Keeravani is perhaps the Rahul Dravid of Telugu film music industry. He is consistent, dependable and slightly under-rated. But when the chips are down Keeravani is the man to fall back on. He has produced innumerable number of hits (under different names in different languages); yet he seems to have not got his due.
But Naa Autograph is certainly not Keeravani's best. Nor is it his worst. It falls between the two stools of good and bad.
Naa Autograph's Tamil original was a slightly sensitive, rights-of-passage movie. So the film needed the songs to create the perfect tonal canvas for the director to paint the right kind of images. Keeravani does not seem to have provided that (In the Tamil original, Bharadwaj had done a tremendous job). But heard in isolation, the songs have their moments
especially because lyricist Chandrabose is in good form
The album opens with Mounamgaane with Chitra at her dulcet-voiced best (she always is). The essential tonal variations are limited and the instruments also come across as passable. But the content (sung to a group of visually-challenged men) is top class as Chandrabose conjures up some inspiring stuff.
The second song Gurtukostunnayi shows why KK is so popular among all the present-day music directors. KK's voice is strange amalgam of diamond and velvet -soft yet attractively sturdy. And he gives full exposition of his range and repertoire in this melodious number. His diction is solid and his innovations well within the limits of acceptability.
Duvvina Talane is a typical Ravi Teja song ---peppy, lively with usual mix of strange words. Keeravani, who pairs with Sumangali, for this song gives his best to this full-throated number (but why is there a fetish among music directors to sing voluble songs?) The song has an attractive rhythmic ring to it. Will surely be popular on the TV channels.
Manmadhude is actually a medley with Saandeep accompanied by Ganga and Keeravani mouthing the dialogues. The song gets up slowly, but picks up tempo and before you can realize, you are into it. Saandeep has tried some innovations in his essential style. It is a moot point whether it is good or bad.
Gaama Gaama by SPB, Poornima and Sri Vardhini is just about pedestrian. The veteran singer is let down by an average tune which is compound by some forgettable orchestration. Then again, Chandrabose has managed some stirring stanzas.
Vijay Yesudas has still a long way to catch up with his talented and illustrious father. When you listen to Nuvvante Praanamani you will realize why. Vijay lacks the depth of his father. To be sure, he is promising. But he sure has to improve a lot especially his modulations and enunciation. In some place, the voice seems to lack the soul.
On the whole, Naa Autograph comes across not as a signature (of Keeravani) but as a hurried scribble.