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Thanga Meengal Music Review

Thanga Meengal is director Ram’s follow up to his acclaimed Kattradu Tamizh. The film features Ram in the lead along with child artiste Sadhana. The director teams up with Yuvan Shankar Raja once again for the music.Na.Muthukumar’s beautiful lyrics adorn the gorgeous melody in Aananda yaazhai, sung fabulously by Sriram Parthasarathy. Yuvan’s work in the interludes is almost Raja’esque – brilliant! Along with the director’s annoying Tamil pronunciation in the prelude, Nadhi vellam‘s backgrounds and interludes sound better than the morose tune. Alphonse’s odd vocal contortions overshadow the Yaarukkum’s short tune. More mispronunciations by the director in the prelude to First Last, but Baby Sadhana and Baby Sanjana own the song, along with Muthukumar’s endearing lyrics – joyous anti-school outburst from a child’s perspective! Two songs stand out in Thanga Meengal, that is shades below Yuvan-Ram’s earlier collaboration.

Aanandha Yaazhai(Sriram Parthasarathy)

If you ever thought an amalgamation of Ilayaraja and A.R.Rahman is not possible, then listen to Aanandha Yaazhai. It has the soul of Ilayaraja's music and the mind of A.R.Rahman's. Yuvan Shankar Raja, take a bow ! Sriram Parthasarthy renders a heartfelt performance keeping his emotions in check. The spoken word intro by Ram draws the outline for each song on the album, possibly even for the entire story.

Nathivellam(Rahul Nambiar)

The gentle harmonics and percussions take a back-seat early on to give impetus to the remarkable melody. Rahul Nambiar can do no wrong with his soulful voice, be it the demands of the highs and the understated low ends. Yuvan’s master stroke features half way into the tunes as he introduces the dramatic string section and later towards the end with his ambient sounds. The song also features some nifty bass playing.

Yaarukkum Thozhan Illai (Alphons Joseph)

The haunting vocal intro makes way for racy strumming on the acoustic guitar and Alphons Joseph joins the party with his vocal. The promising melody sets up the song nicely for Middle-eastern percussions to take over, but it’s all too short.

First Last(Baby Sadhana, Baby Sanjana)

A song readymade and delivered for and by children. The composer does well to keep the vocal melodies simple and gives the kids several fun sing-along moments. What does stand out is the kids’ high pitched wailing, which sounds strained but it is still retained in the mix only to indicate the beauty in the imperfections of children, which may as well serve as a good lesson for the adults who harp on seriously on such matters.

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