The interview which appears below, was originally published on Radio Sargam in November 2002. ©The rights to this material are reserved to the owner. If you have any concerns or comments, please send an email to info@rahmaniac.com.
Saathiya: The title of the movie, remade from “Pachai Nirame”. As with the original, this track is beautifully composed, especially with the flute solos at the music intervals, as well as the background strings. The tune is very flowing and very pleasant to listen to. As with most Rahman songs, orchestration is very effective and contributes to the intonation, giving the track a very “full sound”. Sonu Nigam’s singing is well-done, though he seems a bit less suited to the track than Hariharan. The lyrics are nice, though some phrases seem stretched out to fit the lines.
Chalka Chalka Re: A festive wedding number with a very distinct South Indian flavor, remade from “Yaaro Yarodi”. The singing by Richa Sharma, Mahalaxmi, Vaishali, and Shoma is well-done and makes the track actually sound a bit more North Indian. The instrumentation is traditional and adds to the feeling of the track. The background music is simple and well-done. The tune is nice and even catchy at some times. The lyrics, however, are a bit indistinct and fall into the trap of every dubbed movie.
Aye Udi Udi: A more forceful, playful number, remade from “Kadhal Sudugudu”. The track has a more jazzy feel to it, with stronger beats and less background music. The tune is quite catchy, especially during the main refrains. Adnan Sami’s singing is a bit less effective. His voice isn’t incredibly suited for such a song due to his flat vocals.
Chupke Se: Perhaps a universal favorite from the original Alai Payuthey, remade from “Snehidhane”. A very beautiful track with two opposing melodies that combine perfectly to form a very memorable song. Sadhna Sargam’s singing in her part is beautiful in the slow-moving and solemn phrases. The background music plays a big part in setting a mystical mood to the song. On the other hand, the intervals, sung by Murtaza and Qadr, are very forceful and deep and form a perfect contrast to the rest of the track.
Oh Humdum: A very westernized track, remade from “Endrendrum”. Though the original track was quite good, it seems that this track has lost appeal with age. The music sounds straight out of the early ’90s, and the singers sound as if they’re trying to be Americans. However, those faults aside, it’s still a catchy track with some effective phrases. The digital effects are well-done. The song will probably gain appeal with picturization.
Mera Yaar Mila De: A sad and heavy track which is new, taking the place of “Evano Oruvan”. AR Rahman renders this very solemn track himself. His singing is well-done and heavy, which contributes to the depressing mood of the song. The music, as previously mentioned, is very heavy and solemn, especially with the use of the heavy beats. The tune is slow and stretched out to further encompass this feeling. The instrumentation is effective as is the background music.
Naina Milake: A traditional number which is new, taking the place of “Alai Payuthey”. Sadhana Sargam and Madhushree make an effective duet as their voices blend together well. The music is a bit too simplistic when compared to the other tracks on this album, with the entire song resting mostly on a dholak. The tune is a bit simplistic, but pleasant to listen to. A.R. Rahman’s style really isn’t evident on this track.
Mangalayam: A slow and serious track, remade from “Mangalayam”. The track is slow and solemn, but quite effective. In its very short duration, a great feeling is carried through. The background beats are effective in laying the foundation, and the tune is nice to listen to an impactful. It’s really the singing that makes the track, with Srinivas taking the main seat. Shaan and Kunaal are impressive, especially in their re-rendition of “Oh Humdum”. Kaykay goes almost completely unnoticed.
Chori Pe Chori: An item number, remade from “September Madham” (along with a bit of modernization in terms of some extra beats and some English intervals). Unfortunately, Asha Bhosle is a bit too old to be singing a song like this. Though her vocals are effective, another singer (even Alka Yagnik)) would be better suited. Background music is lacking, placing most of the emphasis on the singing and the beats. The sound maintains a very festive mood and Karthik does a good job with his vocals. The tune is somewhat catchy, but a bit clichd at the same time.
Overall Music and Instrumentation:
As is expected, Rahman’s compositions are very effective and add a sense of fullness to every song. The compositions are absolutely first-rate, and no song really sounds out of place. A.R. Rahman’s musical genius really shows through in the heavier numbers.
Overall Singing:
As is expected, once again, Rahman picks the best singers for the job. He has a knack of extracting the best performances from his individual performers. Most of the singers match their vocal talents to excellent music and form winning combinations.
Overall:
A very impressive album on the same level as the original Alai Payuthey. The music is very effective and all the tracks are sure to be picturized well in the film, especially with the Yash Chopra touch.
