of a catchy track, even with the absence of a myriad mix of beats like other tracks. The sound of cymbals, least expected in such a song, adds a perky charm to this number that has Chandrabose, in his inimitable style, coming up with quirky phrases like meesam molichenu manasuki and using words like teeyaga that could mean both sweet/opening and challaga as both cool/showering.
Bravo Rahman and his ladies singing Dochey for giving us a sensual song with rap, jazz and even the bygone era aura of a melodious ditty through echo effect at appropriate lines. Singapore’s singing duo Lady Kash, handling the rap bit and Krissy, singing the opening lines, with Shreya Goshal’s seductive yet sweet vocals make this an alluring track.
Nammakameeyara is the only track in this soundtrack that I went back to instantaneously after the first listening. Despite slight traces of Aparanji Madanude [Merupu Kalalu] in the opening portions and overall lyrical essence of O Paalanhaare [Lagaan] this is a strikingly soothing prayer track in a magical confluence of gifted voices like Chitra and Madhushree. Wonder what kind of contribution Harini made to this track for she is barely audible. Rahman is probably the only contemporary music director that has composed quite a few delectable devotional/bhajan tracks, in commercial films, like O Paalanhaare [Lagaan], Ishwar Allah [1947 – Earth], Ek Tu Hi [Pukar], Aparanji Madanude [Merupu Kalalu], Pal Pal [Swades], Man Mohana [Jodhaa Akbar], Piya Haji Ali [Fizaa], Khwaja Mere Khwaja [Jodhaa Akbar], Arziyan [Delhi 6], Maherbaan [Ada], each outshining the other.
Rahman’s straight compositions for Telugu have never been as magical as his straight compositions for Tamil or Hindi. Directors are perhaps to be blamed for that idiosyncrasy but S J Surya, this time, extracts a better soundtrack from Rahman for Komaram Puli than Nani, which probably augurs well for the movie.
Innovative sound, magical beats, mirthful marriage of varied musical genres; all these that have become more prominent post Rahman’s eminent international embellishments, are all served in delightful doses in this soundtrack. But what about the proverbial striking the right chord, whose echoes linger in our hearts long after the movie phases out from bountiful publicity overdoses? What about songs that touch our hearts than those that just make us tap our feet? Those are few and far between.
A rampant rant about Rahman’s songs in Telugu that the lyrics, for most part, act as mere fillers with scant attention to sensible poetic aesthetics is accentuated in this soundtrack, even when this is a straight Telugu movie, unlike the usual dubbed ones through which Rahman’s popularity among Telugu movie lovers thrives. More so, when the single card lyricist here is Chandrabose, and not Vennelakanti or such others that usually word Rahman’s dubbed soundtracks.
Moving beyond the gripe about lyrics and the other forlorn complaint about pronunciations by playback singers (which by the way applies not just to Rahman’s songs), this is a fairly enjoyable soundtrack with at least three songs that grow on you.
Power Star, the quintessential hero worship track, is high on frenzied and eclectic mix of sound and is sung by Vijay Prakash and Tanvi Shah.
Even though the zippy yet zingy rendition of Shweta Mohan (whose Chinukai Varadai from Village lo Vinayakudu is a piece of delight) sounds like it was technically altered for that effect, Amma Thalle, sounding a wee bit like Theekuruvil [from Kangalal Kaithu Sei, one of those rare Tamil films with Rahman’s music that hasn’t been dubbed into Telugu] is an interesting number with underlying classical music flavor. Naresh Iyer does his part with equal finesse.
Maaraalante in Rahman’s rousing vocals, KMMC choir’s spirited chorus and Chandrabose’s stirring words that change starts with you and within you, is a rabble rousing song that will work well on the screen.
Drenched in Javed Ali’s fabulous vocals that even sprinkle a tapori nuance when uttering chekumukE, sasimukhE, and Suchitra’s deliciously husky voice, Maham Maaye, is one hell of a catchy track, even with the absence of a myriad mix of beats like other tracks. The sound of cymbals, least expected in such a song, adds a perky charm to this number that has Chandrabose, in his inimitable style, coming up with quirky phrases like meesam molichenu manasuki and using words like teeyaga that could mean both sweet/opening and challaga as both cool/showering.
Bravo Rahman and his ladies singing Dochey for giving us a sensual song with rap, jazz and even the bygone era aura of a melodious ditty through echo effect at appropriate lines. Singapore’s singing duo Lady Kash, handling the rap bit and Krissy, singing the opening lines, with Shreya Goshal’s seductive yet sweet vocals make this an alluring track.
Nammakameeyara is the only track in this soundtrack that I went back to instantaneously after the first listening. Despite slight traces of Aparanji Madanude [Merupu Kalalu] in the opening portions and overall lyrical essence of O Paalanhaare [Lagaan] this is a strikingly soothing prayer track in a magical confluence of gifted voices like Chitra and Madhushree. Wonder what kind of contribution Harini made to this track for she is barely audible. Rahman is probably the only contemporary music director that has composed quite a few delectable devotional/bhajan tracks, in commercial films, like O Paalanhaare [Lagaan], Ishwar Allah [1947 – Earth], Ek Tu Hi [Pukar], Aparanji Madanude [Merupu Kalalu], Pal Pal [Swades], Man Mohana [Jodhaa Akbar], Piya Haji Ali [Fizaa], Khwaja Mere Khwaja [Jodhaa Akbar], Arziyan [Delhi 6], Maherbaan [Ada], each outshining the other.
Rahman’s straight compositions for Telugu have never been as magical as his straight compositions for Tamil or Hindi. Directors are perhaps to be blamed for that idiosyncrasy but S J Surya, this time, extracts a better soundtrack from Rahman for Komaram Puli than Nani, which probably augurs well for the movie.
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