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The music of Yaaradi Nee Mohini was scored by Yuvan Shankar Raja, who had composed the music for the original film as well. The first release of the soundtrack, released on 9 February 2008, contained five tracks, which were all retained from the original version with the song "Manasa Manninchamma" missing initially. Later, a version of "Paalakattu Pakkathile" from Vietnam Veedu (1970), remixed by D. Imman, was recorded and included in the film;[8] the producers decided to bring out a second release. This release features 16 tracks, including the earlier released five songs, two more versions of the song "Engeyo Paartha" (sung by Karthik and Naveen, respectively), two more remixes of the song "Paalakattu Pakkathile" (remixed by Dharan), the Tamil version of "Manasa Manninchamma", "Penne Ennai Kodu", the song "The Person Is The Looser" [sic], which runs during the opening credits apart from four "film score tracks". The lyrics were provided by Na. Muthukumar.
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The song predominantly features vocals and lyrics by Vaanam's lead artist, Silambarasan, while Yuvan Shankar Raja has also penned parts of the English phrases, performing them himself. This song is notable as being the first single track to be released promotionally for a South Indian film.[1] The track, upon release, became highly popular, with the attempt being declared a great success,[2][3][4] while drawing notable attention particularly for its lyrics. Following the positive response, the song was planned to be remade as a music video into Hindi, featuring Silambarasan himself, and was remade in Telugu as "Pista Pista" (Telugu: ; English: Person with attitude) for the 2012 film Mr. Nookayya, featuring the voices of Karthik and Yuvan.[5][6]
Yuvan Shankar Raja and Silambarasan had worked together several times before in Manmadhan, Vallavan and Silambattam, which all scored very successful results.[7] In order to repeat the success, they agreed to produce a single track to promote and popularise the film. Silambarasan said, "The minute Yuvan and I sat down to compose for Vaanam, we wanted to ensure that we came up with a track that would stand out and become popular." The song was developed in several sessions of jamming, and both kept working on it repeatedly even after the song was ready. Silambarasan explained, "I didn't want it to be like a regular love song and was determined to make it unique. So, we've come up with an international level club mix, which I think is a next-generation track."[7] Yuvan Shankar Raja commented, "For the single Simbu wanted something different and it is cool and should work."[8]
"Evan Di Unna Pethan" song has been performed by Silambarasan Rajendar and Yuvan Shankar Raja. Silambarasan has penned the Tamil lyrics while Yuvan Shankar Raja has penned the English phrases, both performing each their lines. This song was recorded at Prasad Studios, by Prabhakar, Sekar and Guru. It was mixed at Pinkstone Studios, Chennai by Kumaraguruparan and was mastered at Metropolis Studios, London by Ian Cooper. The Making Of Evan Di Unna Pethan The Program On SUN TV Is Naan Yaar.
The new "strategical promotional concept" proved to be successful,[21] as the song became widely popular and was declared a hit by trade pundits.[2][3][22] The song particularly enjoyed popularity among the younger generation and had reportedly become a "rage among the youths."[4][23][24] Composer Yuvan Shankar Raja himself, however, admitted that he was actually expecting both positive as well as negative feedback for the track.[25]
Following the positive response, the Mumbai-based audio company Venus Music, who would market the album, expressed interest in a music video of the song in Hindi language.[26] Silambarasan himself was asked to shoot for the music video, which would be premiered on Bollywood music channels. This would also mark Silambarasan's Bollywood debut. The song titled "Kaun Hai Baap Tera", featuring Silambarasan, is penned by Shabbir Ahmed.[10]
Although Saigal departs from Darbari in the last lines of the second stanza, overall this song preserves the mood of Darbari much better than the two Mukesh songs I have mentioned in the opening paragraph. There is entreaty, prayer and pathos, but it is all rendered with a sense of dignity.
I have also read somewhere that Vasant Desai had composed the title song Jhanak jhanak payal baaje initially in Darbari, but V Shantaram was not happy with the sombre mood. He wanted a little more verve in the song, and the composer changed it into Adana. While this story explains the relationship between the two Ragas, does it also say something about Ustad Amir Khan and Darbari which you have alluded to?
Subodhji,
Namaskar. My visits to SoY are not regular as it used to be. Some personal matters which needs more of my time continues to keep me tied up. I managed to squeeze some (enough) time in between. Visiting your post, listening to the songs and the classical numbers therein and reading the article was a welcome diversion. Thanks Subodhji for yet another excellent post.
To begin with, the 10 film songs you have presented in Raag Darbari, are good, but could not satiate my appetite for this majestic Raag. The fault does not lie with your selection of songs. You have rightly pointed out that these songs are good, some are great, but few of them do real justice to Darbari. You have said it all. I will be repeating your viewpoint in a different language. It is difficult to fully evolve the inherent grandeur, philosophical depth and emotional richness of this Raag in compositions lasting 3 to 5 minutes. Moreover the composition will have to cater to the situation of the songs. Within these constraints, the composers have done a decent job in maintaining the dignity of the Raag. I enjoyed all the ten songs especially the songs Nain heen ko raah dikha prabhu, Tu pyar ka sagar hai , Ud ja bhanwar maya kamal, Tora man darpan kahlaye and Mitwa laut aaye ri. Besides Manna Dey, I find Mukesh too had rendered many film songs in Darbari.
Subodh ji,
I was about to ask you about the two songs Tera khyal dil se bhulaiya nahin abhi and Hale dil yoon unhe sunaya gaya, because it seemed to my ears that they were not exactly Darbari. Thank you for your comments.
I too agree that both the songs Malare Mounama in Tamil and Manimuttathavani panthal in Malayalam are lovely compositions. Wonderful orchestration too. But that is SSW JI area. If he would come in and give his opinion it would be wonderful.
In Carnatic music most of the traditional compositions are in the Raag Kanada. In Durbari of the North and the Kanada of the South the difference lies in the handling of the Gandhar and Dhaivat and Dhaivat is Suddh in Kanada. But in light music and in film music they very often use Durbari of the North. In fact in some songs we can find a smooth merger of the two and trying to find the purity of either of the Raag, in such situations is not necessary. Please listen to this song,
I wonder how I missed mentioning the melodious Darbar song composed by Sudhir Phadke for film Bhabhi ki Chudiyan. It is ideally suited to voice of Mukesh: Tum se hi ghar ghar kahlaya.
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