No music director has given so many superb female solos like Raja has.

Yes, there
have been great combinations like Madanmohan � Lata and Baburaj � S Janaki which
gave us some everlasting melodies but no one was able to provide the width and
depth that Raja provides in the female solos. From the sensuous to the sublime (are
they really different?) Raja has covered the whole gamut of human emotions via the
female solos. If you collate only the female solos given by Raja, that itself would
be enough to establish Raja as the greatest music director Indian Film Music has
ever seen. Such has been the scope of female solos in his oeuvre.

I will discuss some of the recent female solos that were given by Raja. All of them
are very melodic. Many of them happen to be in Telugu and Malayalam. In recent
movies that Raja has been involved in, the number of songs have been limited (maybe
2 songs in a movie) or no songs at all (like Onayum Aatukuttiyum, Kutrame
Dhandanai). Even with the 2 song limitation or short song (to be played in the
background) limitation, he has come up with some lovely melodies.

Let me start with this amazing melody in Bhavatharini�s voice. Even those who are
not fans of Bhavatharini will like this melody. A touch of melancholy pervades this
melody. The orchestration is top notch. �nannu neetho� from �Gundello Godari� will
make your day. The WCM first interlude enhances the melancholy aspect and as with a
lot of Raja orchestration, then are sudden shifts which surprise us and enhance the
listening experience. The charanam too has his patented shifts and the way he joins
back to pallavi is Rajaesuqe. I love the second interlude and the sense of calm it
brings with it.

The next song has a philosophical tone. Nice words from Na.Muthukumar. The song is
in montage and the small challenges of life. The tune and orchestration are such
that they convey the overall picture and at the same times the tune digs deep into
your heart affecting you deeply. Shreya does a great job with her melodious voice

�kalaiyile malai vandhadhu� is from �Chittiraiyil Nilachoru� directed by

R.Sundarrajan. Raja has always been partial to Sundarrajan and this film was no
exception. This song is an experimental one with the main classical line being
countered with synth beats and keyboard. There is also veena and nadaswaram which
appear as guests. The interlude brilliantly marries classical music to pop sound.
This is a very different Abheri. As usual, the bass does a fabulous job. Some may
have wanted a more standard orchestration for this but if you know Raja�s way, this
is very enjoyable.

We will now shift to Malayam and listen to a breezy song. I had written earlier
about how Raja creates movement in his music. This song is about the breeze and
here too Raja creates the movement of the breeze. There tune and orchestration are
so constructed as to provide the required dynamism to the song. This is from the
Malayalam film �Dafedar� and sung by Alka Ajith, who became popular after having
won the singing competition, �Super Singer�, on Vijay TV. Watch out for that lovely
AnuPallavi. I have heard Malayalis call it �tundu pallavi�

I spoke about short songs being used a BGM. Here is one such song for �Amma
Kanakku�. The tune and orch bring out the sensitivity of the situation. This is not
a situation for experiementation. Raja keeps everything minimal and enhances the
scenes.

We get back to Telugu again. From the movie, �Abbayitho Ammayi�. The start itself
is terrific. The acoustic guitar strumming followed by the lead guitar which plays
what sounds like a Middle Eastern sound. The bass does its superb job when
accompanying the pallavi. The beat structure and the pallavi structure are unique.
A song which could only have been constructed by Raja. Or as we informally say,
�Only Raja Possible�. Also notice how the orchestra interacts with the tune in the
charanam.

He followed this up in Telugu with this superb beauty in the recent movie, �Kathalo
Rajakumar�. �na kathalo yuvarani�. One more amazing melody against his name. This
is trademark Raja of modern times. Merging the melody with newer sounds and being
at peace with it.

Let us now move from these gay songs to a poignant one. �vaa vaa magale� from �Enga
Amma Rani�. Rajshri Pathak delivers the song. The prelude paints the mood of
desperation and the tune latches to it to increase the sense of dread. Based on one
of Raja�s favorite Raga, Mayamalavagowla, it is a master class on how to use a raga
for your purpose. No one delivers this lecture better than Raja and that too when
Mayamalavagowla is the example he is talking about

We will now move to a grand composition from �Rudrammadevi�, �punnami poovai�. The
orchestration is keeping in line with the magnum opus that Gunashekar tried to
make. Observe the vocal harmony in the first interlude and the counterpoint of the
vocal with the orchestration. Similarly in the charanam when the tune changes,
observe the countermelody between the tune and the bass which plays. An outstanding
construction which is grand and delicate at the same time.

If �punnami poovai� was grand, then this Shreya Ghoshal song from the yet to be
released Malayalam film �Clint� is very intimate. Melody is the key for this song
and Shreya�s voice aids in this aspect. There is a joy which spreads when you hear
this song

All the attributes that I mentioned above for the �Clint� song are present in this
superb melody from �Sneha Veedu�, �avani thumbi�. Once more it is Shreya. I love
this song to bits right from the starting prelude.

I will end with the superbly innovative �chengkadhir kaiyum veesi� from
�Snehaveedu�. This song is set in Misra Chapu thalam, which is a 7 beat cycle. Raja
brilliantly keeps shifting the �eduppu�, starting point, in the charanams thus
giving the song a bit of asymmetry which makes it interesting for the listener and
a challenge for the singer. Also, observe the hand beats in the second interlude.
This is one �Raja Only Possible� song. Chitra, as usual, does a wonderful job. She
is anyway known for that.

Hope you loved listening to these songs.