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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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Responses:

• Old responses
  
• From: thaths (@ inehou-pxy04.compaq.com) on: Thu Dec 16 16:14:40 EST 1999
  
  Italics closed
  
  
• From: uNmai viLambi (@ ce221.jcl.lib.ks.us) on: Thu Dec 16 21:23:38 EST 1999
  
  Srikanth,
  
  I belive the song Maya machchindra is not a copy of 'Remember the Time' by MJ. But the picturisation idea (morphing into various animals) is definitely a 'copy/inspiration/thiruttu/whateveryoucallit' of the original.
  
  
• From: neruppu (@ t05-07.ra.uc.edu) on: Thu Dec 16 22:19:23 EST 1999
  
  what is more interesting is that Shankar swears that he never sees foreign movies so that he shouldn't get influenced by them. Probably, musical videos are an exception to his rule!
  
  
• From: rajaG (@ 208.24.179.211) on: Fri Dec 17 11:12:52 EST 1999
  
  In today's scene, India la THIRUDAADHA big name director, MD, illavE illai!!! They all have sold their souls to money making. Nothing wrong with that. But when they also want us (the fans) to respect them as 'creative geniuses', then I have a problem.
  
  
• From: Srikanth (@ vdslppp102.sttl.uswest.net) on: Fri Dec 17 11:15:36 EST 1999
  
  You belive that MJ has original idea ,
  I do see why we are not ready to belive our people can also think the same way!...
  pathetic!...secondly MORPHING is not owned by MJ alone. remember the time does not have single animal to human morphing!..
  
  
• From: vimal (@ qdslppp75.phnx.uswest.net) on: Fri Dec 17 12:51:21 EST 1999
  
  The Last scene from Indian where Kamalhaasan calls up from Japan ( or some chinu country)....it is an "ATTA COPY" of the last scene from "Silence of the Lambs". Anyone wants to argue?
  
  Creativity? My foot.
  
  
• From: Kalki (@ iq-ind-as008-229.iquest.net) on: Fri Dec 17 18:08:21 EST 1999
  
  I agree 100% in Indian or Hindutani last scene is a lift from Silence of the Lambs. I watched "Mudhalvan" and the climax is a lift from Ithu Thaanda Police Dr. Rajasekars movie. In this Kaliyugam you can make living by copying others work :)
  
  
  
  
• From: neruppu (@ t14-24.ra.uc.edu) on: Sat Dec 18 02:34:30 EST 1999
  
  srikanth, i do agree that our people can also think the same way. but why is it that they are always the second? what vimal has pointed out is very true. one only needs to watch all the famed scenes of our much acclaimed manirathnam before concluding "why we are not ready to believe our people can think the same way!" no wonder that arr+mr combo struck gold for sometime.
  
  
• From: Shashi (@ fw1xlate1.mayo.edu) on: Sun Dec 19 00:57:03 EST 1999
  
  Hi everybody. Sorry Pukars review is long overdue. Busy at work is the excuse.
  
  Music review of Pukar
  Label: Venus
  Music: AR Rahman
  Lyrics: Majrooh Sultanpuri & Javed Akhtar
  
  Song 1. 'Kay Sera Sera' by Shankar Mahadevan and Kavitha Krishnamurthy: The begining is rather disjointed with a folkish indian rythm and a bagpipe in the background. It is briefly interrupted by a 'Good evening ladies and gentlemen' by another voice in the background. I
  have heard this in a 'Shakti' album (famous fusion group). Shankar M begins with Naujawano--
  a kind of wake-up call to the youth. It certainly is harsh and gets our attention by irritation.
  Kavitha takes over with the chorus to sing 'Kay sera..'--the first piece in the song that is
  tolearable. Pallavi by Kavitha is adequate; she does a decent job in lower octaves. This is
  followed by the chorus singing 'Kay sera' again with Samba whistles and 'fiesta' like music.
  The 1st interlude starts with a mundane indian rythm with synth sounds but towards the mid portion a wonderful mandolin/banjo plays a short but thoroughly likable folkish piece (this is the
  only highlight of this song). It is unfortunate that this is shortlived. The charanam is similar to the pallavi with varying lyrics--no surprises here. Shankar calls out Naujawano three times and the 3rd one is distinctively out of beat (I am not sure why ARR left this in). There is a good alap in Kirwani by Kavitha in the background of the Kay sera chorus that follows. This alap is kavitha's best effort and is well done. Shankar comes back with a imaginative tharana/thillana in a jazzy style that is interesting. Here there is scale shift with Kay sera chorus in the male version this time with mandolin backups which is good. In my opinion the song should have stopped here; instead ARR drags with an irritating PyarPyar..and shouts of Okay Okay etc. More repeats of the chorus with increasing decibel level (noise) in the background.
  Overall song rating 4.5/10. I had rated the tamil version (Niagra) at 5.5/10 as the singers did
  a much better job and the song was not prolonged (ie no unnecessary additions).
  
  Song 2. Sunta hai.. by Swarnalatha, Udit Narayan and Kavitha Krishnamurthy: Wonderful start to
  the song with a catchy rythm, mesmerising humming in Mayamalavagowlai by Swarnalatha. In addition
  there is beautiful use of high-pitched tinkly bells and synth fantasy in the background. Udit
  starts the pallavi well which unfortunately is very similar to 'Ingae naan kandaen Annarkali'
  a wonderful melody by Raja in the movie Sadhanai. Towards the later part of the pallavi ARR shows some originality and the drum thumps at the very end of the line is nice. The 1st interlude starts with a catchy phrase on the flute and as it builds it is joined by the string chorus section and both instruments play hide & seek with each other--this is imaginatively composed by ARR and is very enjoyable. The Charanam has a more folkish rythm switch and a nice melody line but once again the last 2 lines remind me of the charanam in 'Inji Idupazhaga/Paayaliya chunmun..' (once again Raja takes the credit here). Kavitha repeats the pallavi which is okay. This is followed by the original humming piece but with some rythm additions. The 2nd charanam is a repeat of the first only with the singers trading places and fresh lyrics. The song ends with the wonderful humming once again but now with the folk rythm (of the charanam) and fades. Swarnalatha's humming is the highlight of the song. I would have preferred Hariharan and Sadhana Sargam for this song. Another female singer neglected by ARR is Uma Ramanam. She would have been an excellent choice for this song. Hope ARR uses this talented singer soon.
  Song rating 7/10
  
  Song 3. Hamrahi jab..by Udit Narayan (mainly): Starts with a husky female voice (Hema Sardesai
  makes a brief appearance) and joined by Udit. A funky fast paced rythm takes over and the Pallavi
  is well rendered by Udit. There is good use of wood bass in this section. The 1st interlude is rather simple with synth accordion/harmonica melody--not definitely ARR style. The 1st Charanam
  has better imagination but no followup instruments stand out. The last 'yai yai yai...' by Udit has been done earlier in 'Kya kare kya na kare..' (Udit himself in Rangeela). The 2nd interlude is a repeat of the 1st interlude (again no imagination) except for a 5sec rythm piece at its start. The 2nd charanam is similar to the first and the song closes with Hema Sardesai's opening lines with some noteworthy string movements towards the very end. Overall Udit shines in this song but otherwise there is not much imagination showed by ARR.
  Song rating 6.5/10
  
  Song 4: Hai jaana..by Sujatha: Best song in this album. Starts with a synth bass rythm and Sujatha's voice. This is quickly followed by a string chorus with a touch of Mridangam in the
  background which gives an excellent prelude to this song. This then changes to a rather slow
  rythm which has interesting wooden sounds and aspiration sounds; the synth bass continues however.
  Pallavi starts off at the lower octaves and gradually moves into the higher octaves. Sujatha
  once again shines at both octaves which is interestingly composed in Shivaranjani. The 1st interlude brings more surprises with a sudden transition both in the rythm and chord progression. There are tabla phrases added which are just fabulous. This once again slows down to simple plucking on the guitar towards the start of the Charanam. The charanam brings more melody in 'Mishra Shivaranjani' (as it has a few additional notes). As the melody moves to the higher octaves there is an interesting addition of male voices that have been 'synthesized' giving an eerie quality. Pallavi is repeated but with additional tabla passages and guitar strumming which decorate the already beautiful melody. The song fades with a brisk string section. Highlights--Sujatha-Wow!!
  ARR shows his talent as a composer in this song. Song rating 9/10
  
  Song 5. Kismat Se..by Sonu Nigam & Anuradha Paudwal: Starts with a 'Sa-Pa' drone on the strings and voice in the background. Pallavi starts with Anuradha's rendition which is adequate but is lifeless. Sonu Nigam brings the pallavi into life with his rendition. The string followup
  towards the end of the pallavi brings richness to the melody which is very imagintively composed
  by ARR. He has most cleverly mixed Abheri/Bhimpalasi with Kanada/Dharbari to bring out the 'lakshana' of both these ragas at different times--creative indeed! The 1st interlude has a clairnet playing mostly in Abheri/Bhimpalasi with the voice & string chorus catching up. It ends with the flute repeating the chorus line. The charnam has tabla addition for the 1st two lines & Pakhwaj addition to the next 2 lines. The latter 2 lines resemble the charanam of 'Duniya ke Rakhwale' by Mohd. Rafi (Baiju Bawra). The very last line by Anuradha is mere screeching. The pallavi follows but with a rich tabla rythm now. ARR has also done another interesting thing with the tabla rythm here--he plays with the LFO filter (low frequency oscillator) bringing interesting shades to the tabla sound. The 2nd interlude is once again different and begins with a short sax piece but quickly moves to a bass flute and voice combo doing an alap in Aberi/Bhimpalasi until the very last moment when once again the 'dha' (d1) of Kanada/darbari is reintroduced. The 2nd charanam is repeat of the 1st with the singers switching places. Consequently Sonu Nigam shines in the last high-pitched line unlike the screeching of Anuradha. The song closes with the pallavi repeat with nice tabla & strings (once again giving a rich feeling). Song rating: 8.5/10 (would have been 9/10 if not for the screeching)
  
  Song 6. Hai jaana..by Sujatha: A repeat of song 4 for the most part. The lyrics of the charanam
  are different and the song ends without the brisk string section towards the end. Rating remains
  the same. 9/10
  
  Song 7. Ek tu hi.. by Lata Mangeshkar and kids(chorus): The whole song is a prayer/bhajan type song but with modern accompaniments--imaginatively composed by ARR. Starts with Lata's prayer like verses (very Indian) and a wonderful string background (very western)--ARR succeeds in blending them both effectively. This is followed by a soothing rythm and a tranquil piano piece in two octaves simultaneously, vastly improving the richness of the piano sounds. The main pallavi is a chorus by the kids and is simple but has good piano & bass followups. Lata follows with the same pallavi lines and gives some additional touches that are wonderful. The interlude with the soothing rythm & piano repeats. This time Lata starts the charanam--but the rythm is dropped. Excellent piano chords provide rythm backup aswell in this section. The pallavi repeats with the rythm back on track. Interlude repeats with another charanam which is similar but with different lyrics which is followed by the pallavi by the kids. This time however, Lata improvizes on the pallavi lines 'Hey Ishwar, Ya Allah, Meri pukar sun le..'--a very touchy & a soulful rendition by the nightingale takes us to the end of the song. Hats of to ARR for selecting Lata to sing this simple yet 'moving' song. Just as when we offer the
  choicest selections to God (as a token of our love during pooja), ARR has selected the voices
  (kids and Lata for both purity and refinement at the same time) as an offering to God in this prayer.
  song rating 8.5/10
  
  Overall album rating 7.3/10. A mixed bag with some great songs, some average ones & one downright
  below average number. The interesting flute pieces of ARR is distinctively missing.
  
  Comments welcome
  
  
• From: vijay (@ 129.252.22.139) on: Sun Dec 19 02:24:02 EST 1999
  
  Shashi,
  why u don't review new IR albums?;))
  
  
• From: Ramki (@ ptp136.telsoft.net) on: Sun Dec 19 09:31:11 EST 1999
  
  shashi #7 is picturised on Latha herself(she does a guest role)
  
  

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