Suresh Peters, singer: This song itself was something that came as a surprise. I was not aware that I was singing for a film. The only thing that Rahman asked me was to sing a track and I didn't really ask any questions. Rahman has a habit of taking vocals on tracks that necessarily don't give the idea of the whole song, and then he would work on them. I landed up singing this track and forgot about it. A year later is when I realised it was for a film. I recorded the song again as there were changes in the lyrics. By that time I had met Shankar too.

The first time I sang it, I could not see the whole song because it was taken in different segments and we were focused on the melody. Whereas when I sang it the second time, there were parts that emerged that I didn't hear the first time, like the sax lick that leads into the song. The structure was a little more defined. But even then it was not fully there. Rahman worked on it even after I had sung it again. When I heard the final track, I was blown away.

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Madhesh: I used to assist Shankar even when he was an assistant director. I had a corporate job when Gentleman happened. When he got the opportunity to work on the film, he first called me, told me to resign and join him. Of course, I quit my job and joined him. Everyone had massive faith in Shankar at the time, and so did I. My decision (to quit) was eventually proved right (laughs).

Suresh Peters: It was a brand new experience for me in terms of language. Until then I have sung songs, but had mainly worked on ads and programming. When the song happened the second time, we did a lot more detailing. It would be one of the first times when a singer would do his own harmonies of the main track. We also did doubling vocals. That was brand new. We approached Chikku Bukku Rayile like an internationally produced song.

Rahman had a clear idea of what he wanted and since I had worked with him earlier (I was in a rock band called Nemesis Avenue, in which he was the keyboard player), he had an idea of my timbre. One of the lovely things about Rahman is the kind of voices he brings into music. Be it Minmini in Roja or making Mano sing Mukkabala, he is always looking for something and maybe he saw that something in me. Being a percussionist and having worked with him in Roja, he used my voice the right way.

Madhesh: When we initially pitched this idea, a lot of people were hesitant. Because there is the matter of permissions, getting dancers to dance on a moving train and other logistics. But our visuals were set. These were all questions and problems and we just needed to find solutions and work backwards.

We kept thinking about how we could keep adding colour to the song. Merugethikite irukanum (had to keep polishing and making it better) was the idea. We knew we wanted a little boy's voice for the song. And once we told this to Rahman, he told us he had something in his mind. And we decided to open it with that little boy's perspective. It was all magic.

Madhesh: This particular song gave new perspectives to many people in the crew. Even when Suresh Peters sang the song at the time, we did wonder if people would be accepting of it because they weren't used to his voice. Rahman and Shankar stood by him and knew he would be a trendsetter. Many assistants at the time suggested getting many others to sing, but these two were sure about him, and at the end of the day they were right.

Karthik Srinivasan: The lyrics, at that period, were captivating at least to college students like myself. It talked about baggy pants and girls and stuff, which was typically Vaali. When the video came out, it became an even bigger earworm. In hindsight, it looks corny, but back then Shankar was trying something fairly ambitious even for an item song. It was a true landmark from that point of view. I would in fact rate it even better than Mukkala (from Kadhalan) also, and look at it as a precursor to what Shankar and Rahman wanted to achieve in Tamil cinema. 152ee80cbc

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