Pranav Pens - Thalapathi (1991) Album: Review

Exactly 10 years ago, I came across a scene from Thalapathi, where our beloved Superstar Rajini meets with the love of his character's life, Subbulaxmi, to clear the air. Little did he know at the time that she had come to call their relationship quits, with a heavy heart, due to familial issues (in other words, disapproval of her dad). Now, all of us might have seen such a scene take place countless times in movies, especially a lot in Indian Cinema. But what makes this particular scene stand out for me is that musical cue that our Isaignani would have provided. The beautiful partial silhouette of our Superstar in the setting sun watching his Subbulaxmi walk away, not only from him, but also from his life. The amazing flute piece opens with full of melancholy, leading up to the extravagant violins section taking over will always hold a special place in my heart. When I heard this, the melody struck me with a bundle of emotions that a kid my age at that point couldn't have put into words. Fast forward a decade, after reading considerable amount of novels and listening to music almost always after that, I still cannot express what exactly happens within me everytime I hear that amazing piece of work. That was my introduction to the masterpiece of an album called 'Thalapathi'. My dad had always been a movie buff and a music fanatic (himself being a singer and a huge Ilaiyaraaja sir fan) and I'm indebted to him forever for having shown me the world of music and cinema. 

• SUNDARI KANNAAL

Naturally, the first song that I heard was "Sundari Kannaal", after my interest piqued with the amazing flute cue, which was based on this song's opening melody. And man was I blown away immediately by the massive orchestral treatment of this track. Standing at a little over 7 minutes, Sundari leaves you craving for more. The beautiful hymn like melody of the song, accompanied with intricate symphonic and choral interludes provide the listener with a feeling of doomed love, an apt description of the intertwined lives of Surya (Superstar) and Subbulaxmi (played by Shobana ma'am). The mesmerizing rendition by S.P.B sir and Janaki amma would remain to be the highlight of the song. I can't quite put my finger on whether the music or the heart-breaking lyrics that were written by Vaali ayya - which moves me more. But also, I don't think it's that simple to answer this question when the music, the singers, and the lyrics gel seamlessly with one another, almost making you wonder if the lyrics were written for the melody, or otherwise. The horn section and the thumping rhythms are crafted so meticulously that the listener need not have any prior knowledge about the song's situation and still, they would understand easily what the song talks about and why the interludes are the composed the way they are.

Ideal time to listen to this track: Anytime you're alone. Preferably, during a night drive or an early morning drive. Just grab a pair of headphones, and listen to this musical extravaganza.

• CHINNA THAAYAVAL

In life, sometimes our parents tell us that we don't know the value of something/someone until we have lost it. Also, they say that we won't know the impact something can have until we are mature enough to understand life as such. Both these things were true in my case. My experience with 'Chinna Thaayaval' happened as I watched the film for the first time. At that point (this was at least 8 years back), as the film opened, the song started with the bird-like "cooing" given by a solo high flute, followed by another high flute in response. This almost would feel like the flautists are engaging in a musical conversation at the very beginning of the song. As we are shown that a young girl is sending a newborn baby in a basket off the river, the song gives into the lustrous voice of Janaki amma. The lyrics, once again, would bring the listener down to his feet, with great wordplay by Vaali Ayya ("Chinna Thaayaval, thantha raasaavae", implying our Isaignani and his beloved mother). This song resurfaced in my life yet again only a few years ago. I heard this song a lot when I was dealing with the loss of my maternal grandmother. Even though it's true that the song's situation and lyrics have a different setup, I was able to connect it to the sadness I had during those times, especially since my grandma had been very close to me. This song has only one charanam, which is unusual, considering the period in time this album was made, wherein, almost every song had to have 2 charanams (not so much in the last 6 years). The Violin interlude combined with Raaja sir's signature table beat will take the listener to a zone where he/she would feel like they're traveling on a round boat, in space, going towards a void of emptiness.

Ideal time to listen to this track: Well, I can't really give good time to listen to a sad song. However, this song would be a great companion for slow walks alongside roads with damp trees.

• KAATTUKUYILU

This song starts with an amazing beat section, which also happens to be the backbone of the entire track. SPB sir and Yesudas sir deliver amazing vocal performances here, along with the interactive backing female vocals. The song has a festive feel to it and that is carried on throughout the song's entirety. This song remains to be a form of experiment from Raaja sir, having used almost only percussion, creating this syncopated tribal rhythmic experience with the song. The song's is also amazingly captured in the visuals and special shout-out to Mani Ratnam sir and Santhosh Sivan sir for that.

Ideal time to listen to this track: Anytime you feel like you wanna dance.

• RAAKAMMA KAIYYA THATTU

Man, this song is certainly one of my favorites from this album. The song opens with a Flamenco based guitar, leading beautifully into a massive violin chamber section. Once again, this song has all the qualities of a celebration, like the previous track.  At this point, I simply feel that one of the major pillars of this album was SPB sir's voice. His singing in itself is a character, ranging from emotional ballads (like Sundari) to such happy fun-filled anthems as Raakkamma. The female voice is rendered by Swarnalatha ma'am, whose fantastic texture adds so much beauty to the already jocose track. With the ear-candy iconic hook "Chaangu Chakku Chajakku Chakku..", this song easily makes the listener grin from ear to ear.

Ideal time to listen to this track: When you want your spirits lifted, this song would not fail to do exactly that.

• MARGAZHITHAN
  

This track is a relatively shorter one in the album. Sung by a chorus, this song has a pattern of music that is reminiscent of the "Kummipaattu" style. The percussion take the front seat whenever the chorus goes out. This was a great filler track. Will I be coming back to listen to it again and again? Well, not really. But, it does give me the satisfaction of an occasional listen.

• PUTHAM PUTHU POO

I was disappointed when I found that this track had not been placed in the movie. With such an amazing composition, Raaja sir proves his musical prowess yet again in the sense that none can compose a romantic luscious melody from a minor-scaled Raaga. Sung by Yesudas sjr and Janaki amma, this song has got to be one among my favorite signature Raaja sir works. Yesudas sir's voice is soothing in this song and Janaki mama's powerful vocals make this duet an evergreen tune. My most favorite section of the song is the string section that follows the first Pallavi- oh God! What a flamboyant display of the violin players' unison! That section is an all-time favorite interlude of mine, having inspired me to incorporate such nuanced ideas into my own music.

Ideal time to listen to this track: When you think of your partner, this song will be right next to you!

• YAMUNAI AATRILAE

 This song comes in two different versions in the album. I'll focus on version 2 sung by Mithaali ma'am. This song can be seen as Raaja sir's ode to lord Krishna. With almost no percussion, the soft melody is backed up by guitars and beautiful synth plucks scattered around said guitars. Filled with sitar & veena pieces here and there, one can easily understand and appreciate the composer's finesse in knowing how and where to use what kind of instruments.

Ideal time to listen to this track: Plug in your headphones, close your eyes and listen to this song. You shall certainly be transported to Vrindavan. CONCLUSION 

There are probably less than 25 albums from India, where I love every single song in the album. And "Thalapathi" occupies easily the top 3 albums. Now, I can neither rank the tracks nor the albums as I see myself inadequate of that. However, I will say this- this album is a masterclass from our Isaignani on how to not only make a successful and commercially hit album, but also how to experiment with sounds and make them work.

Thalapathi marks the end of an era as it was Mani sir's last known collaboration with Raaja sir. We may not know if they will join hands once again, but I certainly am happy and satisfied in proclaiming that their last known album has definitely stood the test of time, and will be one of the most influential albums of all time, with so many iconic scenes, dialogues, background scores and songs.

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