ARR hits the higher notes in his 'strained' style. Somber i think is the best word to describe.Ī typical rock number opening greets with acoustic guitars leading the way. It is a wonderfully done song, very folksy, quite casual but, does not sound that 'peppy'. The song closes off with the same sombre note it started. To the keen observer in you, would notice this 'style' of ARR where the chords of his second stanza is always under-played or minimal when compared to his first stanza. This time around, as his wont, ARR reduces the power chords to just chords ). Latter half of the interlude switches the song for a brief period into 'grimness' from its casual feel.the interlude fades into the second stanza.
AAYUTHA EZHUTHU SANDAI KOZHI FREE
The alaap is so wonderfuly free flowing, with guitar nicely backing up his vocals. The second interlude was a precursor to the now-familiar mature singer in ARR. The occasional bells here and there are so simple but provide such a pleasing context to the song. The crescendo is comfortably handled by the singer bringing back to the anupallavi, devoid of any musical instrument, but for the rhythm. Power chords of the highest order greet you when the stanza starts at vaangi thandha vethala. There is little or no interlude, highly unlike ARR. A nice udukkai joins in to setup a catchy rhythm and the plucking of the stringed instrument (guitar or mandolin) brings a deeply relaxing mood to the song. The pallavi is very very cute, the melody only dampened by her pronounciation. Madhushree opened her account with Tamil songs, not on a very good note, one must add. The song opens with bells (like cow bells) and a nice and easy ghatam piece.
Lets get to the review without much further ado. However, as with many ARR's albums, it finally grew on me. On many hearings, it did little to tickle the melody 'lover' in one. Ayutha Ezhuthu by Mani Ratnam was an action thriller with a 'message' and the novel (to tamil industry) of narrating three people's lives and how they intersect.
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