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New Releases by ARR??

Topic started by Srikanth (@ passport.proxy.lucent.com) on Mon Sep 15 10:23:15 EDT 1997.
All times in EDT +9:30 for IST.

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• From: ARRBuddy (@ lac479-362.carleton.ca) on: Mon Sep 27 13:07:21 EDT 1999
  
  CLASH!!!!
  
  A.r.rahman and Rajiv Menaan had quarrelling last week because of delay of A.rr. He only gave 2 songs, rest of the songs he didnt compose yet. Kandukondaen Kandukondaen suppose to releas in Deepavali. So, now Rajiv Menan kicked ARR and substitute Marahathamani instead of ARR. Mammuddi and Ajith suggested Marahathamani............
  Now, marahathamani composing a songs and he will do BGM as well.
  
  
  
• From: Shashi (@ eed02976.mayo.edu) on: Mon Sep 27 18:52:31 EDT 1999
  
  Hello everybody
  
  Review of the 'Soundtrack of Takshak'
  Music: AR Rahman
  Lyrics: Mehboob
  Released by RPG-HMV
  Direction: Govind-Nihalani
  
  
  Song 1: 'Rang De' by Asha Bhosle & Chorus-- The most catchy of the album and rightly
  placed as the first track. Starts out with 'Tabla Tarang' and Asha's slow rendition
  of 'Rang De' following which the rythm loop very similar to the rythm loop of 'Vetri
  Kodikatu' from Padaiyappa follows. However, after a few cycles the addition of the
  Mridangam does improve the flow. The bass loop is retained however (reminding constantly
  of the Padaiyappa loop). The lines 'Rang De' of the pallavi have the following notes--R2,
  G3, M1, P, D1--invoking the feeling of 'Charukesi' but this does not last long as ARR
  shifts to his favorite Shankarabharanam notes. However, the transition between these two
  sets of notes gives the song its beauty. The chorus has been used effectively. First
  interlude is typical rahmanish with the addition of a melodious flute. The charanams use
  the lower octave (Pa onwards) and touches of G2. The 2nd charanam is more effective than
  the first as it uses the 2nd half of the pallavi (higher notes) as well. The 2nd interlude
  is also good with the Mridangam, male chorus and flute being used well. The song ends with
  Asha's improvisation on 'Rang De'. Offcourse, Asha continues to excel!(she always has IMO!)
  Overall rating 8.0/10
  
  Song 2: 'Khamosh Raat' by Roopkumar Rathod--Interesting start on the guitar, some notes being
  played in a typical indian style. Roopkumar Rathod voice is melodius as he starts the pallavi
  without rythm which catches up later. The multiple voice layering, reverb and ambience stand
  out in this song. The first interlude is short and sweet. The charanam brings more melody,
  once again the 2nd charanam being longer and better (with the addition of 2 more lines in
  the 2nd charanam at the start; these have no rythm accompaniment as well). The 2nd interlude
  has female chorus singing the swaras along with the guitar. The notes 'Sa,P,P/P,M/P,G,M,P'
  reminds one of the song 'Devan thiruchabai malargale' (an IR melody). Notes for the later are
  P,P,P/P,M/P,M,G,Sa. (Compare with the other set to note the close similarity). However, this
  does not mean that the tune has been copied. It is just a beautiful set of notes used
  differently by two different composers. Also, watch out for the Violin/String accompaniment
  towards the end as 'Khamosh Raat' (pallavi) is repeated. This 'strike from the blue' (when
  it almost looks like ARR is going to end the song with the chorus) is terrific; strings
  accompany the last part of the song effectively. One should also mention acoustic guitar
  accompaniment throughout the song is great as well. Overall rating 8.0/10
  
  Song 3: 'Jaan Meri' by Hema Sardesai & choru-- The musical intro. is one of the highlights
  of this song. After the erie hum & couple of thumps, a running synth piano, bass guitar, sax
  combo is mesmerizing. However, it is short-lived as the rythm loop sets in with a rather
  metallic Ghatam sound along with drums (all synth derived). Pallavi is Okay. Hema Sardesai
  has a nasal twang (when she sings) which is her drawback (IMO); however, her humming is
  excellent. The first interlude is African sounding chorus vocalisation which is interesting
  but can be unpleasant for some. Again, the charanam does not add too much imagination and
  does sound rather flat. The 2nd interlude with the sax & voice (jugalbandi type) is good.
  At the very last the shouting done by the chorus as back up does start to be irritating.
  Overall rating 6/10
  
  Song 4: 'Dheem to Dare' by Surjo Bhattacharya & chorus-- Strong begining with rythm and
  background chorus with a synth string lead. The whole song is a short 'Tarana' or 'Thillana'
  in Madhyamavati/Madhumad-sarang raga (depending on your North/south musical background). The
  new singer Surjo's voice is pleasant. The first interlude with the Mridangam is a continuation
  of the Mridangam interlude in 'Rang De' but is once again good. The song becomes increasingly
  complex towards the end. However, here I felt that the more complex portions of the tarana
  are done by a different person (not Surjo); this voice is more Southie sounding and it ends
  with jathi's that are brief but adequate. Overall rating 7/10
  
  Song 5: 'Boondon Se Baatein' by Sujata Trivedi-- Starts with bells followed by a reggae
  bass loop. Here Sujata's hum joins the song. This piece is very reminiscent of the humming
  at the start of 'Oh Maria' from Kadhalar dhinam, but at a much slower pace and lower octave.
  Also, Sujata recites the words 'Rhim Jhim, Rhim Jhim' & 'Boondon Se Baatein' along with the
  humming. Just fantastic!! Sujata's voice is very sweet (a mix of Vani Jayarams & Sununda's IMO).
  The pallavi is beautifully done in Kirwani. Both the interludes (first & second) are flute-string
  combo's the former being dominant in the first and later in the second. Also, a santoor joins
  the team in the 2nd interlude towards the end. Both the charanams are identical musical pieces
  (lyrics differing however) with the flute hugging the earlier portions of the charanam & the
  strings hugging the later portions of the charanam, quite closely along with the voice. The
  singing as such in the charanam, reminds one of the classic 'Geeta Dutt' type of singing. The
  song ends with the opening hum being repeated and fading off with the bells. Very impressive
  song overall. Rating 8.5/10
  
  Song 6: 'Toofan ki Raat' by Hema Sardesai & chorus-- Starts with a jungle beat & hum followed
  by a rythm loop (pretty unimpressive start). However, towards the start of the pallavi, a
  bass flute (airy sounding) along with some muted synth instrument (which I can't figure out) is
  amazing! This combination accompanies the first few lines of the pallavi as well. The pallavi
  is good, however, the repetition of the word 'Toofan' gets on ones' nerve. The song does not
  follow the usual Pallavi/Charanam progression, and the melody itself is not very imaginative.
  However, Hema has done a better job with this song than with 'Jaan Meri'. Also, there are two
  wonderful flute pieces, both in Dharmavathi scale. The former one is short and the latter a
  little longer and more imaginative. This gradually fades into the hum towards the closing of
  the song along with the irritating 'Toofan' repetition, which could have been cut short by a
  few bars. Overall rating 6.5/10
  
  Song 7: 'Dohlna' by Sukhwinder singh-- Right from the start this is a well done song. The
  start with the slow rythm reminds one of the slow waddling ride on an elephant or camel. The
  main theme is on the flute which is once again very very melodious as well as catchy.
  Full marks to Sukhwinder for once again rendering this rather difficult slow song with lots
  of improvisations in a terrific manner. In this song the charanams and interludes are not
  completely different from the pallavi, but are improvisations. This once again shows that ARR
  is trying new grammars' for song composition. Towards the end of this song the original theme
  on the flute is repeated and faded. Overall rating 7.5/10
  
  Song 8: 'Jumbalika' by Alisha Chinoy, Shankar Mahadevan & chorus-- Hindi version of 'Jumbalika'
  from En Swasa Katre by Rafi & chorus. The modifications on this song has both 'up' & 'downsides'.
  The upsides are the excellent ambience, echo effects. Good acoustic guitar followups; some
  good chorus elements & Shankar Mahadevans' addition which decreases the monotony. Downsides
  include a more 'softer/toned down vocal rendition' by Alisha and replacement of a 'biting/harsh'
  synth brass interlude (first) to a softer synth guitar version. Other changes such as the chorus
  start to the 2nd interlude and the rythm continuing along with the flamenco vocalization
  during the end of the same interludes are neither enhance nor worsen the song. Overall rating
  6.5/10
  
  Overall album rating: 7.25/10-- A good album once again, but by no means ARRs best. This album
  is certain to attract the younger crowd with some 'Pop/MTV-ish' melodies and prominent synth
  use. However, there are some finer melodic aspects as well if one listens carefully, dismissing
  the obvious MTV-ish stuff. Since, the soundtrack is for a commercial bollywood movie and not
  for an art movie (such as 1947/Earth), the album seems very appropriate.
  
  Comments welcome
  
  
• From: barangbesar (@ pc202.domain11.nasionet.net) on: Tue Sep 28 01:57:29 EDT 1999
  
  arr buddy.......nallla karpanai
  
  
• From: Gopal (@ 164.100.80.108) on: Tue Sep 28 09:01:52 EDT 1999
  
  On her 70th Birthday LAta mangeshkar has listed the 10 best songs she has sung and Jiya jale from Dil Se is one of them
  
  If you think about it, Lata Mangeshkar
  is the only real phenomenon of our times. She
  has been defying the law of gravity for more than
  50 years by staying firmly ensconced in her
  position, as though age has bypassed her.
  
  At 20, she sang Madhubala to eternal fame with
  Ayega aanewala in Mahal. At 44, she immortalised
  Dimple Kapadia by singing Hum tum ek kamre
  mein band hon in Bobby. At 69, Dimple's daughter
  Twinkle attained an aura of stardom when Lataji
  sang Madhosh dil ki dhadkan for her in Jab Pyar
  Kissise Hota Hai.
  
  Barely a year later, Preity Zinta swung and sang
  into action with Jiya jale in Dil Se. Right now it's
  Urmila Matondkar serenading Govinda with Hum
  Tumpe Marte Hain. Lataji has lost count of the
  number of songs she has sung. Some of the more
  popular numbers don't find favour with her. She
  shocks me when she dismisses the songs we grew
  up thinking of as imperishable classics as "Theek
  hai". But there are innumberable songs in her
  awesome repertoire which cannot be denied either
  on merit or success. Songs that contributed to
  shaping one of the greatest success stories of the
  20th Century. Here's looking Lataji's Top 10
  chart-toppers. And why she likes them so
  immensely.
  
  1. Aayega aanewala (Mahal, 1949; music by
  Khemchand Prakash) - This was the song that
  defined the beginning of the Mangeshkarian magic
  and transformed Madhubala into an instant living
  legend. Ironically, Madhubala didn't lip-sync it on
  screen at all! It was played in the background. But
  what an impact it made! With one song Lataji wiped
  away all the careers of existing female singers.
  Ashok Kumar who played the lead in Mahal still
  recalls how everyone in the room reacted when the
  then-unknown Lata was asked to sing. Even today
  mention of Aaayega aanewala lights up Lataji's
  eyes. "It's hundred percent my favourite. I had
  done a number of rehearsals for the song. Actually
  the composer Khemchand Prakash heard me
  singing for Anil Biswas. A number of tunes were
  readied for Aayega aanewala. I was given strict
  instructions about the importance of the song. The
  producer Ashok Kumar and the director Kamal
  Amrohi told me I had to sing as though the heroine
  was approaching from a distance. Since the studio
  was very large, I was placed in one corner of the
  room and told to gradually approach the
  microphone in the middle of the room while singing.
  There were no dubbing and editing devices in
  those days. We had to do it all in one go. I still
  remember we recorded the entire day."
  
  2. Pyar kiya to darna kya (Mughal-e-Azam, 1960;
  music by Naushad) - The image of Madhubala
  dancing in a thousand images reflected on the
  walls of the sheesh mahal set is as alive today as it
  was in the 60s. The lyric by Shakeel Badayuni has
  acquired the hue of an emblem accentuating
  rebellious love. It was composed by Naushad who
  suggested the key line Pyar kiya koi chori nahi ki
  to Badayuni. The line became the highlight of the
  song. Naushad feels Lataji gave her best to
  Mughal-e-Azam. Listen to Lataji sing Pyar kiya to
  darna kya and you'll know why the composing
  genius Sajjad Hussain once exclaimed, "Lata sings,
  the others weep before the microphone."
  
  3. Aaja re pardesi (Madhumati, 1957; music by
  Salil Chowdhury) - From my conversations with
  Lataji I gather Salil Chowdhury is one of her
  absolute favourite composers. "I love all the songs
  of Madhumati," the Nightingale confesses excitedly,
  and blushingly remembers how happy everyone
  was on the day Aaja re pardesi was recorded.
  "Lyricist Shailendra gave me flowers. The director
  Bimal Roy came forward to congratulate me. The
  song was beautiful and it was such a big hit too."
  The song won Lataji her first Filmfare award.
  
  4. Kahin deep jale kahin dil (Bees Saal Baad,
  1962; music by Hemant Kumar) - Prior to this
  song, Lataji had fallen seriously ill. Doctors had
  predicted that she'd never be able to sing again.
  Being a born fighter, the Nightingale swore to
  bounce back. Her first recording after her illness
  was this high-pitched number of haunting
  dimensions. Lataji was nervous and apprehensive.
  "Fortunately the recording went off very well.
  Hemant Kumar was of a very quiet temperament.
  He knew exactly what to compose for me."
  Interestingly Hemant Kumar recorded Lataji's voice
  during the rehearsal and okayed it as the final
  take, the Nightingale says she's glad she made a
  comeback after her illness with an intricate song
  like Kahin deep jale. She had a point to prove to
  her detractors who were waiting for her downfalls
  and she proved it. The song won her another
  Filmfare award.
  
  5. Allah tero naam (Hum Dono,1961; music by
  Jaidev) - When Dev Anand’s Navketan banner
  decided to give this prestigious assignment to S.D.
  Burman’s assistant Jaidev . It was on condition that
  Lataji sing for the film.The softie that she is Lataji
  immediately set aside her differences with Jaidev to
  sing one of the tallest devotional numbers ever.
  Classical vocalist Pandit Jasraj remembers waking
  up from sleep with tears streaming down his
  streaming down his cheeks after hearing the
  bhajan in Hum Dono. "Allah tero naam her very first
  song that we recorded for the film," Lataji recalls.
  "Like Shankar - Jaikishan, Jaidev’s tunes were
  steeply scaled." Though she has sung at
  unbelievably high-pitch all her life Lataji detests
  singing at what’s traditionally the male scale.
  
  6. Naina barse rimjhim (Woh Kaun Thi,1963;
  music by Madan Mohan) - Every song in Woh
  Kaun Thi is precious to Lataji’s heart. But Naina
  barse was the all-time hit." There’s an interesting
  story attached to Naina barse since I was
  indisposed Madan bhaiyya recorded the song in
  his own voice for the shooting. Onlookers at the
  shooting in Shimla were aghast when ‘ghost’
  Sadhana sang in a male voice.When Madan
  Mohan missed getting the Filmfare award for his
  score in Woh Kaun Thi. Lataji was truly heart
  broken. " He never got any popular award," she
  laments "People realised his greatness only after
  his death."
  
  7. Aa jaan-e-jaan (Inteqaam, 1969; music by
  Laxmikant-Pyarelal) - Cabaret songs used to be
  sister Asha Bhosle’s domain. Until Aa-jaane-e-jaan.
  Tuned and styled specially to suit Lataji,
  Aa-jaan-e-jaan is today regarded as the best
  cabaret song in Hindi films Tell her this, and Lataji
  laughs. "I remember telling Laxmikant not to give
  me any cabaret songs to sing. He assured me I
  could swing it without a hitch. Aa jaan-e-jaan was
  tailored to suit my taste and style." The song
  cracked open the charts it’s a favourite with Helen
  who danced to the opulently orchestrated numbers.
  
  8. Bindiya Chamkegi (Do Raaste, 1969; music by
  Laxmikant-Pyarelal) - Filmmaker Raj Khosla was
  a man of many talents, Music to him was life, A
  born singer he could hum tunes for hours-together.
  Bindiya chamkegi was a Punjabi folk tune that
  Khosla had board his mother singing. He wanted it
  in his film. Not a hot favourite with the singer
  herself. Bindiya chamkegi brings the roof down at
  every live concert of Lataji. When spectators break
  into a jig in the aisles the decorous Nightingale
  baulks. But what to do. Its just one of those
  unavoidable things . Interestingly Lataji sang this
  Punjabi-folk hit long before it became fashionable
  to have such items in Hindi films.
  
  9.Dil deewana (Maine Pyar Kiya, 1989; music by
  Raam Laxman) - Who would believe that Lataji
  was ready to call it a day when she agreed to a
  sing this song for the little -known Raam Laxman?
  And who would believes that Raam Laxman had
  originally prepared the tune for a nondescript film
  called Agent Vinod for the Rajshris? Prior to the
  recording of Dil deewane Lataji’s health had
  deteriorated. But I still recorded five songs in one
  day for Maine Pyar kiya. "Dil deewana is no doubt
  a lovely song," she concedes softly. It boosted the
  career of RaamLaxman who had been struggling
  for more than a decade. It also turned around the
  slumping fortunes of the HMV music company
  which according to rumours was on the verge of
  closure. Finally Dil deewana helped Lataji to
  change her mind about quitting playback singing.
  There was hope for film music.
  
  10. Jiya jale jaan jale (Dil Se, 1998; music by
  A.R.Rahman) - This is by far Lataji’s most favourite
  number of the 90s.Mention Rahman and the
  experience of working with him in Chennai and she
  expresses the joy of a flower that has newly learnt
  to bloom. "A.R. Rahman’s style is amazing," she
  enthuses. "No doubt his style is Indian. But there’s
  heavy Arabic influence I don’t think that man thinks
  of anything except his music." During recording she
  kept humming an alaap at the end to a herself.
  Rahman overheard her. "Keep doing it, I’ll just
  continue to records," he urged the Nightingale. "At
  first I didn’t think all that much of the tune," Lataji
  confesses. "But when I heard the recorded song I
  was floored. I got to sing an outstanding number
  after quite a while," she sighs as she prepares to
  give voice to Aishwarya Rai in Aditya Chopra’s
  Mohabbatein for the next millenium.
  
  
• From: chandy (@ 209.125.83.228) on: Wed Sep 29 10:52:22 EDT 1999
  
  Sashi, good review :)
  
  Are the songs of takshak available anywhere on the net? If yes, can someone help us with the URL?
  
  

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