It’s raining good music:

PUC Audio(Music) Review by Suchitra Preetham

Lyricist Kaviraj has done it again; bringing in some of the finest assortment of lyrics into this industry. Be it his inviting poetry for Sathyavan Savithri’s ‘yaako jum jum antheythe’ or his lines for Bindaas, Hudugaata or Chappale songs; he’s done wonders with his peppy lyrics. As for Hamsalekha the lyricist, being the unsurpassed monarch in the Kannada musical world is not easy, as his pen often grows mightier than his tunes. Music director T. Raviraj’s originality sparkles brightly for the first time as melodious tunes exude from the vocal cords of Nanditha, Rajesh Krishnan, Chitra KS, Hemanth Kumar, Swetha, Srinivas Murthy, Anupama and Karthik. The intense tone of Madhubalakrishna completes the melodrama.

Good job from music director T.Raviraj on his second movie. His first movie, Manasella Neene can be hardly counted as most of the tunes (only two songs were original) were copied from the original Telugu movie, Manasanta Nuvve. So practically, PUC can be considered as T.Raviraj’s debut movie as music director! And looking at his ability as a music director, we wonder what market forces urged him to copy the tunes for his first movie!

Yaaro Kaanade: Both the lyrics and music are by every standard in conformation with the new genre of namma kannada music. It is the intense beat of the song and the rusty voice of Srinivas Murthy that makes your feet tap even before you realize. Definitely a song you will want to hear on your long drives.

Summane summane: Truly Kaviraj, summane summane is ‘simply simply, simply love me simply’. The melody of this number sounds like a little bit of many familiar tunes into one, thanks to Raviraj’s music composition. Not too bad to listen to, it is Nandita’s crystal clear intonation that brings a splash of romance to the song.

Naaviruvudu heege: This one is a neat campus number. The chora chora; chori chori part gives the song a girl-boy vayasu feel. Karthik and Swetha’s accent the Kannada-English-Hindi concoction makes the song hip-hop and racy from the start to the end. If the large majority cool college-goers have a penchant for this one, naaviruvudu heege can make it to the dance floor. But then it depends on them and if monotony and convention is not the in-thing then this one joins the dust.

Taalu Taalu: What better way to bring out the ‘noevvu’ and intensity combo of ‘the moment’ than a tune in stretched melancholy? Madhubalakrishna in Nagendra Prasad’s notes pluck at the heart strings.

Priya Gelaya: The song opens with Chitra’s pristine voice, ‘Priya gelaya, ninna hriudayadhi oodhu olavina oleyidu’. The exchange of sweet nothings gives the ‘milanada kshanagalu’ a page or more rightly a song in the story-line endorsing the jodi as a ‘janumada milana’. Nice to listen, Hamsalekha has conferred on this romantic duet all the hues of a tender, burgeoning romance.

Yedeyantaraaladalli: The fabulous melody of this song in the voice of Karthik and Swetha is the film’s tribute to the Kannada song world. Is it the magic of Hamsalekha’s lyrics or the musical modulations that ebb out like the tides on a moonlit night or the soothing energy in the voices? On a whole, the song has the element that makes you want to hear more without tiring you out.