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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: BLUESY (@ abd80324.ipt.aol.com) on: Thu Feb 24 00:12:22 EST 2000
  
  also an addendum
  "enna mani sir em paiyan recycle rehman kitta avla quicka 7 padalgal ketta pavvam avar enna pannuvar-konjam time kudutha-nusrat oda old qwalli, micheel brooks oda fusion work, peter gab., joe satriani oda instrumental pres., ellam kettutu atha sound engineeeroda helpoda, clinton, bush, fdr, evanglalellam panchathan innuku invite panni pada solli asathuvar-sir konjam vittu pudinga sir!!!!!
  SEKHAR(ARR'S POP)
  
  
• From: aruvi (@ odo06.slip.yorku.ca) on: Thu Feb 24 00:17:00 EST 2000
  
  Bluesy
  If they could do so, why didn't they yarn out a web of something like 'Thiruda Thiruda' which had excellent music.
  
  And Idhayathai thirudaathey also had excellent music to back it up. It wasn't just the picturization. People liked 'Girija's character and Nagarjuna was a suprising handsome hero, especially in that time. Besides the story was also, to my understanding, somewhat different from those that were coming out then. All these factors helped the movie out as well as Mani's direction and PCS's cinematography.
  
  
• From: bluesy (@ 98cc3213.ipt.aol.com) on: Thu Feb 24 00:25:29 EST 2000
  
  to be frank with you tt was a superb entertainer miles ahead of the movies that were and are made today-remember the movie lost out to some 2hrs of senti , maudlin mush called killaku chemiyele-audience, the mass is an enigma-this is universal-a mass that appreciated 6th sense failed to do so-when it came to insider, or a any given sunday-both of them proving to be knockers when it came to new cinema and dramatology-the mass sucks always-stanely kubrick is a wannabe testimony to this, and so is oliver stone
  bluesy
  
  
• From: neruppu (@ 98aa7a0c.ipt.aol.com) on: Thu Feb 24 00:41:23 EST 2000
  
  bluesy, i do share your liking for TT. but not that KC was bad. It was the last bearable movie that came from BR. btw, what do u mean kubric is "a wannabe testimony to this"???%&#!
  aruvi, i agree that the songs of alaipayuthe, though o.k. at best are not in the league of MR songs. the classic 'alai payuthe'song(the beats are nice) in the album only highlights the so-so ness of the other songs!-))
  esp. after dilse! nothing new in the songs. but am glad that Mani has come back to a seemingly intimate small scale story after his "trilogy"! but, another mouna ragam? high hopes!!
  
  
• From: Swami (@ nat135022.ericy.com) on: Thu Feb 24 01:19:23 EST 2000
  
  Listedn to all the songs 3-4 times. Sorry Mani,
  still I was able to see you in just one song "Snehidhane Snehidhane". Its grown and got into me. The rest.......killing me even more :-)
  
  //Swami.
  
  
• From: prabhudas (@ nico.pediatrics.sunysb.edu) on: Thu Feb 24 02:15:59 EST 2000
  
  Amplitude, thanks for the songs (AP), I liked the western songs at your site also (We may be listening some of thesein Tamil version thro' recycle/CCP by Deva, and ARR - if he doesn't shift his base to London as quoted), anyway as said by some of the other co surfers (Aruvi, Swami), except for Snehidane...nothing much to rave about the album especially for Mani's film, still MR can do wonders by way of his nice picturisation.
  
  Hope atleast the movie wins ,
  Snehidane... is really haunting thanks to ARR for just this song.
  Is there anyway to break VM's both hands and make him dumb so he doesn't pen and dictate his weird lyrics ?
  Prabhudas
  
  
• From: saj (@ spider-ta033.proxy.aol.com) on: Thu Feb 24 06:28:08 EST 2000
  
  can i listen KANDUKONDEN KANDUKONDEN
  
  
• From: Sriram (@ pm584-06.dialip.mich.net) on: Thu Feb 24 06:47:49 EST 2000
  
  The songs are very youthful in Alai payudhey. Will be an instant hit among college students. 'Alai payudhey' - the carnatic song adaptation is - 'also ran song' bluesy????? That is sad. It is beutifully sung by Maharajapuram Santhanam and here its a splendid work by the trio. This album caters all kinds of music lovers. So it has no way but to become a mega hit.
  
  These days it is a fashion to kill tamil by most of the MDs. That has to change. (Even Shankar Mahadevan who pronunciates tamil very well has modified his voice in September Madham song. By the way, doesn't it simulate 'Azhagaana ponnu naan, adhukeththa kannudhaan and it has traces of Rangeela theme music)
  
  I safely bet that this is going to be a hit one from MR and ARR because it is devoid of that documentary feel.
  
  
• From: AISH (@ spider-ti011.proxy.aol.com) on: Thu Feb 24 12:07:43 EST 2000
  
  who added KK-KK SONGS
  
  
• From: chandy (@ ws025038.coba.siu.edu) on: Thu Feb 24 13:51:36 EST 2000
  
  Is release of KK-KK music tape a HOAX???? Given the piece about TMS-Ramani ammal, it sounds more like a haox to me!!
  May be, malaysian TFM-DFers can confirm whethere KKKK music release in malaysia is true or hoax!
  
  
• From: paamaran (@ tog-wakko1b.prognet.com) on: Thu Feb 24 15:06:07 EST 2000
  
  Rahman to take a break! - Rediff
  
  Composer A R Rahman is taking a sabbatical. Friends close to him say the whizkid will move to the US where he is supposed to work on the score for a play. He is doing all this probably to recharge himself as Rahman feels that composing music for films has bogged him down and affected his creativity. We must say that for this talented composer, wisdom has come at the right time since he has begun to sound a little repetitive now.
  
  
• From: uNmai viLambi (@ daecfp01.sprint.com) on: Thu Feb 24 17:46:56 EST 2000
  
  paamaran: Your information is correct. There is talk that ARR is going to work jointly with Waverly Musical of Hollywood on a Mega Project.
  
  
• From: aruvi (@ dublin10.slip.yorku.ca) on: Fri Feb 25 18:59:56 EST 2000
  
  Lyricist Vairamuthu continues with his Tinglish (Tamil + English) lyrics which add more punch to the medium. Special mention should be made about Sadhana Sargam who has sung the song pretty well without any trace of a Hindi accent.
  
  KARMAM! ENGA POI MUDIKIRATHENRU THERIYALA!
  
  Source:Chennaionline
  
  
• From: Shashi (@ fw1xlate1.mayo.edu) on: Fri Feb 25 20:21:30 EST 2000
  
  Hi everybody. Much awaited alaipayuthey is here and so is its review.
  
  
  Review of Alipayuthe (music album)
  Music director: AR Rahman
  Direction: ManiRatnam
  
  1. September maatham by Asha/Shankar Mahadevan & chorus: Starts with a chorus prelude and minimal rhythm (just for timing),
  but it quickly builds to a racy rhythm with strings leading. This portion reminds me of 'Rang De' prelude (takshak). Asha
  starts the pallavi with her usual spirited singing and some excellent bass followup, which is followed by some latin percussion
  additions. The lines 'Inbam tholainthatey..' sung in chorus is similar to the chorus lines in'Vetrikodi kattu..' (padaiyappa).
  Shankar M repeats the pallavi with equally spirited singing and good support from chorus & string sections. The 1st interlude
  has rhythm continuation with bass slides, slaps, lead & chorus voices--not very imaginative. The 1st charanam introduces quite
  an interesting flow in the melody. However, the opening lines reminds me of 'aha, inimai niraintha ulagam iruku, inimey unaku
  kavalai yetharku jolly bird' (Ninaithale Inikum, MSV). The last 2 lines of the charanam has Asha singing in the lower octaves
  that is barely okay. Pallavi repeats with Asha's "aha's"(similar to old RD Burman + Asha--vampish numbers). Interestingly the
  thavil sounds used in 'Ottagathai kattiko' peeps towards the end of this pallavi. 2nd interlude has synth.& chorus similar
  to 'VetriKodi..' followed by repeat of pallavi on strings. 2nd charanam is similar to the 1st with the voices trading places.
  Shankar lower octave rendition is more palatable than Asha's. Pallavi repeats with full string followup and ends crisply with
  a roll on the thavil. My impression--a motley of tunes; not much freshness, but a strong racy rythm & bass.
  Rating 6/10.
  
  2. Yaaro by Mahalakshmi/Richa Sharma/Vaishali: Starts with 'dumdum damaku..' recited with gradual build of rhythm which is very
  interesting and grabs your attention immediately. A short synth. piano prelude takes us to the pallavi which is very imaginative.
  Especially the last line of the pallavi 'veLLi petti kattiyavano sollu' is just great! The 1st interlude starts briskly with
  the Nadaswaram to which Dafli and rythm variations are added. A short but sweet flute leads us to the 1st charanam which once
  again imaginative with some spirited singing by the three. The alap's are great. The overall style is of a qawali but with an
  unusual rhythm. Pallavi repeats once again before the 2nd interlude which has a combination of panflute/flutes [reminds of the
  freshness experienced in chinna chinna..(Roja)]. Some folk type singing follows which ends up as chorus before the 2nd charanam
  which is a repeat of the 1st except for some interesting rhythm additions in places. Once again the pallavi repeats, this time
  with overlaping voices (which ARR is so good at!). Ends with the rythm gradually fading. All singers have done well.
  Rating 8/10
  
  3. Pachai Nirame by Hariharan/Clinton: Starts with Sakiye, Snehidiye.. in a western fashion--unusual but interesting. This is
  followed by a wonderful flute which introduces our future pallavi along with an excellent acoustic sounding guitar playing
  the chords (played by picking the strings individually instead of strumming). A simple rythm is added along with minimal strings.
  The pallavi (green/pachai) by Hariharan is very catchy. I personally thought in the last line 'enaku samadham tharume, enaku samdham tharume' there was a slight problem with the timing of the first repetition. The 1st interlude is repetition of the pallavi on instruments. The 1st charanam continues to be catchy ( red/sivapu is being sung). The flow becomes more interesting as the color yellow (manjal) is sung with adequate synth strings/piano followups. The end of 'manjal' comes as an unexpected surprise which is wonderful. The Sakiye prelude repeats with rhythm variations following which blue (neelam) is being sung in a beautiful change of raga/scale with excellent support by the guitar/synth. A repeat of the pallavi on the flute follows as an interlude but ends with some western type strings. The 5th color, karuppu has simlar melody as neelam with minor variations. Once again the sakiye interlude with some good bass licks are heard. Finally the color white (vellai) is sung in the same tune as pachai (pallavi). This time however the last line--'unadhu manasin nirame, unadhu manasin nirame (similar to enaku samadham tharume) is perfectly timed. To understand what I am talking about compare the above mentioned lines. The song ends with the pallavi being repeated on flute and strings fading gradually.
  Rating 8/10
  
  4. Alaipayuthe by Kalyani Menon/Harini/Neyveli Ramalakshmi: This popular carnatic piece by 'Uthukaadu' has been used with some interesting rhythm accompaniment. The song starts out with the tanpura and thalam. The whole song is done as a chorus of voices. The rhythm which starts towards the later half of the pallavi is actually an indian (mridangam rhythm or sollu) but played on the western sounding drum equivalents. Minimal but discernable rhythm variations do occur towards the later half of the charanam. One drawback--The starting word of the charanam--ie 'TheLindha nilavu' is being mispronounced by 'one of the three singers' as 'Thelindha nilavu'. One could still make this out even when the voices are in chorus. Otherwise the song has been quite aesthetically adorned by ARR without spoiling the innate beauty of this song (set in raga Kanada).
  Rating 8/10
  
  5. Snehidhane by Srinivas & Sadhana Sargam: What an interesting start! Male voice with chorus backups and great slap bass guitar work. Truly very imaginative. This prelude leads us to the pallavi by Sadhana. Her voice can be compared to fresh spring water! The pallavi is catchy and sweet at the same time. Although her pronounciation is occasionally flawed, given that her native
  language in not tamil, she has done a commendable job. Also, the acoustic bass followup on the lines 'idhu azhutham, azhutham'
  is wonderful--reminds me of excellent acoustic bass work done by Raja in his pre-1990 days (especially of balu mahendra and Maniratnam). 1st interlude starts with the Sarangi to which Pakhwaj is added and the melody is improvised imaginatively. Good Sarangi work too. The 1st charanam starts off after a momentary pause (filled by bass only) which follows the previous interlude. This heightens the beautiful turn the charanam takes on a new scale. The rhythm slows slow and catches up only with at last two lines leading us back the the pallavi. The 2nd interlude is a repetition of the catchy prelude with rhythm cahnges. Once again look out for the wonderful acoustic bass. The 2nd charanam is similar to 1st with a few additional improvizations by Sadhana. The song ends after a repetition of the pallavi fading gradually with the rhythm. Some of the lyrics do appear to be flippant reducing the beauty of this song. Overall this number has excellent melody, voices, interludes--you name it--everything is excellent!
  Rating 9/10
  
  6. Kadhal Sadugudu by Naveen/SPB Charan: Starts out with a slide bass piece followed by addition of voices. The rhythm follows
  accompanied by more funky sounds (including bass). This song is unconventional with no good demarcation between the pallavi & charanam. The pallavi actually creeps on you (without your knowledge) and peaks at Nakila, Nakila Nakila... There is good use
  of slap bass in this section. The 1st interlude (if you can call it-that) has voices as in the begining with some jazz/blues type
  piano use. The 2nd charanam is similar to the 1st with some good marimba/piano backups, as well as the everpresent excellent
  bass. At high pitches SPB junior sounds similar to SPB senior during his younger days. The charanam flows well with the overall
  theme of the song, with no unexpected glitches or surprises. The song fades to an end with repetition of the prelude voices,
  bass/funk & the sound of waves splashing. The singers have done their part quite well but nothing extraordinary.
  Rating 8/10
  
  7. Evano Oruvan by Swarnalatha: Starts with the wind howling in the background and voice introducing the pallavi. Gradually
  an arabian sounding rhythm is added with sarod and dilruba like sounding instruments. The pallavi is repeated now repeated with
  the rythm in place. Good use of echo/ambience in this song. The 1st interlude has two flutes playing a rather meloncholic
  piece which gets to your heart directly. This is followed by the arabian rhythm to which claps are added and another wonderful
  veena piece which is simple, but quite striking. The 1st charanam starts after a brief pause (after the interlude, which has
  no instruments) making it more effective. The charanam is imaginative and flows well. The 3rd line especially has a wonderful
  flute backup! The pallavi repeats once again to be followed by the 2nd interlude which starts out like the first but the veens
  is replaced by strings that move at a brisker pace. However, the Veena eventually returns with strings and Egyptian tablas leading
  us the 2nd charanam. This is similar to the 1st. But interestingly the wonderful flute backup heard in the 1st charanam is
  dropped. It is all the more surprising because the lyrics here are simply superb--'Andha kuzhalai pol azhuvatharku, athanai
  kangal enakilaye!'. Kudos to Vairamuthu for writing such a wonderful metophorically rich lyric. The pallavi is repeated once
  again the wailing flute and leathery rhythm (along with a hint of marimba's) takes us to the end. The melody at times does
  remind me of the song 'oruvan manadhu onbadhadaa..' and the start of the song reminds me of 'idhayam pooguthey' but only momentarily.
  Rating 9/10
  
  Overall, the album is richly varied and deserves praise. At times lyrics (such as olive oil etc..) & pronounciations seem to
  be drawbacks. At other times the lyrics are excellent as in 'Evano oruvan'. ARR should not be pressurized to compose racy numbers like Sept. madham based on previous successful numbers (Rang de & Vetrikodi kattu)
  Overall album rating: 8/10
  
  Comments welcome
  
  
• From: evano (@ bkj-cache82.jaring.my) on: Sat Feb 26 01:20:03 EST 2000
  
  Songs are like ...oppss..!never hear yet,,,sorry!!
  
  

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