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
Responses:
- Old responses
- From: raycas (@ 212.186.40.21)
on: Sat Nov 10 12:26:40 EST 2001
yaaro,
in every message of urs concerning ARR u have at last always a negative message...u usually start with ARR is okay, has good this and that, and then comes the great BUT, but he does this and that, he copies, it sounds always same and bla bla bla...
if u go that way, i mean ur last message here, that all these songs reminds u of some other song, then my friend, if i would try, then i could relate really every new song that comes out now with some other old song...
what's the problem if it reminds u of something old? why don't u just try to forget the negative sides (if there is any) and just enjoy the music that's given to u...
why always moan...?
can't understand u guys at all in this point...
raycas
p.s.: if ARR fans do the same with IR, does this justify u doing the same the other way around? why don't u try to set an example to them by not doing the same s*** as they?
- From: yaaro (@ 172.188.65.3)
on: Sat Nov 10 13:41:50 EST 2001
raycas,
it is not me alone who have mentioned this similarity-i merely added the 2 about freinds song and kadhal oviyam song-why blame me alone-manadhil pattadhai ezhdhugiren-why bemoan?if you see most of the postings are by ARR fans and even some -rather many of them-are not 100 pc happy.
- From: Khalid (@ 212.67.108.53)
on: Sat Nov 10 15:31:27 EST 2001
Azahge sugama & The Balram & Chitra song should have had the divine SP bala- this was have dded to the quality of the songs!!!
- From: Music (@ 203.199.198.68)
on: Sun Nov 11 01:03:20 EST 2001
again where can i dowload PP songs
hey it's cool music...
i love it..
- From: cosmician (@ 194.170.127.161)
on: Sun Nov 11 04:20:13 EST 2001
Yaaro..
That's no excuse.....I do find many similarites in many old songs....unless it is very blatant..and a recycle I point it out...all the similarities you have mentioned can surely be refuted by avid listeners like Karthik S etc.
I only think that you can't stand ARR's popularity...PP is really good....I reserve my comments as ARR's songs are like old wine...the older they grow, the better they taste.
- From: Sachin Tendulkar on Rahman (@ 203.197.190.100)
on: Sun Nov 11 04:42:29 EST 2001
Sachin Tendulkar on ARR in Anandha Vikatan Diwali special
"Enakku ARR isai romba pidikkum. Lagaanla arpudhamana isai kuduthirukkaru Rahman"
- From: Mozart (@ 24.11.31.213)
on: Sun Nov 11 09:26:17 EST 2001
PP can be downloaded from www.tamilbeat.com
- From: Venki (@ 12.73.224.118)
on: Sun Nov 11 14:43:56 EST 2001
cosmician ... What actually with ARR Songs is...
The older they grow.. people keep forgetting them.
- From: raycas (@ 212.186.40.21)
on: Sun Nov 11 17:35:48 EST 2001
who has forgotton roja songs? who has forgotten 'chikku bukku raiyle' and 'ottagathe kettiko' from gentleman? who has forgotten 'anjali anjali' from duet? who has forgotten 'mustafa mustafa' from kadhal desam? who has forgotten 'chaiyya chaiyya' from dil se? who has forgotten taal songs?
u can't forget an ARR song...
raycas
- From: raycas (@ 212.186.40.21)
on: Sun Nov 11 17:37:00 EST 2001
u can't forget an ARR song cause u have spent so much time with understanding it...
raycas
- From: Venki (@ 12.82.236.101)
on: Sun Nov 11 19:53:58 EST 2001
raycas, I'm and admirer of ARR too. But can you say that his albums in past few years including PP have the same standard of TT, DilSe, Roja, Duet, Gentleman, Indian and Kaadhalan?
- From: Ganesh (@ 202.79.127.66)
on: Sun Nov 11 21:20:54 EST 2001
ARR ALBUM PP IS VERY GREAT.
THANKS TO ARR.
- From: Paran (@ 128.88.255.122)
on: Sun Nov 11 21:29:34 EST 2001
When he sounds new...u guy say he is not ARR anymore...
When he does his ussual thing...u guys say he's repeatitive...
wonder..where else..he can head up to...pretty tough huh...
- From: kk (@ 172.158.85.85)
on: Sun Nov 11 22:15:45 EST 2001
paran,
Thats the irony in making any art.
- From: musicfan (@ 128.173.38.126)
on: Sun Nov 11 23:41:29 EST 2001
Here is " my " review of PP.
For starters ,as recommended by all ARR fans, I have given time for the music of PP to sink in..have heard full album about 6-7 times now.Think if there is impact, must have been made.
Also , this review is in entirity my personal opinion and each person is entitled for his. I have made sure that at no point in this review, it is compared with any IR, YSR album.
1. Azhage Sugama.. this song is really slow for me. The song has good vocals by Srini but too slow. Also it has nothing new to offer.Same old tune with new lyrics.So no thrill in this song for me.
Score : 5/10
2. Anbe Sugama .. Same tune..so nothing else to write about here. I guess ARR should stop using this tune...getting too old and stale.I can see it taking bits from Nila Kaigiradhu, Rakshagan songs, and a few more of ARRs oldies.
Score : 5/10
3.Adhisaya Thirumanam : As usual ARR has assembled a lot of singers for this song..and well, the effort isnt too much worth it. For example Kalyani Menon who has a VERY good voice as seen in KK, is wasted in the song. And its more of an experimental song..with the melody lost and a jazzy tune coming in to replace the kind of carnatic beginning. But parts of the song do sound good.
Score : 6.5/10
4. Love Check : Good experiment this one. The lyrics are not clear as is not soo common with most of ARRs songs..as truly pointed out by Vairamuthu. But Sivamani excels and the mix is different.
Score : 8/10
5. Manmadha Masam : A different song that promises a lot when Shankar Mahadevan and Nityashree start out doing a semi-Alapana kind of thing..a jugalbandi..but then it tapers off pretty tamely. But still a good try.
Score : 7.5/10
6. Moondrezhuthu : Nothing to write about. ARR has tried to experiment with this song.But the rhythm goes awry at times and seems more of a discussion/interlude with musical backing. And KBs penchant for DIFFERENT lyrics seems not too great in this song.
PS : IS Dakshinai(fee) supposed to sound as Dakshhaaanai in reality(as in the song).
Score : 6.5/10
7.Nadhir Thinna : My pick of the album..inspite of bad pronounciation. The mix is really good and stands out. The voices are good..but it would have been great if the tamil is better intoned. Still a good mix !
Score : 8/10
8.Kadhale Jayam : Am not sure why people have raved about this song.A really old tune..with nothing new to offer. But, the really good thing about this song is Balram.His voice has a real attractive tinge and is really appealing. This very old tune succeeds to impress just on the strength of Balrams voice which resembles PBS. This chap has a great future !
Score : 7/10
9. Parthale PAravasam : Typical ARR song.Lots of voices, zany KB movie lyrics.Doesnt work and is pretty boring..had to FF the song quite a few times.
Score : 6/10
OVerall the album is a good attempt to try something different for KBs movie..but doesnt succeed too much. For one, too many voices spoil the broth.Also SPB is missed sorely.I can still hear the echoes of Anjali and En Kadhale..Compared to Duet, PP fails..no real discovery that..Duet was a masterpiece. This comes no where close.Maybe it might sync well with the generation of today..and the youth..But overall,while PP seems to be an attempt in innovation, it is no different from any other ARR collection. No single song that I can call brilliant.
Think its time for ARR to compose..for Tamil..with full sincerity..his attention seems to be moving away from tamil.
Hope the movie and the songs go well together.
musicfan
- From: Normal Man (@ 202.12.144.21)
on: Mon Nov 12 01:24:47 EST 2001
After buying the CD & after repeated hearings (forced hearing on some songs) here are my 2 cents,
* Interestingly, after a while Vali has given some good lyrics.
* Surprised to see Chitra, KJY and SPB missing (KB's favorites, considering this is his 100 movie)
* The singer Balram has a pleasing tone and voice in the song 'nee thaan en desiya", and has tried to deliver proper Tamizh.
* Sad to see a Tamizh kolai in the song "Naathir Thinna".
* Overall a disappointment going by the KB-ARR combo in Duet (sans KB's movie songs of Ninaithaale Inikkum, Sindhu Bahiravi, Rudra Veena, Pudhu^2 Arthangal).
* Final comment, sumaar album from ARR.
PS : Looking forward to hear Mani's new movie by ARR
- From: Ganesh (@ 202.79.127.66)
on: Mon Nov 12 05:12:31 EST 2001
PP is very excellent from ARR very good melody from ARR.
- From: Common Friend (@ 203.197.141.187)
on: Mon Nov 12 10:21:44 EST 2001
Guys,
Here is a translation of a ARR's interview to a marathi magazine. I got this from a guy called "Ravi kumar Apte". He was kind enough to allow me to put this here.
Here goes the interview :
Q. You always experiment when composing for films. This has given you
an identity. How do you feel, going on this somewhat different path?
ARR: We see elder people talking about old songs, their melody, but
the younger generation is not attracted much towards that. I felt that
they wanted something new, besides the melody. So I wished to do
something that would appeal to both generations. May be its because of these
experimentations that my songs might be liked by people of different
strata.
Q. Who, do you think, has influenced your music?
ARR: I can't pinpoint just one such person. I've worked with various
music directors and commercial producers. This includes Illaya Raja
and MS Vishwanathan, to L Shankar and Nusrat Fateh Ali Khan. All these
people had different ideas and expectations. I got a chance to know
these. I consider myself lucky.
Q. They say that a musician's personality reflect in his music. What is
your opinion on this?
ARR: Having worked with different people, I learnt various styles of
music. I got influenced by fusion music while working with the band
"Roots". So I used it a lot at the beginning, but I didn't get
trapped in it. I didn't want to get confined to one thing, and wanted to try
classical, folk music, quawali. This must have reflected in my
music in the past 2-3 years and would continue.
Q. Sometimes you use instruments in unorthodox ways, thus making
different sounds and beats. Can you tell something about this?
ARR: I sometimes do that to create a natural feel. Anything in
excess makes it boring.
Q. Music Directors of the past have made use of western music. For eg.
a song like "ina mina dika" is based on western style. Still those
songs became popular and people still hum them. On this background, what
do you try to do, so that your songs are remembered for a long time?
What do you find in the MDs of the past that you would like to inculcate?
ARR: I think good lyrics and melody never die. Their influence is
felt forever. But if I begin to inculcate things of the past MDs, I'd be
blamed of copying. Be it Naushad, R.D.Burman or Madan Mohan. These
are all great musicians. We can never beat them. Times change, but the
soul of music remains the same. To maintain that there has to be original
music. I remember, around 12-13 years back, after the song "Tere
Mere Beech Mein" became a hit; most of the songs were made in the
"Shivaranjani" Raag. Though those songs became popular, after a
limit they became boring.
Q. Which kind of music do you like?
ARR: I don't listen to any particular kind of music. I listen to
anything that I like. In fact I don't get the tranquility to listen
to music. I do sometimes, when I'm traveling.
Q. What is your way of composing songs? Are the tunes made before the
lyrics or vice versa?
ARR: Many of my songs have been made with lyrics coming first. I
think a better tune is made because of lyrics. But nowadays everyone wants
to listen to the tunes first. If two people have good understanding, it
doesn't matter what comes first. In these times of "fast" songs, you
can't make lyrics first. In such cases, tunes have to be composed
first. But in case of "melody" songs, lyrics are important. For example, 90
percent of the songs of "Taal" were made having lyrics first. But
it was the opposite in case of "Dil Se".
(My comment : That's great. 90% of Tunes in Taal are composed for lyrics speaks for ARR's Genius
I think most of you here would have heard taal )
Q. You are known to be very precise in accepting movies. When a
producer or director comes to you, what is your way of accepting them?
ARR: The director tells me the script first, and about the songs in
brief, about how the pace of the movie would be handled. I listen to
this calmly. If I like the script and the director is enthusiastic
about it, then I think about accepting the offer. Because enthusiastic
people always seek to do different things. If someone comes forward with
such an intention, then I feel like accepting it. If the director,
lyricist and the MD have the same kind of interest, the product comes out
good.
Q. What kind of compromises do you have to make while composing for
commercial Hindi cinema?
ARR: The director has some expectations keeping in mind the changing
times and the likes and dislikes of the audience. They want something in
a three-minute song that would pin the audience to the chairs. So generally slow
songs are rejected. They fear that the audiences would leave because of slow songs.
Nowadays many people like to listen to the tune first. Only if they like them do
things proceed. You come to know the techniques of commercial films as you compose for them.
Q. In such cases, how much importance do you give to your personal
satisfaction?
ARR: I think personal satisfaction is a very important factor. If
you think that you are doing a thing only for others, it cannot be good.
First you have to satisfy your mind, only then can you satisfy
others. This is the most important factor in composing good music.
Q. If one looks at the journey from Roja to Lagaan, you've always
tried to do something different. 3-4 years back it was alleged that your
music always sounds the same, but that's not the case anymore. Folk music
has been used a lot in Dil Se, Taal and Lagaan. Did you make this change
because you felt the need or was it inevitable?
ARR: It's true that I was alleged of sounding the same, but I've
changed my style now. I avoid repeating and always try to do something
different. I had used North Indian style in Taal. When a film becomes
hit, there are demands of the same kind of music. But now I do not
entertain such demands. I understand that if I compose the same kind of music,
I'll be finished.
Q. You use Lot of modern technology. Do you use this as it is the need
of the hour?
ARR: Its true that I use modern instruments for music, but it's
just an instrument. No machine does anything on its own. The person behind
it is important. If modern technology is used properly, it is beneficial.
Otherwise it creates just noise.
Q.Music lovers have noticed the change in your style, and it has
become popular. A recent example is Lagaan. What did you feel as an MD after
listening to the script of Lagaan?
ARR: I was excited after reading the script of Lagaan. I had done a
lot of films but this seemed to be totally different. There were
traditional Indian values in it. I took fancy to them. Then we started working
on it in a systematic manner. The tunes were composed first. The Javed
Akhtar wrote the lyrics. We did all this as if we were possessed.
Q.What must be the reason for Lagaan to be a success?
ARR: We were apprehensive in the beginning whether the music of
different kind on a different subject would click. But still we had
the urge to do something different. Some people said that a particular
kind of music would not work in the north, or classical music won't
click . But still we dared to experiment and it became successful. Lagaan
erased all notions. We used a lot of classical and folk music, and ethnic
instruments. There were a lot of things in this that would relate to
Indianness (Mother, Son, Friend, etc). Besides this, the project
was of internaional standards. I think this is the reason that this film
has become successful abroad.
Q. You use new singers more than the established ones. What is the
reason behind this?
ARR: I use new voices about half the times. I think if a female
singer has extra-ordinary talent, her voice should be used. If we give a
different shape to their voice, it can be used very well.
Q. You also sing...
ARR: I rarely sing. I was anxious earlier about my voice. But that
anxiety vanished after listening to Nusrat Fateh Ali Khan. I was amazed
by his voice. I sing sometimes just to give it a try. You require a different kind of
ability to sing. You require "riyaaz".
Q. You have worked with the internationally acclaimed Andrew Lloyd
Webber and Shekhar Kapur.
ARR: Yeah, that was a wonderful experience. You tend to feel that while working on an
international arena, you need to do something new. But
they expect just what you are currently doing. They project your
music
in a different way. If different people come together and their
talents mix well, then the results are majestic.
Q. Which films are you currently working on?
ARR: Half are of parallel cinema types and half are commercial. This
includes films by Shyam Benegal, Tanvir Ahmed, Khalid Mohammed, Atul
Agnihotri, Jhamu Sugandh, Vasu Bhagnani, Bharatbala, etc. I'm also
learning Urdu currently. I'm can understand words better because of
this. I'm working on hundred years old gazals. I hope this experiment
becomes successful. Lets see...
Q. What do you think is the meaning of "music"? And are you satisfied
with what you have achieved till now?
ARR: I think you don't achieve anything in the music field. Music is
like a journey. You keep on crossing steps one by one. When you
stop at a step, it means that you are exhausted. So I feel music is like a
search. You have to continue the search, and you find new splendor
out of it. This is a never-ending action.
>
> (Source - Marathi publication "Sakaal-Deepavali" - Interview by Mukund Lele)
- From: Shashi (@ 137.197.72.212)
on: Mon Nov 12 14:38:38 EST 2001
Music album review: Parthale paravasam;Music: ARR
1. Manmatha maasam: Starts with a simple melody line by Nithyashree but
quickly we are held captive by the overlapping layers of voices and ambient
effect. This heralds the rythm with more 'pan' (movement of effects and
vocals accross the hearing horizon) effects and the gradual intro. of
Shankar Mahadevan. As the rythm becomes more consistent Shankar builds the
melody with his variations as Nithyashree joins with her own distinctive
rendering as the song unexpectedly shifts briefly to "thishram" (3 beat
cycle) as the note D1 is emphasized. Shankar sings his part in the 3 beat
cycle. Later the rythm shifts between "chatushram" (4 beat cycle) and
'thishram" along with imaginative progression of the vocals. I encourage
everybody to please listen to all the ambient effects (bells, trianges etc).
One effect that is worth mentioning is the 'water drop' like effect in the
very begining (as shankar is first introduced). There are areas where
Nithyashree and Shankar sings in 'different' (discordant) notes (bings about
a very curious effect). Even though shocking on initial listening it tends
to be quite enjoyable once we are familiar with the whole progression.
Finally after excellent singing by both artists Nithyashree builds a
crescendo and when one expects that she would finish in the 'upper octave Sa
or G3' ARR once again surprises us by finishing in D1 (leaving a very
unfinished melody, that in our minds begs for more melody to complete the
cycle--this effect has been used by Pink Floyd before). Overall a creative
piece showing shades of Hamsadhwani and Vaasanthi. Score 9/10
2. Neethan en Desiya geetham: Balram with a spirited intro is supported by orchestral
drum thumps and a grand string and multiple horn, trumpet, bugle session
giving a patriotic feel! As this fades a beautiful melody flows and is
gradually accompanied by a distinctively Indian percussion rythm section
(made of tabla, dholak etc). The pallavi is also supported by good bass
licks and occasional trumpet support. The song is mainly in the
Shankarabharanam scale but uses M2(marginally) and G2 (in the charanam). The
1st interlude is picked up the horns/trumpet and a string section is added
later when Balram steps in with a sweet and short 'alap' with electronic
piano backing (great). This leads to 1st charanam in which Chitra is
introduced with a distinctively airy sounding vocals. The 2nd line of the
charanam, ie, "Ezhutha..." resembles an older melody of SPB "Ethazhil...
thenai kudithu".. from 'Paadum pothu naan thendralkaatru'. Just a
coincidence but worth mentioning. Chitra renders her part flawlessly
exploring G2 (shivaranjani phrases) as Balram once again steps with the
pallavi. 2nd interlude with strings and chitra's vocals lacks imagination
except for the last line which touches G2 again. The 2nd charanam is similar
to the 1st, except the lyrics do not sit well (ex: 'utharapaarkiren'--what
nonsense). The song ends with the pallavi as each singer exchanges lines.
The orchestral thumps, wonderful string section, great bass licks sound
great and a happy solo violin ends the melody wonderfully. The downside to
this song is the rythm--which is unchanged from the time it starts--unlike
ARR--what happened to the usual variations and the interludes could have
been more imaginative. On the bright side Balram is blessed with a wonderful
voice and not only does he sing wonderfully but his diction is perfect.
Score 7.0/10
3. Moondrezhuthu: Starts with african sounding drums and a high pitched trumpet; Bulbuldara
joins with string/chorus vocals/trumpet again; bulbultara (Sheik Masood Ahmed) again leads to the
pallavi--the melody is just ordinary but the rythm, bass and ambient effects
are good. 1st interlude starts with a synth drum roll as the b.b.tara picks
up. It is nice but not imaginative. The 1st charanam is definitely better
and has good 'ambient' effects. Harini and Karthik have both done a good
job. Pallavi repeats with more rythm and ambient effects (metallic crashes,
string/vocal chorus all sound great). The 2nd interlude with trumpets is
clearly the highpoint and changes very imaginatively to a string/humming by
Harini. The 2nd charanam mirrors the 1st; Pallavi is repeated at the end
with once a superb string section and a vibrating ambient effect! Plus--the
charanam , 2nd interlude, rythm, effects and the final string section.
Minus--Bad lyrics (at one point male portion uses the casual/disrespectful
'adi' in kolluthadi, but at other times uses sollungo as a mark of respect
for the guru!), pallavi melody is ordinary. Overall score 6.5/10
4. Anbe sugama: Synth (electric piano) bass and ambient effects set the stage for
Shrinivas to start a wonderful melody as the rythm is gently added. Sadhana
Sargam builds the melody with her sweet voice. The fretless bass provides
wonderful support with ambient effects. The 1st interlude starts well on the
electric synth bass with piano support as solo violin joins. (Here there is
a brief ambient effect which sounds like an ambulance--why?!) The violin
piece leads to the 1st charanam with good melody progression and nice string
and piano support. Worth mentioning are worderful use of cymbals, triangles
etc. Pallavi is sung briefly before the 2nd interlude which breaks in with
piano and strings--just a wonderful creation--elegantly answered by the
violin (short and sweet); piano returns the favor and finally the violin
carries the conversation to the breathtaking end as shades of raga Sahana
are heard. The main melody is in Harikambhoji scale but shades of Sahana are
heard frequently; the 7 beat rythm (mishra taalam) with the slow melody
does resemble 'Kanava...' from Ratchagan (although this is a completely
different raga scale). Missing are the characteristic ARR 'Mridangam'
(except for a hint) and Naveen's flute. But the singing, lyrics, a lovely
violin and piano earns this song a 7.5/10
5.Love check: Ambient effect and tabla tarang along with thaalam (jalra);
shivamani and srirams' voice with good 'pan' effects all gradually introduces
us to this unconventional instrumental piece. As the thavil (Palanivel) and drums join
thre are synth effects (like noisy crickets--a morsing equivalent--great!).
Good konakhol and progression with various rythm instruments mridangam,
pakhwaj, drums, thavil and groovy 'Love checks' and 'Jillampadavam' Later
there are reverse rythm effects as the 'thani' picks up in tempo and ends
after a crescendo with almost a tap dancing like fast taps (vaguely
resembles 'oosi pattasu') and big cymbal crashes. Overall this imaginative
piece earns an 8/10
6. Athisaya thirumanam: Spirited start with vocals (Sujatha and Kalyani Menon) and rythm/bass guitar in
chalanaatai and 'Kandachaapu'--5 beat cycle. But wait--there is a switch to
a 7 beat cycle (for a total of 14 aksharam/counts with ambient effects)--a
bridge--to the 'Mishrachaapu' based (7 beat cycle based) 'ithuthaan...'
(great sounding vocal/harmony effect (Sriram Narayan and Sriram Parthasarathy); wonderful crescendo building with
superb drum section). Then it switches to 'rupakam' a '3 beat cycle' with
nice slap bass, guitar licks and male vocals continue as 'Nalliravu..'
Female vocals brings the song back to the 5 beat cycle with once a great
sounding guitar both western and carnatic fusion is just mindblowing!! After
this the 3 beat cycle returns with the 1st interlude (where the 'ho' is
sung), untill a major chord change switches the interlude to 5 beat cycle
setting the stage for the 1st charanam. The synth pipe organ/harmonica like
piece short but vital to that switch in the interlude. The charanam in
shankarabharanam scale is not only melodious but excellently executed by
Sujatha/Kaylani and Sriram's(both) along with chorus. Once again as the pallavi piece
returns so does the 7 beat cycle and then the 3 beat cycle as the 2nd
interlude flows almost seamlessly this time with an eclectic Naadhaswaram
(wow!!). Once again the major chord change heralds the 5 beat cycle which is
followed by an imaginative synth pipe organ/harmonica (different piece than
the 1st interlude) leading to the 2nd charanam which is similar to the 1st.
But this time it is the guy's turn to marvel. The pallavi retuns with a
reverse 5 beat start and continues in the Kandachaapu till the end with
Nadhaswaram pieces and bass/rythm chords which keep us astonished. I was
just spellbound--So much complexity and creativity in this song and still
ARR manages to keep the melody flowing--hats off--Score 10/10
7. Azhage sugama: Similar to the 4th song 'anbe sugama' with variation in lyrics and some minor
variation in the interludes (the 2nd interlude in song 4 becomes the 1st
except the piano piece and violin end) Worth mentioning are the lines "Ithu
kanneer ezhuthm pechu vaarthai, udaintha manangal ottatha"
--Vairamuthu--shines. The 2nd interlude has the same violin piece as song 4
in the end. If I failed to mention before both Shrivas and Sadhana do 100%
justice to this melody. Score remains the same 7.5/10
8. Chenda (Kesavan) drums and guitar, humming and groovy bass loop into's a grungy
voice with more flamenco style rythm guitaring--great begining with a love
check! The background chant (unclear what it says--is it in spanish?) is
vaguely reminiscent of the Raja classic 'palliaraikul, maligaiyai... from
Balanagamal'. The pallavi itself is simple but catchy and although
pronounciation by the new singer Rashid Ali could have been better the singing
style is different and very well executed. Thubara (female vocal) is also good and
the whole progression does make your feet tap automatically. The 1st
interlude is made of ambient effect and a guitar piece that sounds okay. The
1st charanam shows creative progression and exploration of D2 by Thubara
(almost LR Eswari type) sounds wonderful with an matching synth organ
backups. Pallavi follows this time when the female singer chants--sounds
like 'nethiarai,moi' Leaving that aside, the 2nd interlude has some
excellent trumpets and flamenco guitaring and also has reverse cymbal
effects. The 2nd charanam is similar to 1st but with more flamenco guitaring
and trumpet additions. Finally the pallavi repeats but at a faster tempo
with addition of thavil and ends with a drum roll and the distinctive rythm
guitar. Score 8/10
9. Parthale paravasam: Starts with vocals (Rehana, Ganga, Febi, Feji and Poornima) and multiple ambient effects
(reminded....) Rythm intro. followed by an electric rock guitar lick that is
to die for! (This is so catchy that it was used in the movies' website).
Pallavi starts with good techno chord/bass support and then finally a techno
sounding rythm as well. The pallavi is very imaginaive and once again
towards the end of the pallavi the rock guitar retuns for one last time.
Worth mentioning are the numerous techno/vocal (scream effects) etc. The 1st
interlude is techno and synth string with modulation effects and breaks to a
sweet, folkish synth flute based melody and rythm; strings follow and male
chorus with 'thapichiko' is cute. 1st charanam is once again imaginative;
support vocals have plenty of effects including 'voice morphing' and
modulation. Pallavi returns and takes us to the 2nd interlude that has a
folkish flute definitely Irish sounding and rythm variations; as the fiddle
is added a distinctive Irish flavor develops (sounds of the future
--'Yelolo' has ARR doing Irish/Indian fusion) The 2nd charanam is similar to
the 1st with additional effects--synth cuckoo and groovy techno sounds.
Pallavi repeats with an eerie flute (which sounds great) along with all the
effects. Once again almost from nowhere a karnatic piece is introduced in
ARR's classic style with a totally western rythm accompaniment--completely
unexpected but a refreshing surprise--and the song concludes with
'thapichiko' and ambient effects. Plus points--creativity and effects;
includes the karnatic piece; minus points--mediocre lyrics; some of the
lyrics do not make sense and at other times they seem to be packed and
squeezed into every available space--sounding very prose like. Score 8.5/10
Overall the album is very refreshing. It needs careful listening and
defintely the effects are better on a good system but headphones would do
justice as well. Naveen's flute(need more than just a piece in the title song), sitar and sarangi are all sorely missed but
this time the violin (Ganesh), trumpets (Thomas), flamenco guitaring (Rashid Ali), synth effects and strings (conducted by Srinivasamoorthy) are
showcased well. Averaging everything this album is definitely worth a cd and
scores a 8/10
Comments welcome
Shashi
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