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Pandurangadu Music Review - MMK-KRR Combo Strikes Again

APK | April 29, 2008

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Rating: **** (***** Very Good, **** Good, *** Fair, ** Average, * Bad)

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Annamayya's music still stays in the mind. Keeravani's compositions and interpretations of the original work became a major hit. Sree Ramadasu has music that basically ran the movie. K. Raghavendra Rao is back with another devotional-period film, Pandurangadu, starring Balakrishna, Sneha and Tabu.

Keeravani has always been a pro with melody and in devotional music that has extreme commercial viability. From Bhajans to Sufi music, Indians always embrace devotional music, and it stays on no matter what the trend is. Pandurangadu is a nice compilation, and doesn't just stick to the worship of the Lord. The music is used for several things, including pushing the screenplay forward, and from that it can be said that it's a musical. MM Keeravani-K. Raghavendra Rao do it again. Yet again.

With 15 songs in the movie (and a Photograph of Lord Panduranga with Prasadam! free with the CD), in basic terms, the album is Paisa Vasool. For those who have a taste for such music (and a whole lot of people do), it is a treat. Some familiar chords can be heard, some known and unknown songs and Raagas, duets and other songs in the movie apart from just devotional tracks. Typical Keeravani, typical K. Raghavendra Rao tracks are easily identifiable. And maybe a surprise or two.

Sneha and NBK

Aadauv Devakidevi is a prayer by Pranavi that starts the album on a lovely note.

Govindude Koka Chutti has Madhu Balakrishnan starting the song and Sunitha and MM Keeravani picking up. Sri Vedavyas writes this situational song, both involving praise of the Lord with a narrative interwoven in it.

Hey Krishna Mukunda Murari is a take on the popular number, with SP Balu starting off where Ghantasala left-but no comparisions. Hima Bindu gives him company with Suddala Ashokteja's lyrics, questioning the Lord and the song has pleading, pious feel to it and SP Balu-Hima Bindu make the characters' agony and devotion both come across through the music.

Sahasra Sheersha is another short prayer by Shankar Mahadevan, passionate and powerful with the kind of chorus that MM Keeravani specializes in.

Yemani Adaganu wonders SP Balu of the Lord. It is all about what he will ask the Lord and heaps praises on the God, because 'Adagakundane Varamulichche Vade Krishna'. Malavika and Soumya give him company. It goes on to mention Sri Krisna's 'Leela' and snippets of his story. The song starts on a soft note but ends on a high note.

Sri Sri Sri Rajadhi Raja, or Sri Sri Sri Rajadhi Raghavendra Rao? What would a K. Raghavendra Rao movie be without this brand of music? Mischief is the number's middle name and Keeravani sure knows how to churn out those chords for this and Sri Vedavyas seems to know how to pen devotional as well as to delight the masses.

Tabu

Govinda Krishna Jai...'Ranga Ranga Nuvvu Oka Donga' is all about Krishna's mischief and in praise of the Lord. It is a light hearted, pacy and enjoyable number with familiar tunes in it. Veturi pens in the lyrics, and SP Balu sings it beautifully.

Matrudevobhava is a situational song full of regret, with lyrics like 'Amma oka sari ninnu chusi, chanipovalani unnadi' and so on. It is a song about extreme repentence and devotion towards parents. SP Balu is full of feeling when he croons 'Marachipoi aina nannu maninchoddamma' while MM Keeravani and Malavika forgive whole-heartedly right at the end. Suddala Ashokteja pens in passionate lyrics interweaving sorrow and events.

Brundavanamuna is crooned by MM Keeravani and Usha, a relatively short and energetic prayer.

Jwalath Karaala is a chorus number for the Lord, possibly played in the background, written by K. Shiva Datta. Keeravani has fun with such compositions and plays with them, even in the recent past, he has given similar powerpacked chorus bits in Yamadonga and still further back in Chatrapati (although admittedly not for a God there).

Premavalambanam is romance Balayya-back-in-another-century style. Vijay Yesudas and Chitra croon Sri Vedavyas's lines.

Kosaladeshapu is another K. Raghavendra Rao classic. But it's quite situational, for those who are familiar with the story will know where this comes in.

Mathapithrusamodevo is obviously for the parents, all a part of the narrative, rendered by Madhu Balakrishnan.

Neela Megha rendered by SP Balu is both a situational number and a plea/prayer with lyrics by Sri Vedavyas.

Jaya Ranga Ranga Vittala is the end of the ablum, a true-blue Bhajan in praise of Lord Panduranga. It's a very good end to the album rendered by MM Keeravani himself with the chorus in full swing.

Trademark KRR-MMK. Good music, but it's difficult to say if this is better than the last two period flicks in their combination. Those two were also essentially musically oriented, and the music was as important as the subject itself. Some of the tracks take time to grow on you, while all the devotionals are quite nice; the romantic tracks are not MM Keeravani's best, but will pass.

More importantly, most of the songs are interesting to listen to, what with the varying energy levels (from mellow to passion-filled devotion) whether or not one is a devotee of the Lord. That's where the music scores.