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Before starting the review, one declaration – I do not follow Tulu and Konkani. (Correction: Sharath Bhat and @SumneGuru point out that the language used in some songs is Kundapura Kannada) This is the handicap I faced while reviewing this album. Apart from this, I haven’t listened to much of world music, hence I won’t be able to point out the genres perfectly. I downloaded all the songs from Hungama.com and it cost me just Rs.12 for the whole album. I had this idea that we should have the freedom to download Kannada songs online after paying money. I was deeply disappointed when Flipkart flyte store stopped mp3 downloads. Happy now that Hungama has allowed this. However, one shortcoming is that the songs are available at 128 kbps. One more problem with this dematerialised music downloads is that the name of the lyricist is not mentioned in the ID tags. Forget about music download online, Kannada audio companies do not have websites that provide details of the songs like singers, lyricist etc. I am not sure who all wrote the lyrics, but sure that Rakshit Shetty himself penned a couple of them. B. Ajaneesh Loknath has composed the music.
1. Kaakig Banna – Personally, this song has been my pick. I am one person who gets irritated with every monotonous song having Shreya Ghoshal’s voice and same style of singing. However, this song does what “Chikni Chameli” did to her in Hindi (chikni proved that she could turn naughty with her voice). Usage of Shreya’s voice in Kaakig Banna is totally justified; not sure if other singers could have done this so well. This song isn’t easy as one thinks. Lot of fine voice modulation and hard work has been put by Shreya. She has put emotions into many words. For example, she gives a nasha feeling when she sings “bhange sendid thali”. As I mentioned in the beginning, I was unable to follow the Tulu / Konkani lyrics here. If I knew the language, I could have given better insights into this song. The best part of the song is when Shreya Sings “tyao tyaoo tada taa” … her modulation, accent and style is just sssssexy. SPB voice has the strength that reduced the burden of actors (like telugu Balayya!) in putting intense violent emotions on screen. I’m sure this song has been picturised on Sheetal Shetty. This song would give a new dimension to her on-screen presence. I feel this song is placed in the movie when Sheetal as a reporter does investigative journalism and as this song plays, it probably unfurls the story. I think “kaaki” is crow. There is some crow sound in the beginning and somewhere in between the crow sound is echoed. Not sure what this sound symbolises in the movie. I do not know to what genre I can classify this song as. The words I get are – spying, investigate, search, silence, careful. Now I recall the video of Sheetal Shetty speaking and I feel Shreya’s singing style will just fit into Sheetal’s mouth movement. The instruments are used in a “controlled” style.
2. Kanna Muchche – The beginning BGM somehow reminds me of Swades movie. Don’t know why… Sawariya first BGM? I don’t say copy, just the feel! (Please don’t confuse.) Slowly starts the female voice… Aaah! it’s Vaani Harikrishna. What a fine singer she is. Observe the quality of her voice. Its a fine voice. Kannada has this talent. This lady’s embodies all that mamathe whenever she ends some of the words. Observe when she sings the word “kangalu”. Shankar Mahadevan is good as usual. But, I would have been happy if some other local singer was used instead of him. I somehow feel “tamilish” when he sings certain words. The background strings / group violins are good enough. Producers have spent on this. Apart from Vani, two more highlights of the song are – (1) the chorus from 3:35. and (2) swara alaapa from 4:14. Not sure if they recorded both the artists parallely. Vani, in my honest opinion wins over Shankar in this alaapa. Anyway, producers have paid a handsome money to Shankar Mahadevan, they could have hired Raghu Dixit instead. Not that Shankar is bad. Its my personal opinion that a better Kannada local talent would have done Shankar’s work.
3. Knock Knock – this is not a full fledge song, but a bit. Guitars are the highlight of the song. One more highlight is the new music director Bobby C.R. One more “controlled” song. Bobby also does an extremely controlled singing. Not the usual format of one pallavi, one charana. In this aspect, other two songs also do not comply to the usual format. The lyrics are mysterious. Leaves me wondering what’s the song all about. One thing I realised for the sure – the importance of the DOOR in the movie. After hearing Bobby’s voice, I have this urge to listen to her compositions. Oflate, I haven’t purchased any music album (since Lucia).
4. Male Maretu – Starts with sarod strings. This song seems to be set in a similar raga as the song “devaru hoseda premada daara” from the film Muttina Haara. Somewhere slightly this song reminds me of Muttina Haara song. But, then this song is completely different. Lyrics are philosophical. I haven’t given full attention to the lyrics yet. Will have to listen many more times. As I was writing this, I listened to the lyrics and still I do not get the philosophy. When it comes to background, there’s a background pattern in organ (harmonium and accordion) that echoes the voice. This organ pattern sustains all over the song till the end. There’s a song in the TS Nagabharana movie “Mysooru Mallige” that employs a similar interval of silence. There’s pain and irony in this song. Need to look into the lyrics text to understand the meaning completely.
5. Paper Paper Medicine Paper – Once Rakshit in some social media platform told about what this “medicine paper” is all about. Cannot recall. Still wondering what this song is all about. Two boys – Mallesh Hugar and Puttaraj Hugar have been given “full freedom” to sing a raw song. As the song proceeds, I realise that surely surely, Rakshit had in his mind – “chi cha leather” song from Gangs of Wasseypur. If you like “paper paper” song, don’t miss listening to Wasseypur song. In Wasseypur song, Sneha Khanwalkar takes the song to a zenith point. Paper paper song again breaks the usual format. It has some dialogues that are processed with filters that gives the feeling of moving images of memories / flashbacks. Special CLAPS to both the boys for singing on top of their voice in highest pitch. I am sure Rakshith got them their favourite food for the boys after recording this song.
6. Richie’s theme – The theme starts with the James Bond notes and you may never have expected…………. it continues withe flute that sings “baagilanu teredu, seveyanu kodo hariye”. Wait, Kanakadaasa’s episode happened in Udupi Shri Krishna temple. Movie is set around the same area. The devotional flute is again overlapped with the 70s Hindi music. There’s the famous dialogue “phata poster nikla hero”. There is the sound of a Church bell. So many 70s hindi movie scenes of Amitabh Bachahan pass over our memory. Now *whistles* SHOOT MAADBEKA appears 🙂 When I say James Bond notes, only those 4 notes are used and the rest is original. Ajaneesh has tried to give us the feel without copying the things. When it comes to the beats, the “thakiDthaa” type beats repeat several times. There is trumpet, guitars. Total energetic theme.
7. The Final Showdown – this theme starts with the silent flute. Slowly, many more instruments join the race. There’s one bit of flute that aptly dramatises the tiger’s hunting in slow motion in musical form (if you can imagine this). There is maddale-chende beats. Several pipe instruments continue the theme. At a point these pipe instruments remind me of Kodava music. Then there are guitars, followed bugle, again oboe type sound. The maddale sound stops, the pipe continues.
8. Theme of Ulidavaru Kandante – This theme is notable for the “sound design”. Observe yourself how many sounds have been recreated. I cannot just explain the sounds in words – sea gushing, fishermen speaking, turning of the wheel and so many other sounds. At 1:53, the theme gains life with a high pitch bugle. Again at 2.20, there’s a twist in the theme with the guitar.
9. UK Promotional Song – The credits do not mention the name of the singer. But, I am mostly sure it is Rakshit who has performed in this song! He is a good singer too! No exaggerations, he stays in one shruthi and plays with high notes and sudden low notes. The whole song is dramatic. We hear flashes of Yakshagaana style. Meanwhile, I am losing my patience and want to finish writing this review. So many details in each song. Cannot miss any of them. Let me continue. One thing is revealed in this song about the movie – that there is one incident and 3 perspectives of it. Some dialogues in between. The background during “minuku hula” almost shines. Towards the end, there is some group violins that take the movie towards a climax.
10. UK Promotional Song-2 – Ajaneesh Loknath himself jumps into the akhaada for singing. The oboe type pipe instrument that was used in old movies is used in this song all over. The notes that sound like “taara-thathathatha” alongwith the peppy beats are enjoyable! I guess this song might be used in the movie for climax. Eedgaayi hodedante, namaazali karedante, kOleradu cross-aadante ulidavaru kandante – waaaaaah! perspectives 😉 super lines! Alli hudku neenu ninna thanavannu – again thale mel hoDedante iro lines. I will have to write another blog-post for the Ulidavaru Kandante song lyrics. One thing I did not like is the usage of that “wahwah” filter for Ajaneesh’s voice upto 10%.
11. Gatiya Ilidu – Sung by Vijay Prakash. The song is about a guy looking at his crush and dreaming all sorts of things. I am in a hurry to finish this review. But, I do not want to do injustice to the songs. So, let me listen to this song 3-4 more times and reivew this properly. I thought of so many things. But, let me tell something about this song in one sentence – Ajaneesh has “that” Hamsalekha has. He proves he has “that talent” with this song. Listen to the line “Samaya saaguva gatiya” – observe the multiple background instruments, the main tune – I can hear the “legacy” of Hamsalekha here. Listen to the song for several times. Observes how many layers make this song one unified piece! I have seen the “flash of Hamsalekha” in Anoop Seelin (his own shishya) and to some extent in Poornachandra Tejaswi. Now, I see this flash in Ajaneesh. Man, this song will be the biggest draw after release. I cannot choose the best song in the album. This song has everything to make even the worst dancer like me get up from chair and dance madly. The accordion, group violins and guitar backing…. Listen to the chorus of ladies. Oflate, KFi had shifted to “western chorus” style. Here, chorus has come back to the native. It was long time back, we had heard such chorus in Hamsalekha songs during 90s. “Manada hindaarili, barade kavalu” – again legendary tune and background piano + accordion. I am realising this should become the best song of this movie. This song sure will be a big draw among the audience. Don’t blame anyone if you feel like lifting up your panche and start dancing naturally like on a sand beach. These beats are so much in our blood, no need for any steps, you will start dancing automatically. Also observe that double clap at 1:22. The group violins are used so well here. There was a time when group violins were used so well. Even Hamsalekha shifted to synthesizers and spoiled so many of his songs. Ajaneesh wins with these group violins. I want to write so much on this song. Not now please. Let me conclude this review with the Hulivesha. I will surely come back to this song with an exclusive post. By the way, there’s one more singer in this song apart from Vijay Prakash who has not been credited. Another singer sounds a bit like Hemanth. “Nag nagtaa nannaaa manasaa ethkondu oytaavLallo… ayyayyyoooo” – is super.
12. Hulivesha -Starts with a bugle and some guitars that give the “portugal” feeling of Goa / coastal side. Before we could anything more comes the tune of “Baa Baaro Baaro Ranadheera”. With chende in the background. Takes us back to 90s era. Tribute to Hamsalekha and Ravichandran. Rakshith questions why the music was stopped and the troop starts with “Santhoshakke”. What a way to pay tributes to Shankar Nag. The tune suddently moves to the charana of “olage seridare gundu”. There are no strict rules in this theme. The lines jump, tempo changes naturally. Observe, they have used even that round instrument which makes “hush hush” sound.
ufffffffffffffffff……… done with the review. What more to write. I am now listening all the songs on earphone. Discovering so many finer sounds and arrangement details. In conclusion, so much work has gone into making of these songs. Rakshith has surely dreamed the songs as he imagined and wrote the screenplay. He surely must have troubled Ajaneesh a lot lot lot. Ajaneesh has taken up the challenge and delivered the goods perfectly. I heard that many industry people have negative talks on this album. Doesn’t matter. This is a landmark album in Kfi in recent times. After listening to the album, I feel that this movie needs to reach wider audience. I am sure even non-Kannadigas will be able to connect with the music.
I am handicap in terms of not knowing the coastal languages. I am also handicapped because, I was unable to connect to the cultural aspect of the music. I noticed several coastal sounds. But was unable to travel beyond that point. I paid Rs. 12 for the songs. I think this album deserves at least Rs. 250. Rakshit and Ajaneesh have simply discarded all types of “formula” music of kfi and have gone with their own instincts.
Like the lines in promo song-2: “ellru haadtaare mansig bandante, nan maath ell keltare ee jannthe, naan bitbittiddeenappa bereyavar chinte. nododu bereyavr aadarenu, alli huDku neenu ninna thanavannu” – Rakshith and Ajaneesh have done this album without worrying about external factors. This becomes the biggest strength of this album. When I see this album amidst all other current albums in India, this album stands out independtly on its own limbs. Very few albums are able to stand this way. Take for example some current albums, Hasee Toh Phasee album stands on the standard bollywood formula music. Highway, though composed by ARR stands on the foundation of ARR’s earlier genre. Ulidavaru Kandante doesn’t belong to any genre. If someone asks what “type” this album is, I sure wont be able to answer them in one sentence. Ulidavaru Kandante belongs to Ulidavaru Kandante genre.
I guess this is my longest audio review ever. I am sure 9 out of 10 wouldn’t read till here. If you read, then thanks! Goodnight now. Let me sleep.
In the end: Still thinking whether it is right for me to say so many good words in the conclusion. That the album belongs to its own genre. Did I exaggerate? Really not sure. As of now, I feel liberated with this music. Recently I got Highway and Dedh Ishqiya and I was supremely disappointed with both Vishal and ARR except 1-2 songs. This album, though doesn’t have big names has satisfied me.
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I wrote this review on Gandhadagudi dot com. The site is down, hence cross posted here! The review was liked by the director and composer. A year and a half later, the album won Filmfare South Award for Best Music Director – B Ajaneesh Loknath. Many months after the review was written, some people pointed out that the song “knock knock” sounds like a song “bang bang” by some international artist. Also, some pointed that the mother sentimental song reminds of a song from Rang De Basanti. I listened to Bang Bang and say that the basic template is taken from there, but many many modifications have been made here. The mother sentimental song can surely stand on its own feet. The orchestration is similar at some points. The core tune here is different from the Rang De Basanti song. It is very easy to say that a song is a copy, just because it resembles some 5%. A person who has tried to compose a new tune alone will understand the pain. For this reason, I never say “copy” just because there’s some inspiration. Copies are those which will resemble more than 50% and some are 90% copies (like some compositions of Preetham).
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Source: https://www.facebook.com/TheRakshitShetty/posts/212852638908256?stream_ref=5