In the images that run along with the song, Charuhasan blazes the screen in angry poses. The lyrics penned by Vijay Sri G are racy and menacing, but also speak about unity and fraternity. The song strives to be blood pumping, foot tapping, and head bobbing, and the vocals fit the mood of the song well. Here is our review of it:Īaradi Aandavan, composed by Leander Lee Marty, is a fast-paced, rock-style song with heavy electric guitar and drums portions. The Final Verdict? A mediocre listening experience.Dha Dha 87 is an upcoming film starring Charuhasan, brother of Ulaga Nayagan Kamal Haasan, playing an octagenarian don in a world similar to that of Kamal Haasan's Sathya.Ī single from the movie, titled Aaradi Aandavan was released on November 7, coinciding with Kamal Haasan's birthday. It's synthesized music at its highest best, with a sudden infusion of bells clanging like a western movie. Mahalakshmi Iyer accomapanies him in this song. It's catchy enough to make you forget his pronunciation and nasal tone. Oh Ho Sanam, the remixed version of Haasan's song, sees Himesh himself taking over in Tamil, with some moderate success. This song is what you need for your dancing shoes, anyway. A faint tribal flute piece makes a sudden appearance, and then it's back to thumping 1980s music again. And then it's interrupted by a Nayanam-esque piece that joins hands with a catchy beat. The music has a distinct late 1970's-early 1980s disco music feel to it. One just cannot understand Vairamuthu's words. Kaa karuppanukkum, sung by Shalini Singh, is one of the most unintelligible songs of the album. But why does Haasan croak in that horrible voice in the end? One memorable note, though: there's a whole list of all the 10 avatars of Lord Vishnu, in catchy one-liners, which add colour to the song. Refrains of Seetharam and Jai jai Ram flit through intervals, and there's a sudden interlude of flutes that feels like you're in the middle of a Rajasthani folk song. Here again, there's little of a South Indian flavour: it feels more like a bhajan on Santoshi Matha, translated to accommodate Lord Krishna. The beautiful strains of a veena open the doors to a musical treat, with Mukundha Mukundha, sung in the ever-youthful voice of Sadhana Sargam, and penned by Vaali, who's known for his penchant for such epic themed verses. The tune is dance-worthy, but has nothing new to offer you've heard songs like this a thousand times. Bhangra beats interrupt the song, while Mahalakshmi Iyer's rather shrill voice joins the proceedings at a later stage, making a good potpourri of it. Penned by Vairamuthu, the lyrics are uplifting, and a passing mention of Kadavulum Kandasamiyum - one of writer Pudhumaippittan's classic stories - brings a smile to your face. Oh Ho Sanam, sung in Kamal Haasan's trademark mournful voice, begins on a sorrowful note, which gradually escalates from slow beats to a steady rhythm and high-pitched shouts. This song obviously has more going for it than just the words and tunes, and deserves a wait until the picturisation. A sense of urgency, sorrow and resolution add poignancy to the piece. Conch and trumpet notes add authenticity to this song, giving it a temple feel, while Rajalakshmi-Srinivasan, Kamal Haasan's parents, find mention. Vaali's words shift from questioning firm beliefs to re-enforcing the strength of mankind, and a strong resolution to win against some undefined enemy, touching the Saivite-Vaishnavite conflict. The repeat of Pallandu, however, is quite jarring. The tune weaves through Arabic notes, making you wonder if this song deals with the 11 th century part of the film. To a certain extent, it doesn't disappoint. When you listen to Hariharan's Kallai Mattum Kandal, written by Vaali, which begins with a melodious Om, and segues into Vaishnavite Saint Periyaazhawar's Pallaandu, you expect something different. One of the likeliest dance-away numbers of the collection, though it sounds sickly sweet when you hear it the first time. Yes, it's catchy, even if it's borrowed stuff. Scottish bag-pipes and violins morph into traditional music in the end, while Vineeth's voice flits in and out in an effort to blend the old and the new. The chorus is backed with music that reminds you of Lipps Inc's Funky Town, after which it switches to violins that carry a distinct Northern flavour, very familiar and oft-heard.