Missing the Mark

“What is this?” asked a befuddled friend, when I gave her a link to A. R. Rahman’s latest soundtrack. “Harris Jayaraj?” And that was when I wondered if the maestro had, perhaps, missed the mark this time.

I don’t mean to imply that Jayaraj isn’t a great musician in his own right, but Academy Award winner Rahman simply composes in a different plane of music. Which was why Vinnaithaandi Varuvaaya is a let-down - although flashes of his genius are present, the album as a whole is unmemorable.

Some songs are peppy enough to escape that judgement. Anbil Avan works with a simple but effective melody and Chinmayi’s perfect high notes. The rhythm, with its interplay of the mridangam, is particularly good. I hadn’t thought much of this song at first, but then I found myself replaying it again and again.

Rahman experiments with sounds in Hosanna, and the track, combining a gentle yearning with Blaaze’s rapping, mostly succeeds. I didn’t see why Vijay Prakash (whose Manmohini Morey is frankly brilliant), had to be squandered here, but I can see why his voice is eminently suitable for Hosanna.

The title song is, for the most part, lovely. Vinnaithaandi Varuvaaya uses Karthik’s vocals and some excellent guitar work to create an achingly tender track. Halfway through, however, Rahman switches to a more conventional melody that seems to lose the melancholy - and the novelty - of the first half.

Aaromale is perhaps the track that most thoroughly embodies Rahman’s style of music-making. It’s deliberately non-Indian in its use of the guitar, with the kind of menace you might find in spaghetti Westerns - especially when the beat picks up towards the end. Somehow, the electric guitar riffs, Alphons Joseph’s voice, and the Malayalam lyrics come together to make something darkly interesting.

The rest of the soundtrack didn’t make much of an impression. Omana Penne is sweet, even charming, but Rahman displays an unhealthy obsession with auto-tune that detracts from that a little. Also similar is Kannukul Kannai, which begins promisingly enough with a smooth violin chorus, but then has little left to offer. Even Naresh Iyer’s vocals seem indistinguishable from the other male singers. And about the only opinion I had of Mannipaaya was that it was nice - Shreya’s vocals are crystal clear, and Rahman’s voice makes for a great contrast, but beyond the opening melody I couldn’t find myself liking it much.

Vinnaithaandi Varuvaaya is billed as “another unique love story”, its posters drawing inspiration from at least four hit movies in the past decade. Perhaps director Gautham Menon desired the same effect with the soundtrack - in which case he should have employed a composer more drawn to the conventional. Rahman’s songs do have a reputation for growing on the listener, but right now I’m not holding my breath.

The music of A. R. Rahman is usually a combination of the bizarre, beautiful, and bold. Not much of any of this is present in Vinnaithaandi Varuvaaya - which is why this soundtrack is ultimately disappointing.

The phrase, 'appearances are deceptive' fits no one better than Alphons Joseph of Aaromale fame.

The formally dressed musician can pass off as an executive of a multi-national corporation or a soft-spoken priest -- without the habit, of course. It is only when he sings that his true personality comes forth.

The musician burst into the Malayalam film scene almost half a decade ago as a music director in veteran director Bhadran's Vellithira.

But it is his rendition of Aaromale from Gautham Vasudev Menon's Tamil film Vinnaithaandi Varuvaaya, which made him famous. The icing on the cake is that the music has been composed by Oscar and Grammy winner A R Rahman.

Paresh C Palicha finds out more.

'After hearing me sing, Rahman asked me what my ambition was'

'I like Rahman sir's thoughts on spirituality'

Last updated on: February 8, 2010 

You are a music director. How was it working under another music director?

Initially, I was very nervous and couldn't get it right. But, Rahman sir was very patient and made me comfortable. It was a learning experience for me on how to get the best out of my singers.

One striking similarity between Rahman and you is spirituality -- your band, Rex Band, specialises in Gospel Music. Does this belief in God help with the creative process?

To attain a certain degree of excellence, every creative process should be rooted in spirituality. I like Rahman sir's thoughts on this; he says music is just a filling between his prayers.

In college, my friends and I tried to give hope to the depressed and wayward young people. Rex Band just became an extension of it.

My faith pushes me forward; It helps me to be positive. Last year I could not do any work because of health problems. Some people said I was jinxed. But I knew that it was just a passing phase. This year began with Aaromale. I've also got few interesting projects including a Hindi one as a music director.

You're trained in Carnatic music and well established professionally yet you're continuing your formal education by doing post graduation in music...

I'm not studying for professional gains. I'm gaining knowledge for my own satisfaction. There is a lot more to learn and that is why I registered myself for a post graduation in the School of Drama, Thrissur. I can't attend all the classes. But I try to catch up by recording and listening to them while travelling.

'Today's youngsters want success instantly'

Do you try to inculcate respect for traditional music in youngsters who come to you?

Today's youngsters wish to gain success instantly. As far as possible, I try to be an example for them. I try to make the contestants of the reality show on Amrita TV, which I'm associated with, good human beings.