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Music Review : Swami
Swami
 In the times when most films are set either as feel good entertainers or revolve around slice-of-life dramas, choreographer turned director Ganesh Acharya has decided to make a move against the tide and make Swami. A film that seems to be breaching upon art house cinema,Swami is quite a shift for Ganesh who has been known for his 'jhatka' dance moves for over two decades. arrer.
Roping in Manoj Bajpai and Juhi Chawla in principal roles, Ganesh has sent the message loud and clear that his film is performance oriented more than anything else. One hear at the music and the fact is further established as composer duo of Nitin Arora and Sony Chandy along with lyricist Sameer too have concentrated on class rather than delivering a massy score.
There are as many as 14 tracks inSwami but still the entire duration of the album is just around 30 minutes. Reason? Most of the tracks are used for background score purpose and last for just about a couple of minutes.
'Shubharambh' is an extremely soothing beginning to Swami and makes you glued to the music system at the very beginning of the album as the track lasts for a couple of minutes. Boasting of western classical arrangements, the theme piece has piano towering over other instruments and creates a classy environment.
First song to come in the album is the title song 'Swami ' that takes a cool beginning with the sound of an electronic flute. Soon K S Chitra arrives on the scene as she sings in South Indian classical mode as an elaborate orchestra comes into picture to make way for Hariharan to take the center stage.
A slow moving track with a classical base to it, this duet between a husband and a wife is about living a content life with whatever resources being available and still be happy about the sheer pleasure of being together. The longest track of the album (around 5 minutes), it would be mainly picked by those who are fond of classical music based songs from South India.
There is a heavy A.R. Rahman influence in the way 'Naa Tin Dhinna (Child Of Joy)' begins. After the stage has been set with an assortment of instruments having come together to create a classical mood with a foot tapping effect, both Hariharan and Chitra croon the words 'Naa Tin Dhinna' for close to 3 minutes before a group of children come on the scene towards the end to make one find the Rahman effect again.
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