http://www.tamilbeat.com/tamilsongs/inter/thirudathiruda/Yesterday when I stepped into Music world, a CD that immediately grabbed my attention was the compilation pack of “Thiruda thiruda” and “Pudhiya Mugam” songs in one CD pack. Both the albums are entirely different vintage classics of A.R.Rahman in his early days. “Thiruda Thiruda (“Chor Chor” in Hindi)” is a Tamil movie directed by Maniratnam and the album got released in 1993. The lyrics are penned by Vairamuthu.
We all know that Maniratnam and A.R.Rahman combination is the numero uno in the Indian film music even now. “Thiruda Thiruda” was their immediate next album after “Roja”. Though “Roja” is considered as a masterpiece for its melodies and its new kind of music, “Thiruda Thiruda” album is a level above “Roja” in terms of freshness, risk and experimentation. When we say experimentation this album is the peek of it considering its time of release. Just recollect some other albums which got released in the same year, you would realize that this album is far ahead of its time. Even if this album got released now, it would have been a massive hit.
It was a period when Tamil film music even Indian film music were not at all ready for such a vibrant, shocking, stunning, thundering, explosive and an electrifying musical score with heavy dosage of western rhythms and beats. All those who heard this album initially hated the album but after repeated listening everyone started liking it. This is where A.R.Rahman’s layering concept comes in. In a song, ARR layers so many musical bits in parallel and it take time for the listeners to un-layer every bit of it and enjoy the song as a whole.
A.R.Rahman is nothing short of a revolution in Indian film music and this album evolved a new era of music and fusion trends in India. ARR himself said in a recent interview that what it took one week for him to do songs in 90’s can be done just like that in one day with the aid of lot of software and commercial loops. But even now with all those advancement in technology, no one can recreate the magic of this album.
Rock starts to roll
Though Illayaraja was using bass guitar extensively in his songs, it was used in the background more subtly and it is ARR who brought it to the fore and introduced pure rock stuff through “Kannum Kannum” song. Though this song cannot be said as a complete rock song, it has a unique fusion of rock music with Indian melody. The foot tapping western beats, bass and electric guitar interludes are the major plus for this action packed song.
Western Classical Music and Opera as it is
Earlier Illyaraja’s orchestrations in the songs were in western classical format with violins playing mostly Indian notes but “Putham Pudhu Bhoomi” song is the first song to blend pure western classical orchestration and opera chorals with Indian melody. It is this new stuff which gives this song a heavenly feel to it. The haunting flute pieces used throughout the song is an unforgettable bit of music which adds more beauty to the number. Vairamuthu’s lyrics are added advantage for ARR songs and in this song he is at his best with highly imaginative lines about a new world.
With a perfect blend of Indian percussions, choir and again western classical music and choir “Veerapandi Kottayilae” is fugue too many flowers in a single bouquet. The song takes lot of twists and turns and every bit of it is enjoyable. The choral pieces had a secret and a mysterious feel attached to it which makes it a perfect theme song for thieves. The female humming that starts the track is instantly catchy.
Chandralekha beats Michael Jackson
“Chadralekha” song is the first song with heavy electronic beats, synthesized rhythms, glass breaking sound in IFM. Who said fast numbers are forgettable. If there is a fast number that will be immortal for even decades to come it is this song. Even I realized that only last month on our companies cultural eve. Our music troop people were performing so many recent numbers in all languages but none got a overwhelming response as this song and everyone asked for once more. This song is the best example of how perfect ARR is in choosing voices. I can’t think of this song without Anupama. Anupama’s magnetic voice, seductive diction and open throat singing are the major asset for the song. On this song is extremely addictive and an unforgettable number.
Say “No” to Instruments
Having done enough with percussions and keyboard rhythms, ARR comes to prove that he can make a song without even a single instrument. He explored the extent of emotions that a choral harmony can evoke through which any other instruments can’t. “Rasathi” is a slow pathos song performed by Shahul Hameed with his unique voice. Instead of music bits and rhythms male and female humming and chants are layered in parallel in the background and even the interludes has only chorus singing. It is the first and last of its kind in Indian film music and a path breaking number.
Fire in Breeze and Storm
“Thee Thee” is an amalgamation of breezy melody and storming western beats. The trend of switching between melody and fast beats in the interludes evolved in this song. The fusion of classical jathis with electronic beats is the stunning element of the song and on the other side the melody is equally haunting. The flute pieces playing classical notes along with fast beats evolved a new sound which we never heard before and even after. Caroline a new find by ARR adds a different intensity and silence to the melody part with a subtle singing.
Go and hear the album and feel for yourself and you would realize what have been said by me and read by you so far are no exaggerations.