Home   Forum   Wiki   Notes   Register   FAQ   Sitemap   About Us   Contact Us  

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

---

Responses:

• Old responses
  
• From: raycas (@ 212.186.40.21) on: Mon Nov 12 14:53:09 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?"
  
  i can venki...
  taal... if this album is not a masterpiece by our man, than i don't know what a masterpiece is, really...cause all those songs, 'ishq bina', 'taal se taal', 'ramta jogi', 'kariya na', 'ni main samaje ghaye' and all the others...are really masterpieces...
  alai payuthey.... what a sharp sound!!! really, i remember hearing them first on realplayer, in not so good quality actually, but even there, it was awesome...
  and in contrast to this one then he gave us kandukondain...the sound in this album was totally different from that of alaipayuthey...don't u think?
  at last but not least...lagaan...actually for me lagaan and taal are in the same league i must admit...
  in my opinion the others are also upto the standards of (at least) kadhalan (which u have mentioned)
  
  see venki...it's just like ARR has changed a lot, it's obvious that he is not making any kaadhalans or kadhal desams, or mr.romeos or lovebirds anymore...i can understand u if u had been an admirer of those songs...but ARR has developed himselves further...and IMO, we, his fans, should also do the same... not just stick to that old ones...
  
  raycas
  
  p.s.: i forgot to mention 'humma humma', 'urvasi urvasi' and 'mugabla' in my list of not forgettable songs of ARR, in my previous message.
  
  
  
• From: raycas (@ 212.186.40.21) on: Mon Nov 12 14:54:31 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?"
  
  i can venki...
  taal... if this album is not a masterpiece by our man, than i don't know what a masterpiece is, really...cause all those songs, 'ishq bina', 'taal se taal', 'ramta jogi', 'kariya na', 'ni main samaje ghaye' and all the others...are really masterpieces...
  alai payuthey.... what a sharp sound!!! really, i remember hearing them first on realplayer, in not so good quality actually, but even there, it was awesome...
  and in contrast to this one then he gave us kandukondain...the sound in this album was totally different from that of alaipayuthey...don't u think?
  at last but not least...lagaan...actually for me lagaan and taal are in the same league i must admit...
  in my opinion the others are also upto the standards of (at least) kadhalan (which u have mentioned)
  
  see venki...it's just like ARR has changed a lot, it's obvious that he is not making any kaadhalans or kadhal desams, or mr.romeos or lovebirds anymore...i can understand u if u had been an admirer of those songs...but ARR has developed himselves further...and IMO, we, his fans, should also do the same... not just stick to that old ones...
  
  raycas
  
  p.s.: i forgot to mention 'humma humma', 'urvasi urvasi' and 'mugabla' in my list of not forgettable songs of ARR, in my previous message.
  
  
  
• From: raycas (@ 212.186.40.21) on: Mon Nov 12 14:58:23 EST 2001
  
  sorry for double posting...
  
  "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..."
  
  paran,
  
  
  i 110% agree with u!!!!!!! i think i never have been the same opinion with someone like now with u!!!!
  
  
• From: Shashi (@ 137.197.169.33) on: Mon Nov 12 15:24:23 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; sorry I reposted as the page turned over
  Shashi
  
  
• From: Jagz. (@ 192.249.47.9) on: Mon Nov 12 16:34:56 EST 2001
  
  Awesome Review!
  
  Dude, You Rock! Wish I had so much knowledge.
  
  Thanx a ton man!
  
  

---

List all pages of this thread

Post comments