Vidyasagar has hit the big time in south Indian film music. He is a much more confident musician these days. That is what success does to your mental make up. The thing about Vidyasagar is that he has flair for both melody and mass numbers. He can adapt himself pretty well to the situation. And in Chandupottu, he shows why he is very important among the modern crop of music directors.
There is a rustic simplicity to this starting number.There is a catchy pastoral cadence the soft instrumentation of Vidyasagar. And they get the right backing from Vineeth Srinivasan. The singer gives the number the right tonal amplifications. And what emerges in the final analysis is a quiet melody.
Sujatha has a husky base and they get a good stage in this number as her humming sets the base for some tender tune. The male voice (Shahaas Amaan), thought nasally, has the right timbre to enunciate the compelling and serious lyrics. The orchestration is restrained. Though slightly old-fashioned, it suits the song the situation. All in all, an attractive ditty.
Janaki takes the centre stage after a long time. Though age has indeed left its mark on her voice, the essential surety of touch and the melody is still very much in place. The sweetness she comes out with makes you nostalgic for the days gone by. Vintage Janaki in this uncomplicated number.
It is not Cochi. It is Goa.We are talking about the rhythms and the drift. This typical Konkanicoastal song is very good on the ears. Sung with verve by Ranjith, the song is a fun one. But the melody and methods are serious. Good stuff.
5) Thazhunna Sooryane
Another number that seems to cast a spell on you with its softness. This theme bit reaches for your soul and deep beneath. Rohini's high-pitched vocalization is good.
Vidyasagar shows that class, as opposed to form, is permanent.