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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.

Any new album by A. R. Rahman generates lot of buzz. Share some of it here. Review, discuss or comment on ARR's new albums.

Check the ARR reviews page

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Responses:

• Old responses
  
• From: S T S (@ c1319060-a.stcla1.sfba.home.com) on: Mon Jul 9 00:47:52 EDT 2001
  
  Aiyodaa, Enge Pokuthu intha threadu?
  
  Rahman Fan,
  You wish to listen to HJ's Majnu. Hmmm. The reviews are not good. I read it that thread. Good luck.
  
  
• From: rezanawaz (@ 212.77.208.98) on: Mon Jul 9 08:30:00 EDT 2001
  
  even still all this years arr tunes are recycled,still those will end up as a hit.
  
  
• From: Shashi (@ host-72-212.unmc.edu) on: Mon Jul 9 12:20:34 EDT 2001
  
  I am posting after a long time. For those interested a detailed review of Lagaan.
  
  Music review of Lagaan
  
  After a long period of hibernation, my plan is to start writing about some of ARR's relatively recent works--
  to start with lagaan and then some others (except for One 2 ka four--which I think is a terrible album overall).
  On the other hand 'Lagaan' showcases ARR's prowess as a worthy 'musician'--in all respects.
  
  Song 1: Ghanan ghanan--by Udit, Alka, Sukhwinder, Shankar M, Shaan, Kishori Gowariker & Chorus: Starts off with the
  rumble of bass drum and individually picked strings setting the drone, while voices starting with Sukhwinder join along
  with strings and shakers. This prelude ends with the bass drum to start of the song in the captivating raga of 'Megh
  Malhar'(monsoon raga belongs to the kafi thaat) as a 'traditional bhol' type singing joined by Udit & Alka--towards the
  end of which rhythms join in (which is similar to 'Bhol sajni or Velli malare from Doli Saja ke Rakhna or Jodi; even the
  raga is similar but ragas and talas are allowed to be reused but not the original melody line).Alka starts off the main melody line
  with 'Kaale megha' and assorted voices join her in a beautiful pattern to end with Shankar M, followed by the traditional
  bhol and bass drum thumps.This leads to the brief 1st interlude of rhythm with claps, tamburines & shakers with 'pan' effec
  across the listening field. The 2nd and 3rd stanza resemble except for the individual lines and singers but the overall
  progression is very good. The stanza's (anupallavi's) always end with the traditional bhol and pallavi. Worth mentioning is the minor
  variation in the percussion with the 3rd stanza 'Aayee he ruth..' The 2nd interlude is a subdued synth + strings
  section joined by a nicely executed male & female chorus. The song fades after the recitation of the traditional bhol
  with Ghanan Ghanan just as it started finishing a whole circle. Overall score 8/10
  
  Song 2: Mitwa--by Udit, Alka, Sukhwinder and Srinivas: Ektara to start (so rare these days) and a prelude by Sukhwinder
  sets of a rhythm that is a collection of folkish instruments--traditional drums/cowbells/tins etc. Udit touches your
  heart and breathes 'folk' thru the pallavi, but I did not like the heavy use of synth/strings/cello which accompanies
  the words 'Mitwa' (IMO it takes away the wonderful 'folkish' atmosphere; the addition of the sarangi softens the blow
  however). the 1st interlude is very sweet--traditional flute, shannai, ghatam & sarangi--what a combo, totally indian
  except for the bass guitar picks. The 2nd and 3rd stanza (the anupallavi's) also sound wonderful with good creativity,
  progression and appropriate use of instrumental support with the shannai, flute and sarangi at the right places. Again,
  I am repeating myself but when the song reaches the words 'Mitwa' the use of heavy strings and bass thumps give a more
  western--almost 'war' like feeling to this otherwise peaceful song. You can understand what I am talking about if you
  listen towards the end of the 3rd stanza (the 2nd annupallavi which starts with Udit). This time the singing of 'Mitwa'
  is unsupported by the heavy strings/drums and IMO sounds more appropo. Srinivas is somewhat overshadowed in this song.
  The 2nd interlude is worth mentioning with the sarangi--rhythm break--bass drums--ghatam--female vocals--to end in sarangi.
  At the end Sukhwinder returns with the initial prelude again with some continuing rhythm to lead the grand finale as
  all the singers gradually join in with singing of 'Mitwa' (heavy string should have been used only here when all the
  instruments flute, shannai, frame drums all join in), the shannai & flute carry the song to its end. Udit's singing and
  the melody itself are the high points and you know my criticisms already. Overall score 7.5/10
  
  Song 3: Radha Kaise--by Asha, Udit, Vaishali & chorus: Starts with 'thalam' (kartaal/jalra) & a synthetic bird cooing
  (with echo effect) along with a variety of bells and dandiya sticks and claps, when a totally unexpected but wonderful
  sonorous drum is made to play various tones (like tabla tarang but the drum is different!) Asha starts off with minimal
  rhythm but gradually sounds are added (bird, flute to backup); Udit and chorus answer Asha's querries with more querries!
  The 1st interlude is a continuation of the flute, the distant bird, rhythm and thalam sounds but 'Kanjira' is added as
  Udit starts the 2nd stanza and Pakhwaj is added towards its end. Asha repeats the pallavi and vocal chorus takes us to
  the 2nd interlude which begins with the sounds of 'paayal/kolusu', and followed by a creative introduction of 'taraana'or
  thillaana type singing and unconventional use of drums, dandiya sticks and the distant bird! Another thrill awaits as
  the 'Vishwa mohan Bhatt' and pakhwaj takes the song to a different dimension and the 3rd stanza begins with Asha and
  progresses with Kanjira, pakhwaj, tabla & strings support. As the pallavi is repeated by Udit with the sonorous drum--
  Asha joins in along with a flute-drum-chorus & the flute breaks free and along with Vaishali a fast paced (drut like)
  exposition of raga Abheri (Bhimpalas)--simply superb; Asha ends the song with an airy flute. Overall score 9/10. Very
  imaginative composition.
  
  Song 4:O Rey Chhori--by Udit, Alka & Vasundhara Das: Start off with a gentle rhythm & strings--Udit gives a melodius
  pallavi along with 'paayal' sounds; Alka repeats with equal grace. 1st interlude starts with a large frame drum percussion
  breaking to a totally Western sounding ensemble of strings, cello, vocals, picollo etc--very creative--Vasundhara renders
  her melody supported by a solo violin and Western accompaniment with great dignity and the song returns to the native
  rustic rhythm (which resembles the rhythm in 'ek ladki ko..' from 1942 love story) Udit and Alka carry the song which
  flows well in the 2nd stanza as the rhythm becomes subdued with the joining of synth strings playing a wonderful folkish
  melody as it merges with a piano and Western vocals--Vasundhara returns with piano/cello/strings support as she builds her
  piece to a peak which amazingly merges with the 3rd stanza by Alka and Udit (like the 2nd stanza) and towards the end
  joined by Vasundhara as the pallavi is sung now in a staggered configuration. High points to almost seamless blending
  of indian folk and Western orchestra & a simple but catchy melody. Vasundhara sounds nasal in her 2nd stanza.
  Overall score 8.5/10
  
  Song 5: Chale chalo--by ARR, Srinivas & Chorus: Rhythms along with humming (like buzzing) and clickety-clakers start this
  song and the Dulcimer like instrument outlines the main melody of the Pallavi. Rhythm (wood blocks) has wonderful
  'pan' effects and recaptures the sound of 'train coaches' on a rail track. ARR & Srinivas handle the pallavi with ease--
  a catchy composition in 'Chalanaatai' (Jog). 1st interlude with rhythm + solo bass cello(adding depth & strength to the song),
  is followed by the dulcimer and a melodious flute which emphasises the melodious phrases of chalanaatai. Female vocals
  lead the 2nd and 3rd stanza (the anupallavi's) with ghatam and thalam additions. However male voices along with flute
  and tabla are gently added to the background and ARR jumps in and builds a wonderful crescendo with the original rhythm
  on the wood blocks/tabla--pallavi repeats with overlap effect. The 2nd interlude is strengthened by strings which explore
  various moods of Chalanaatai to finally hook up with the 3rd stanza (similar to 2nd)--Pallavi repeats with slight drum
  rolls--the dulcimer/santoor/claps outline the pallavi now increasing in tempo and additional percussion joins to end in
  a major resonant thump. High points--very original, ARR & Srinivas shine and brings out the mood appropriately. Overall
  score 9.5/10
  
  Song 6: Waltz for Romance--An orchestral piece starting off with strings and harp intro as the western flute outlines
  the main melody with strings/cello support (good use of major and minor variations). The melody is repeated by the strings
  with flute/harp/viola/2nd string support. At this point a solo string shows a solemn mood for a brief moment to be broken by a
  wonderfully excecuted happy movement on the violin (Baroque style). The main melody which is definitely romantic repeats
  on the flute again & finally with a scale shift to end wonderfully with strings backup all the way as the airy flute fades.
  Short but very catchy and very authentic Western sounding (both in compositon and orchesteration) piece. Score 9/10
  
  Song 7: O Paalanhaare by Lata, Udit & chorus: Lata starts with a solo flute repeating the melody of the pallavi. She is
  slowly joined by typical bhajan like accompaniments (thamlam/kartaal and humming vocals) but as pallavi progresses
  muted strings/bass is added to give fullness. Excellent use of temple bells as well! The 1st interlude nearly blew me
  away when I first heard it! It is unexpected but the flute jumps into the picture along with a wonderful sounding
  tabla (short & sweet piece). 2nd stanza with Lata continues with the tabla added to percussion and flute backups. The
  singing is soulful (particularly where the melody resembles charukesi). Pallavi repeats with vocal support leads to 2nd
  interlude which uses strings and some synth (but not showing too much variation and that is appropriate for a bhajan)--
  Udit starts the 3rd stanza with graded addition of percussion/vocals/strings and a small variation on the tabla rhythm
  --once again very bhajan like with chorus backups leads to the pallavi now outlined by the flute. The song is crowned
  by two variations sung by Udit and Lata which are both wonderful and ends in a solitary temple bell--wow! I never thought
  a bhajan can be so captivating! Score 9/10
  
  Song 8: Lagaan...Once upon a time in India: My most favorite orchestral piece in this album--starts with horns (sounds
  like a bugle) & a bass drone--very 'John Williams' like--mega hollywood blockbuster. Crashing cymbals lead us to orchestral
  drum thumps with horns continuing the main intro as it breaks to a drone with strings supported by sympathetic strings
  on the sitar?! With this the melody has already shifted to an indian sound and sets the stage for Anuradha Sriram to
  hum a melody line (which is the same lines of Udits opening line of 3rd stanza--song 7) with a mild variation towards
  the end to join the original horns and orchestral thumps. This merges to a Western sounding male/female vocal chorus
  (but the words are in Hindi) with strings support (the absence of sympathetic sitar strings makes it very Western now!)
  Once again major and minor variations in scale are wonderfully shown with excellent string arrangement and a single
  isolated triangle (bell) shines at the start of the minor variation. The strings gradually take a life of their own to
  emerge from the male voices to explore areas that are just simply amazing (so many moods are potrayed in a few seconds)
  Voices join and become stronger with an addition of a bass cello drone and variation on the strings. The recording of
  bass cello is so realistic and one can hear the sounds of the bow over the strings apart from the cello itself!. The
  strings outline a melody followed by a set of female chorus which is vaguely reminiscent of the line 'Hindustan hamara'
  from 'Saare jahan se achha..' ARR had done something similar in the song 'Kapal eri..'(movie Indian) towards the end.
  This only lasts for a moment though as the brass orchestra takes the song from here to a wonderful crescendo with a steady
  orchestral movement. It ends with Anuradha's voice repeating her hummed melody to contrast the power of a solitary human voice
  against a full orchestra--magnificent! Special mention for Prasanna who has arranged the string section--well done. Score 10/10
  
  Overall an album that shows progression and maturity of ARR in every composition. With minimal use of electronica and
  more authentic instruments (folk and Western) ARR captures the bygone era most appropriately and still manages to show
  his creativity in every compostion. Once again this album is to be cherished by all music lovers.
  Overall album score--8.8/10
  
  Comments welcome
  
  
• From: Common Friend (@ 203.197.141.187) on:
  
  Excellent review.
  
  But I don't know why 12ka4 is terrible to you. Ofcourse, it's not one of ARR's great. But some 4 songs are really good and far better that usual hindi stuffs.
  
  Okay...this is MHPO
  
  
• From: http://moviemagik.tripod.com (@ 194.170.1.66) on: Mon Jul 9 19:55:52 EDT 2001
  
  
  Well,
  this year Rahman had given gems in the form of ZUBEIDAA and ONE 2 KA FOUR. Both the soundtracks were good and goes well with the story and theme. IF the films did not live up to the music, thats a different case.
  Then we had LAGAAN...the best of the lot. A soundtrack for all indian music lovers to be proud of.
  Now all of a sudden if all make big faces for NAYAK...that's sad! I mena, when they are remaking the whole movie as it is, why should Rahman spend time making new songs.
  
  Obviously the sad thing in this is certainly STAR. I expected some new sizzling tracks, but if the director is okay with redone versions like he did in his earlier movie JODI, then who are we to complain.
  Afterall JODI's sales were much much better than DOLI SAJA KE RAKHNA.
  
  But yes, it is indeed better for Rahman to give new tracks for new movies, unless ofcourse it is a direct remake or dubbing!
  
  And pls...stop those stories of 1 lakh parking fees and all. These are just stories that need npt be encouraged.
  I even the richest man oor say the most money hungry being would not charge anyone 1 lakh as entry fee. Its too absure by pure human standards.
  
  Give us a break!!!!!
  
  
• From: cosmician (@ 194.170.127.53) on: Tue Jul 10 01:10:15 EDT 2001
  
  Thank you for a very enlightening and informative review ! Of course compared to Lagaan, 12Ka4 was more of a fun album.
  
  

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