Vishal-Shekhar's melodies here is as up-tempo as any express train. The tally could have more consistent though - there are tracks here that hark back to V-S's more untested early tallies as well as some of their more clichéd post-Om Shanti Om melodies. There is therefore a blend of classic mainstream music and the Hip-Hop-rock-pop kind of pieces of music that they did in some of their musically inconsequential videos.
The sound is rich, and the use of Tamil lyrics and South Indian instruments are apt but not hefty. The combination of the duo's method and the dakshini flavour is tangy, spicy and does not get into incongruous or unpalatable zone. One does, however, seem that a few of the pieces of music were much more (desi)rable!
Energy-wise, the lead pathway 'One Two Three Four' (Vishal Dadlani-Hamsika Iyer) exhibits both the chameleonic voice of Vishal and the sporadically-used formidable abilities of Hamsika (best known, ironically, for 'Chhamak Chhallo' from Ra.One, rather than her weightier early pieces of music) well. The power is high, the lyrics mad and intentionally silly, and the recital does accurately what it asks you to - Get on the dance floor! Techno-Western combines appetizingly with south percussion, cords and chorus to give a zingy feel.
Matching this recital in exuberance and wackiness is the title-track 'Chennai articulate' that really and egoistically mentions titles like SRK, SPB, Rohit Shetty and Vishal-Shekhar in the prelude before it gets down to (melodic) business! The robust orchestration decks up a easy, nearly retro, song that brings back S.P. Balasubramaniam (the SPB cited overhead and the hot Southern vocalist from the Hindi movies of the '80s and early '90s) after the minor 2008 film Ghatothkach.
Bala, as he is renowned, is in super fettle, dwarfing co-singer Jonita Gandhi, and the lyrics have madness in their method, with some beliefs expressed in trendy ways (What a wonderful, badi bombastic / Life ki excursion hai completely truly incredible / Jitni bhi log aaye / Unke liye banaye /Dil mein jagah hum, dil hai elastic). Amitabh Bhattacharya has by now mastered the Hindi-mixed-seamlessly-with-English kind of song and he excels here. The considered here resembles Anand Bakshi's Sab hai sawaar / Dushmun ke yaar / Sab ko chali yeh leke / Jeena seekha rahi hai that we perceived in that benchmark train recital of the '70s, 'Gaadi Bula Rahi Hai' (Dost).
And then we come to the clear victor in the album from the melodious and lyrical viewpoint: 'Titli'. Rendered glaringly by Chinmayee with Gopi Sundar supplying ample company, this magnificent song levels us with its mix of old-world melody and contemporary orchestration. Silkily, sensitively conceived, it ranks high amidst the melodious songs of the year so far. certain thing tells us that this gossamer geet will outlast and outclass the other songs in attractiveness in the soundtrack as the score and film grow.
'Tera Raasta Chhodoon Na' (Amitabh Bhattacharya-Anusha Mani) is a recital of a lover's pledge, beginning on an audacious note (Meherbaani nahin, tumhara pyar maanga hai), but bears for two reasons: one, the recital sounds like a simplistic jingle extended into a song, and two, that Amitabh sings superficially and not deep from the throat and thus, does not seem to seem' his own lyrics. The song ends up like a better variety of Indipop, but without feature. The 'rock'-like interludes drag it down further, and co-singer Anusha is flat in her lines too.
'Kashmir major Tu Kanya Kumari' (Sunidhi Chauhan-Arijit Singh-Neeti Mohun) is like a '60s O.P. Nayyar tune decked up both with a dakshini tang as well as a modern hue. The lyrics are intelligent but a tad too phonetics-oriented and the feverish stride leaves no respiring sstride for any vocalist to glow.
'Ready stable Po' (Brodha V, Smokey, Enkore, Natalie Di Luccio, Vishal Dadlani) is the weakest pathway on the album, trite, over-familiar and overdone with techno trendy tenors. Good perhaps to dance to, but forgettable there as well - other than the three-word snare, that is. The phrases and music take us back to the worst two years in Hindi melodies - the bewildered zone of 2008 and 2009.
Finally, the Dubstep type of 'Titli' and the 'Chennai Express Mashup' are eminently purposeful - and thus forgettable.
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