Maestro ilaiyaraaja news & titbits

[raja_fan]

SoftSword,

Yohan is not the right example.
GVM does not wait for one film to be completed, to plan the next.
He multi tasks - NEVP, Yohan and Ek Deewana thaa, all at same time.
I think Yohan was anounced before or more or less same time as NEVP.

[SoftSword]

raja_fan,




heck, even GVM *might* repeat (though he did not repeat ARR) IR in his subsequent films.

my post was a reply to that as GVM announced Yohan with ARR after VTV.

[krish244]

GVM's movie in malayalam after NEPV and Yohan:

http://www.kollyinsider.com/2012/03/gautham-menons-to-direct-malayalam-film.html

http://expressbuzz.com/entertainment/news/gautham-menon-enters-mollywood/371099.html

The below site says, music is by ARR.

http://www.kottaka.com/blog/2012/03/jayaram-to-play-the-lead-in-a-malayalam-film-by-gautham-menon/

Suraj Jagan says about his songs in NEPV:

http://www.deccanchronicle.com/tabloid/kochi/suraj-jagan-roll-749

"...“An opportunity of a life time,” is how he describes the recording, for which the background music will be composed in London.

“I’ve no clue how it’s gonna turn out as I could hear only the keyboard pad playing while I was singing,” says the voice behind many jingles including the popular Hutch one, You and I In This Beautiful World..."

thanks,

Krishnan

[MumbaiRamki]

Suraj Jagan says about his songs in NEPV:

http://www.deccanchronicle.com/tabloid/kochi/suraj-jagan-roll-749

“I’ve no clue how it’s gonna turn out as I could hear only the keyboard pad playing while I was singing,” says the voice behind many jingles including the popular Hutch one, You and I In This Beautiful World..."

thanks,

Krishnan

Interesting way of raaja composition !

[kiru]

aakarsh.. you got a point on "hit" vs "fan's favorites". I guess "hit" is defined in commercial terms and probably dictated by current demographics (more youth in the indian population now) and music trends and access to other sources of music (cable tv, internet etc). A "fan's favorite" would be for listeners who prefer a certain style or genre of music and mostly dictated by the composer's choice of musical instruments, techniques etc. Got it. Only point I have (going by my own personal preference) is that - I am not musically savvy to know raagams or chords. I listen to classical music much less (especially indian). Most songs of IR that I like are usually "hits" . I also like hits from ARR and other MDs. With that in context, I believe, that many recent songs of IR could have been hits if the the movie had succeeded in the box office. I do have doubts on IR appealing to the current young generation with fun/trendy music (which affects his commercial value). But he should be doing fine on neutral/situational and happy songs. With classic rock/jazz (without much electronica/trendy loops etc) style arrangements maybe it will even appeal to the youth. And yes, thanks for conforming that we are all on the same page on the musical value of his work.

[Gregorysab]

I believe, that many recent songs of IR could have been hits if the the movie had succeeded in the box office.

True. Thats why, his output is not a question or subject here (barring a kadhal kathai or 1 or 2 albums). His choice of channelling (read choice of films) that output is what the issue is, for me. And that has always been the issue. 70% of his film career is probably characterized by that. I know a composer cannot really have much control on the craftsmanship of a director. But in raaja's case, it appears as if Raaja had complete disregard for where his (gem) song was going. Just an example: Shenbaghame Shenbaghame is such a fine composition, that even Asha Bhonsle quoted it as her best song ever in south films. That song is transported to telugu, to a film called "Aa Okkati Adakku" - a film, that will never be remembered for its music. In tamil, probably half of tamil-nadu will remember that song today. But raaja sacrifices such a gem, to a not-worthy film - a wasted effort. Then, he does the same in Hindi as well, in a film called Mahadev (which has a phenomenal "Dilwale" song). Nobody remembers that song today. My point is - why waste gems like that in such films? or let me flip the question - when you have gems in your kitty, why sign Jaganmohinis and Kadhal Kathais?

I dont know how many raaja fans enjoy Ponmani Theril from Jaganmohini. I thoroughly enjoy it. It is unlike any raaja song actually. If you erase my memory selectively, to remove all traces of Jaganmohini album and play this song afresh.. and if you separate Ponmani Theril into instrumental layers (interludes etc) and vocal layers (melody), I cannot ever say that the instrumental layers are by Raaja. The vocal tracks bear his signatures... but the instrumental stuff in the song resembles closely to a.r.rahman's style (i felt)... and thats amazing... because i think raaja got as much contemporary as possible in that song, with such instrumental portions... and yet, his own signature is all through the song, in its melody. It is amazing song. and he donates it mercilessly to Jaganmohini :-( pch!

[NormalMan]

I’ve no clue how it’s gonna turn out as I could hear only the keyboard pad playing while I was singing,” says the voice behind many jingles including the popular Hutch one, You and I In This Beautiful World..."

Synth use panni sothappama irundha seri. I'm really nervous about this album - I should not be - but I'm.

[V_S]

aakarsh,
Nice points. I see the hunger in you and raja_fan that our Maestro should have bigger number of hits (recently). I have only couple of questions. If you say Ponmani ThEril is donated mercilessly to Jaganmohini, what film this song should have been associated to? Even if this song would have featured in bigger hit films, today nobody would have cared to listen even the best of the songs repeatedly (I am excluding the fans here). Take for example VTV/Paa/Sri rama rajyam. I have asked many telugu friends about SRR songs. They were not much interested, just saying it was good, that's it. Every song of these films are gems and a big hit, how many of today's generation like to listen to those again and again, leave alone the fans. Those times are gone. They want new songs every day and as far I know most of them never go back even if the song is one year old, saying that's an old song. That's the sad situation today. That's why I keep telling what is point of giving hit, if it is going to be listened only for few times and trashed. We can only be happy for sometime, ah.. yes that song was hit that time. What's the point? The meaning of "hit' is completely different nowadays compared to yesteryears. No one values good music nowadays. Nowadays the music scenario completely lost its credentials, each day we hear a new music director. Is music making that simple?

If you ask today's young generation about Rajini, they are saying Rajini's best is Thalapathi. When I asked them about MuLLUm Malarum or Bhuavana Oru Kelvikkuri or netrikaN, they don't even have a clue that these films exist. That is understandable, but what irks is they don't even want to search for these films and watch. Sameway I asked some my hindi friends (late 20s and early 30s) about old composers like Naushad or Shankar Jaikishan, they don't even know these composers. They are happy with chamak chalo and kolaveri di. Such is the sad situation.

Another question. Except for Manirathnam whom IR ignored during Iruvar (due to personal reasons), I don't remember IR ignoring any other directors. May be I am missing, if you or anyone please name whom all approached Raja and he declined. If he is accepting Kathal kathai director, imagine how he would have declined any big directors with a good script. Even if Mani was with him till today, you mean to say he will be in the market. I don't think so. Remember other directors and actors like KB, BR, Kamal, Rajini all left him on their own and IR never declined them. Another important aspect which I need to highlight here is there were other successful directors that time like Manivannan, Sunderraajan, RV Udayakumar, RK Selvmani, Balu Mahendra, Mahendran, Rajkiran, Vamsi and many directors either stopped or make very few films nowadays which is also one main reason that the songs didn't reach many. Also many directors of today's generation not even preferring IR or ARR and sticking with new music directors. Just like new music directors are coming, new directors are also born every day. Why they would chose IR, unless they really value good music? Again many producers doesn't want to work with him now that is also another important aspect. So he does go all the way and ignore the directors. It is the other way round happening. That's why I agree with Jai here. It has to happen that way and it happened. That's all. Ellaam poyyindi sir! We are atleast lucky to have grown with his music!

my two cents...:smile:

[app_engine]

makkaLE, why pulambal at celebration time :-)

NEPV will be great...kaiyezhuththuppOttu ezhudhiththarREn :-)

Cheer up!

[Gregorysab]

V_S,

As for ponmani Theril - I dont know which film would that song fit into. But i just felt that this song deserved much better film. and if no film can really fit that song, then it would have made an excellent instrumental track, if he really thought about it. It fits into World Music. So why not a World Music album. I mean, if one really thinks... there are endless possibilities... and that too for a composer like him. If there are 2 choices - one where a cylinder-drum-lady is dancing to this song in an obscure film and other where such a composition is from a World Music album by a genius composer, I will pick the latter. and I believe the latter can be marketed much better than the former.

I completely agree with you that the people are now tough beasts to tame. Even one year old song is actually old for them, while a song in 2000 is pretty recent for us (raaja fans). And yes, the meaning of hit is now different. Hit in music is now associated with hit movie only. I am not expecting Raaja to forecast Hits and then allot songs. All i want, for his own image, is to not associate with films such as Kadhal Kathai.

And just one director Maniratnam is not the point of contention here, especially when he makes a film once in 2-3 years (although the exposure raaja gets if he agrees to a Mani's film is more and totally different - which is a different topic). Generally speaking, I'd like a composer of his calibre to not associate himself with tier-2 films. Not completely atleast. I am fine if Nandalaala is a tier-2 film (with no stars and offbeat director). But offlate raaja's films have been completely tier-2 kind. I have written about this earlier - that there is a risk of he being slotted into "Village/town based films" OR "devotional albums" perception, when people start looking at his recent output. Thats why I get excited when he signs up a Paa with Balki or Rama Rajyam with Bapu or this film with NEPV. Ultimately, it is good to have a right mix, in the repertoire.

He has bundles of knowledge. tomorrow, if no good director comes to him (god forbid), it does not mean he should take whichever filmmaker(who makes films like Kadhal Kathai) approaching him. He can instead take a break and channelize all his good compositions to albums like HTNI, NBW.

Vamsee is still making films. No idea why he doesn't take IR. I have heard about few telugu directors (in last 12 years) for whom, Raaja was a choice; but raaja declined. But yes, I get the point what you are saying. There have been more cases of people not approaching him rather than the no. of cases where he declined them. Thats bad luck!!!

again, before people pounce on me with accusation that I am arrogant enough to tell raaja what he should do and what he shouldnt - This is purely the wishful thinking of the fan inside me, who wants Raaja to be selective in signing films so that his image doesn't erode due to his association with some films. Sign films that show some promise (or with promising film-makers or established film-makers who can justify his scores). for everything else, consider instrumental/private albums. I dont want him to retire from films. No. But i am fine even if he does 1 film per year. One remarkable film (or film-maker), which can assure the same respect and market-visibility. I believe he is doing this in Malayalam (in films with Sathyan anikkad).

[appushiva]

Hi all,

We all have one thing in common, we Love Raja Sir's Music but some love him personaly and some doesn't. There is one answer for why he is signing random directors because he don't want to lose his form. Once he had told to Kamal Hassan that "He entered the film industry having fire in heart and very successful, now the market and the trend pulling him down , he counteracts to keep atleast to keep up the "Kanai (cinder )" by signing movies which are significant to him. I never accept "Kadal Kathai" is bad/b-grade movie, the movie has a message that Love is nothing but lust , I accept the director's view why because i never seen a boy loves a ugly girl or viceversa. What the human - says Romance (Kathal) is having a major portion of sexism in which both bodies attracted by each other. In Paa, Amitabh says in the song "Where I can do" is nothing less than a cheap scene. The movie kathal kathai shows the reality of casteism , money power , Lust in men, downtroden , betrayel etc, in broader sense this movie gives the generation a wake up call on romance.

Further , IR sir by doing the movies engage himself with new idea's eventhough it sound retro , but still better than the other lifeless songs. Now, because of his continous engagement with movies now he get NEPV , Let's see how the product delivery is ?

Also , i thoroughly enjoyed "V_S" view on the present music trend , who cares for good music. For example the movie "Nadoodigal" is a good movie have a story "out of the box" but the director least bothered about the background music and songs. If he had book IR, the movie will be a unforgetable experience of lifetime. Gone the days when movies are done by skilled participants who can share the success, Now the selfish attitude exists and if the movie is a hit the sucess should be portrayed to only one person - a narrow minded and destructive atmosphere to the whole of movie industry.

[kameshratnam]

All ilayaraaja fans association: This is a group of all fans of Raaja sir from Mayyam, facebook, orkut , twitter, myspace etc etc

breaking news: Mudalvar Mahatma : They will release the audio cd in 2 days. I have spoken to them. I have ordered for 200 cds

Need all your support

Can you commit and help us buy them?

thanks
Kamesh

[kiru]

V_S,

... There have been more cases of people not approaching him rather than the no. of cases where he declined them. Thats bad luck!!!

...

Aakarsh.. dont worry too much :-) Music trends change with time.. does not mean the earlier composers are any less (eg. MSV). Shankar-Ganesh mentioned in one interview that the melody is the same but the rhythm arrangements change with time. So younger people gravitate towards "new sound". It is ok, even if IR does not have any movie and just sits at home (which will not be case in reality). He has achieved a lot. He can proudly retire.
But he has so much creativity in him, I only wish that either film or other arms of the music industry make use of him.
That said - I am very happy to see young MDs (eg. Aniruddh) making a career. IR is a genius ..but our land keeps producing so many smart people.. like you and me :-) imagine us being composers as well ? We would have acknowledged IR and keep doing our things..
App said it right - lets stay positive and relax, while the genius and an excellent movie maker do their job.

[sakaLAKALAKAlaa Vallavar]

படித்துறை ரீரிகார்டிங்குக்கான ஒத்திகை

http://www.youtube.com/watch?v=T6_Ityvh_AE

[sakaLAKALAKAlaa Vallavar]

//Heavy Digg

My Yamaha-DGX Full Size Keyboard for Sale(due to space constraints) http://bit.ly/HcXE5c 20K 5yrs-Old Like-New condition. Comes with Pedal
Specs - http://bit.ly/eLlefw Brought for 32K (have Original Bill and personally know the dealer too)

//End Digg

[SoftSword]

nalla autovaa irukkae adha yaenyaa vetreenga....

[sakaLAKALAKAlaa Vallavar]

Space issues. Moottai katti vekkavum koodaathunnu solraanga. Native house la ithu maathiri oru 100 keyboards vekkalaam but that is rented out!

Sari, eppdiyum future la Digital Piano vaangalaam nnu solli, intha decisionkku vanthutten

[V_S]

This is purely the wishful thinking of the fan inside me, who wants Raaja to be selective in signing films so that his image doesn't erode due to his association with some films. Sign films that show some promise (or with promising film-makers or established film-makers who can justify his scores). for everything else, consider instrumental/private albums. I dont want him to retire from films. No. But i am fine even if he does 1 film per year. One remarkable film (or film-maker), which can assure the same respect and market-visibility.


Thats why, his output is not a question or subject here (barring a kadhal kathai or 1 or 2 albums). His choice of channelling (read choice of films) that output is what the issue is, for me. And that has always been the issue. 70% of his film career is probably characterized by that. I know a composer cannot really have much control on the craftsmanship of a director. But in raaja's case, it appears as if Raaja had complete disregard for where his (gem) song was going.

aakarsh,
I understand your concern. No one knows if he signed a film like Kadhal kathai (except we fans), so I don't think there is a question of image spoil. You even expressed this earlier, that 70% of his film career mainly suffered due to the choice of films. I think you came to this conclusion considering current trend and how music directors are choosy in their projects today. That's may be the norm of today not yesterday. To answer this, we have to go back in history. If you look at the history, every composer (at-least in south) before his generation starting from G Ramanathan, MKT, K V Mahadevan, Viswanathan-Ramamoorthy till Maestro, has taken almost every film which came their way. Ghantasala would also fit into this, I believe (as I don't know much about telugu industry). Suddenly since someone is very choosy, they cannot change their habits.

In 80's and 90's I think there were 80-90 films produced every year (I mean only regionally). A music director who was claimed popular (as people started liking his music more) they had to take ownership and cater to atleast 60-70% of films, as the directors and producers would only prefer them (IMHO). Only if they are busy, they will go to other alternatives. It is their responsibility to serve them (IMHO). If they say No (citing the script is not good or other reasons) and not available most of the times, they would seek other alternatives that has been the case mostly today and the quality of music on the whole (compare 2-3 films per year from a major composer followed by 95 films by other next available composers) suffers because of this. I agree we might get some outstanding quality music in those 2-3 films, but what about the rest 90% of films? Who has to take care? What would be the quality on those remaining 90%?

Again it is a matter of choice. If you just prefer to listen those 2-3 film's music of the music director of your choice and be satisfied and/or listen to rest of them and compromise (which is what we are doing today). If you only think about that Raja should be in the market (I really appreciate it, but), I think more about how many good songs are offered to us that year. That can come only from a major composer of our time (whoever it is), right? If you prefer to listen only to 2-3 soundtracks of Raja every year from his best hit films, I prefer at-least 20 soundtracks every year even from his mediocre films. In this way, atleast he addressed some scarcity in the quality. I see that way. I also see the contribution to music there, rather than only going by # of hits and market. If you want to see a quality surge or spike, I want that surge/spike to sustain for some more time, or as long as possible.

This the main reason, we are also seeing so many music directors now, as someone needs to address the remaining films. There are more than 150 films to cater per year, but there are no other competitive music directors to take those those films and every new music director thinks he can take some of them which was distributed unevenly which miserably fails in terms of quality. With so many fresh and young talents, music directors and singers, we should see better music today compared to previous years (as it is from different brains compared to single), but do we see that?.

If Raja was not available that time citing various reasons and choosing very few films (by the script/directors alone), we might not have heard Ilaiyaraaja's name in Telugu Film industry at all. In Thamizh industry also he would have been known as just another music director. The prolificacy, speed, spontaneity with quality is what Ilaiyaraaja is all about. If you take that out, he is not our Raja. He sustained that enormous pressure (still doing) and served everyone and made everyone happy (including the smallest director to the big ones). At-least I am very happy he sustained that speed and quality for so long (still doing it). I would even say if he would be doing the same number of films today, as he was doing in 80s and 90's, I could not imagine how that would be. Also whether we would be still speaking of his glorious 80's till today, if he would have composed very less films?.

If he would have ignored Eera Vizhi KaaviyangaL, is there a possibility that we could have heard that music?. That's why he is an encyclopedia having covered almost every genres/styles in his music. Despite doing a fewer number of films now, we don't know how much more music he is writing daily, which we cannot see the light at all. Already he is doing only few films now, if he has restrict that too, like appushiva mentioned, people might totally forget him. He got into NPEV only because he is still doing more music. If he would have been very selective and also doing mainly instrumental/private albums, entry again into mainstream films would be so hard. But I agree with you if he had given some private albums, but the main problem with that one is someone has to sponsor.

I don't know if you have enjoyed going to music shop every week to buy/record a cassette of Maestro. The joy of expecting a new release every week and rushing to the store to buy/record cannot be explained in words. I could not imagine, if he would chosen only fewer films in 80's/90's.

But on the other hand, taking a little diversion, if you take hindi music scenarios from 40's, 50's till 70's, no single music director can be said to have taken control single-handedly, as every director is different in their style and substance. You cannot ignore any single music director, starting from this line-up; Shankar-Jaikishen, C Ramchandra, Naushad, Madan Mohan, Roshan, S D Burman, O P Nayyar, Salil, Khaiyyam, R D Burman and many more, even if you are a fan of one. That's the quality of music those days. These music directors were choosy (except a few like SJ, RDB), still we got a variety of songs in various genres reflecting our culture. Even though they shared the credit, there was no suffering from the quality perspective. Still we are listening to it. This is not the same today. Today, even if you give a big hit and become popular, people forget it next day. Again it is a choice which one do you prefer. Whether you prefer one music director to rule the music scenario (whoever it may be) or share the credit with some mediocre music directors. I definitely prefer the former.

PS: No offense to any music directors, this is just my personal view all.

[Gregorysab]

It is ok, even if IR does not have any movie and just sits at home (which will not be case in reality). He has achieved a lot. He can proudly retire.
But he has so much creativity in him, I only wish that either film or other arms of the music industry make use of him.

App said it right - lets stay positive and relax, while the genius and an excellent movie maker do their job.

No! No retirement please! He is like sherlock holmes.. his mind will rebel against stagnation... give him work.. give him situations... let the music flow...

[Gregorysab]

V_S,

That was a lengthy post which was slightly unnecessary because I very much understand your points :-) and agree with you regarding how the composers were in the bygone eras. And Past is past - even though 70% of Raaja's output suffered because of bad films, there is nothing we can change and i agree that it is good that he still went ahead to adorn those stupid films with great films.

My conclusion is not based on the choosiness of current crop of composers. It is more from the fact that people dont give a damn to a film for which he scored music. and that includes me and many of us. The music album might be good, but its position in the market is not and that leads to slotting him for certain kind of films.

My only point is - Fine, that Raaja had taken n no. of projects in 80s because thats how things used to work back then. Raaja doesnt have do that 'today'. I know he has the drive... but 80s was a different ball game and his approach worked - it cemented his position in the industry. He is 68 now. I dont want only a NBW, HTNI and Thiruvasakam to remain as his colossal works. He is capable of churning out more. And it does not matter if he rejects a Jaganmohini. It does not add any value to his career graph. as such the songs of that film are enjoyed only by fans. So, how does it matter if it was via film or via private album. we fans will buy private album too. As for sponsors, honestly, i feel thats not at all a big deal. Who sponsored Nothing But Wind? How to Name It? or even the most recent - "Ramana saranam saranam" - which had excellent arrangements/recording. He does not have to go to Budapest. I am fine with albums that match Ramana Saranam Saranam quality (of melody, recording and arrangements) - in instrumental form.

Again, this doesn't mean he should stop films.

[Devaraagam]

V_S,
I dont want only a NBW, HTNI and Thiruvasakam to remain as his colossal works. He is capable of churning out more.

Aakarsh, I agree that and Raja himself knows that he can produce more than HTN, Thiruvasagam but producers are not there to spend money for that even though they are ready to spend money on stupid and worthless films. if anyone approach him to work for colossal works, he will accept but no one is ready and that is the truth.

Recently,

Raja himself spent his time on Ramana saranam saranam due to his devotion to ramana.
Mylapore Saibaba trust approached him for baba pugazh malai.
India tales approached him for manikantan geetha mala

End of the day money is playing vital role on these projects.

[Gregorysab]

Hmm.. Raaja's output has been such that we all have different wants, from him, to be met :-)

anyway, lets end this topic and look forward to NEPV. The audio will be out in May i heard!

[SoftSword]

Space issues. Moottai katti vekkavum koodaathunnu solraanga. Native house la ithu maathiri oru 100 keyboards vekkalaam but that is rented out!

Sari, eppdiyum future la Digital Piano vaangalaam nnu solli, intha decisionkku vanthutten

edhanum friends kitta kudutthu vainga sakala...
idhellaam vikka koodaadhu... and why digital piano... regular piano is the best na...

[sakaLAKALAKAlaa Vallavar]

3 things, Keyboard(which i have), Digital Piano and Real Piano.

Real piano is a mechanical device and the keys wont be soft to touch, like the ones we see in electronic keyboards(plastic keys, soft rubber base) Real Piano's keys have weight. One willing to play piano but practicing on an electronic keyboard is waste. Becos thats not real play. Excellent Keyboard player, when let to play on real piano, will sothappify.

That's why Digital Piano came. It has something called weighted keys which has fake weight on its keys. it will give 'almost' real piano effect and heavy practicing on Digital Piano helps to reach Real Piano. (experts actually wont agree even Digital Pianos, they will say, the final sound effect/outupt of a Real piano cannot be matched by even a costly Digital Piano) But Digital piano(starting from 50K) is poor man's alternative for Real Piano(starting from 1.2 lac, decent ones)

Digital piano is not a fun device, it don't have they funky funny ambulance/helicopter sounds and other fancy sounds etc like electronic keybords. Digital Pianos have 3 Pedals like Real pianos. Electronic keyboards dont have that(mine has only one pedal for sustain, that too not effective)

[SoftSword]

i know and tried the real piano sakala...
i only asked why don u buy a regular one... but the things is it ll cost u in lacks.

[sakaLAKALAKAlaa Vallavar]

Even if I afford a Real piano, piano is like yaanai, one has to regularly maintain it spending money and time etc. Also, i cannot put headphones to Real piano, so bass keys la dong nnu adichaa, neighbors will file noise-pollution case against me! Whereas the same dong sound can be heard using a good headphone, in case of Digital Piano.

Even if i can monetarily afford buying and maintaining real Piano, and if my neighbors are deaf, still, one need a big, kind of empty hall, to keep a piano. It cannot be kept in a corner of a room. Only in big space, real piano's effects, large sounds can be heard and enjoyed well.

ithukku thaan pala per guitar kku poidraanga! Cheap, portable, no maintenance!

[SoftSword]

i agree... its like a yaanai.

[sakaLAKALAKAlaa Vallavar]

I thought of keeping in friend's place et all. but a friend itself advised me against it. "இவ்ளோ நாள் சும்மா இருந்திருக்கு, மத்தவங்க வீட்ல சும்மா வெக்குறதுக்கு நீயே வெச்சிக்கலாமே, இவ்ளோ நாள் போல, வாஙின திட்டை எல்லாம் இந்த காதுல வாங்கி அந்த காதுல விடு. ஒண்ணு காலத்துக்கும் இதையே வெச்ஹிக்கணும், ஆனா உனக்கு டிஜிடல் பியானோ ஆசை இருக்கு. அப்ப, இப்பவே வித்துடு, இன்னு 5 வருஷம் கழிச்சி விக்கவும் முடியாது, குடுக்கவும் மனசு வராது" thatswhy, i decided let it be with someone who will use it

[SoftSword]

ah ok... unga decision... u can advertise in ebay...

[sakaLAKALAKAlaa Vallavar]

hmm, yet to advertise in ebay, free-ads, craigslist etc... as of now only within my friends, tuitter, phesbook

[SoftSword]

craigslist'a :oops:

[kameshratnam]

All ilayaraaja fans meeting in chennai

We invite you officially to our meeting on the 8th of April 2012 at the following venue

Sunday, April 8, 2012
10:00am until 1:00pm
Antara, Rehearsal Hall, Ashok Nagar, 3rd Avenue (Opp. JFA and AXIS BANK) Exactly behind Jahawar Vidyalaya ( Main )

We will try to release the mudalvar mahatma audio cd that day. Each cd will cost around 60 INR per cd

[sakaLAKALAKAlaa Vallavar]

Voice of Ilayaraja - Android app

https://play.google.com/store/apps/details?id=ddm.app.singers.ilayaraja

Songs sung by Thalaiver. Decent Selection! Superb Intro when u run the App :D

Listening to a song called "Vennilavuku aasaippatten" Superb song! never heard before

The App Developer Desi Droi has released few apps which are about North Singers and Musicians. IR is the first South musician. Wondering howcome he found this rare song "Vennilavuku aasaippatten"
https://play.google.com/store/apps/developer?id=Desi+Droi

ஆக, இன்று காலை எனக்கு அருமையான துவக்கம் :redjump:

[ravinat]

I had a similar experience with pianos. I went from electronic keyboard to attachments to an apartment size piano. Most piano teachers in NA teach with regular or apartment size pianos and avoid electronics. This makes the kids long for the 'real' one.

For the apartment/grand piano, you need to regularly tune it to keep it in order. (Remember the famous Fermi approx problem of the number of piano tuners in NY City?). It is also very climate dependent. However, most kids who learn with the real piano can easily play the keyboard.

Moving pianos and caring for them is also another overhead. However, the tonal quality is different between a regular and even a digital piano.

We recently sold our apartment piano (smaller size real piano that will keep your neighbors from complaining) and craigslist does help.

[sakaLAKALAKAlaa Vallavar]

Apartment piano means? You mean Upright Piano?!

[ravinat]

Yes, upright is also called apartment size piano as the grand one does not fit in an apartment. It is a popular term in NA.

[ajithfederer]

அக்னி நக்ஷத்திரம் படத்தின் ‘தூங்காத விழிகள் ரெண்டு’ பாடல் பதிவு ஒரு கோடைப் பொழுதின் பிற்பகலில் நிகழ்ந்தது. அமிர்தவர்ஷினி என்ற ராகத்தை அடிப்படையாக கொண்டது அந்த பாடல். அந்த ராகத்தை முறையாக பாடினால் மழையையே வரவழைக்கலாம்.

https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-ash3/562053_205222712914649_153944858042435_257035_5604 14137_n.jpg

மாதிரிப்பதிவை (Track) கேட்டவுடனேயே, ஜேசுதாசும் ஜானகியும் அமிர்தவர்ஷினியை கண்டு சிரித்துக்கொண்டு ராஜாவை கேலிசெய்தனராம். "மழை வரலன்னா, எங்களைத் திட்டாதீங்க" என்று கூட சொன்னார்களாம். பாடல் பதிவும் முடிந்தது. Studio-வை விட்டு வெளியே வருகையில் எல்லோருக்குமே இன்ப அதிர்ச்சி.

யாரும் வீட்டுக்கு கிளம்ப முடியாத வகையில் கனத்த மழை, அந்த மதியத்தில். யாருமே எதிர்பார்த்திருக்காத மே மாதத்தின் ஒரு நாளில். இது, எஸ்.ஜானகி ஒரு நேர்காணலில் சொன்னது

[K]

http://www.karundhel.com/2012/04/blog-post.html

இதை ஏன் சொன்னேன் என்றால், படத்தில் கதாநாயகன், பாங் அடித்துவிட்டு என்னென்ன மனப்பிறழ்வுகளை அனுபவிக்கிறானோ, அவற்றை, அந்தப் பாடலைக் கேட்பதன் மூலம், நாமும் அனுபவிக்கமுடியும். அதுதான் அப்பாடலின் விசேஷம். இளையராஜா இசையமைத்ததில், நாடி நரம்புகளை ஒரு ஆட்டு ஆட்டி, கேட்பவர்களை உன்மத்தம் கொள்ளவைக்கும் (வெகுசில) பாடல்களில், இப்பாடலும் ஒன்று.

'கர்ப்பக்கெரகம் விட்டு சாமி வெளியேறுது... இது நியாயத் தீர்ப்பு கூறும் நாளுடா.. தர்மம் பூட்டுப்போட்டா உள்ள அடங்காதுடா.. அத்த தடுக்குறவன் இப்ப ஆருடா' என்று தொடங்கும் இப்பாடல், படத்தின் சிச்சுவேஷனோடு சேர்த்து, பார்ப்பவர்களை உடனடியாக வெறிகொள்ளவைப்பதில் பெருவெற்றி அடைகிறது. யோசித்துப் பாருங்கள். எங்கு பார்த்தாலும் கைதிகளின் வெறியாட்டம். திடீரென்று, பெரிய கம்பிக்கதவை தலைக்குமேல் தூக்கிக்கொண்டு* விருமாண்டியும் பிற கைதிகளும் ஓடிவருகின்றனர். எல்லோருக்கும் முன்னால், அலறிக்கொண்டு ஓடிவருகிறான் விருமாண்டி. அவன் தோற்றமே பழைய விருமாண்டி சாமி போலவே இருக்கிறது. மிகச்சரியாக அந்த சூழ்நிலையை ஒரே கணத்தில் மனதில் பதியவைக்கக்கூடிய பாடலாக இது இருக்கிறது.

[venkkiram]

ஆனந்த விகடனின் அன்னக்கிளி திரைப்பட விமர்சனம்!

http://www.hellotamilcinema.com/images/stories/image300_3/annakkili-viktan-review-main.jpg

எல்லோரும் வரிசையா வந்து விகடனின் பரந்த மனப்பான்மையை, நடுநிலைத்தன்மையை பாராட்டிட்டு போங்க!

[sakaLAKALAKAlaa Vallavar]

அதிபுத்திசாலி விகடன், நாயகன் மூன்றாம் பிறை பட இசைகளுக்கும் இதுபோலத்தான் விமர்சனம் செய்தது. அந்த இரன்டிலுமாவது குறிப்பிடுவார்கள். இதில் ஒரு புதிய இசையமைப்பாளர் அறிமுகமாகி இருக்கிறார் என்பதையே மறைக்கப்பார்க்கிறார்கள். கர்நாடக வித்வான் லாபி

[rajaramsgi]

ஆனந்த விகடன் ஆரம்பத்திலேர்ந்தே இப்படி தானா?
அல்லது அதன் விமர்சன குழுவிற்கு இசை ஒரு பெரிய விசயம் இல்லையா?
அன்னக்கிளி வந்த கால கட்டத்தில், வேறு படங்களின் இசையை எப்படி விமர்சித்தார்கள்?
ராஜா சார் இசை பற்றி விகடன் எப்போது பெரிய அளவில் எழுதியது இல்லை என்றே தோன்றுகிறது.
அவர்கள் biased என்று நினைப்பதா இல்லை ignorance என்று சொல்வதா?
ராஜா சார் இசையை ரசிகர்களிடத்திலேயே விட்டு விடலாம் என்று நினைதிருக்கலாமோ?

[sakaLAKALAKAlaa Vallavar]

Rajaramsgi, அதான் சொல்கிறேனே "கர்நாடக வித்வான் லாபி"! ராஜாவின் இசை வெற்றி பெற்ற பிறகும் அவரைச்சுற்றி விதவிதமான அரசியல் வெவ்வேறு குழுக்களால் நிகழ்த்தப்பட்டன. ஆனால் ராஜா, அவை அனைத்திலிருந்தும் பாதிக்காத வண்ணம் பெரு உயரத்திலிருந்தார். அவரின் தெளிவுக்கு ஒரு :clap:

[sakaLAKALAKAlaa Vallavar]

Mysskin emotionally speaks about the composing session with Ilaiyaraaja of the song "Thaalaattu Kaetka naanum"

http://www.youtube.com/watch?v=xgOmyg2Ngms

after viewing, see(hear/intake) this too

http://www.youtube.com/watch?v=EToPNTbQn1A

[sureshmehcnit]

The only case where Ilaiyaraaja Vs A.R.Rahman debate is valid

http://www.backgroundscore.com/2012/04/ilaiyaraaja-vs-arrahman.html

[Bala (Karthik)]

A cop-out piece as usual, I'm afraid. Plus, the last para kind of contradicts the very point of the post - supposedly the only case where comparison is valid but practically tries to maintain balance and nullifies the comparison by saying it's not apples to apples

[sakaLAKALAKAlaa Vallavar]

பிட்டு பிட்டா பார்த்தபின், முழுசா பார்க்க விரும்புபவர்களுக்காக :D

http://www.youtube.com/watch?v=hTdKUMYIp04

[SoftSword]

A cop-out piece as usual, I'm afraid. Plus, the last para kind of contradicts the very point of the post - supposedly the only case where comparison is valid but practically tries to maintain balance and nullifies the comparison by saying it's not apples to apples

agree.. oru effect illai.... neither in the scenes/actors nor in the music of the last two scenes mentioned...

[sureshmehcnit]

agree.. oru effect illai.... neither in the scenes/actors nor in the music of the last two scenes mentioned...

That is what I was trying to say, when there the scene or performance of the actors have no effect on you, even Ilaiyaraaja's music wouldn't have helped.

[sureshmehcnit]

A cop-out piece as usual, I'm afraid. Plus, the last para kind of contradicts the very point of the post - supposedly the only case where comparison is valid but practically tries to maintain balance and nullifies the comparison by saying it's not apples to apples

I wasn't trying to nullify, it is an additional factor that we have to consider. Background score is not for the story, it is for the story telling. When the teller (director) and the tools of telling (actors) are different, then does become a different entity. I said I liked what A.R.Rahman did, considering the quality of material he got to work with.

[teja]

Phew! This Ilayaraja VS ARR topic is like a mega serial. Apparently, there is no end to it. Doesn't matter what your argument is, there will always be a counter argument. I just hope people move on from this comparison. It's getting quite old.

Back on the topic, Sri Rama Rajyam Tamil trailer:
http://www.youtube.com/watch?v=XfAR-5hqMCQ
Any idea who's the female singer in "jagadananda kaaraka" (tamil version)?

[V_S]

suresh,
Agreed, but you cannot assume this: 'With a stone-faced Jyothika playing the central character, even Ilaiyaraaja couldn’t have saved Doli Saja Ke Rakhna.' I can show plenty of examples. Even in the same cues which you showed, where Vijay was trying to act, but nothing comes out from him. See how he turns his face away from the camera lying on Srividya's shoulders, see how Maestro managed there. You don't go by actors acting, as long as you know what the situation is and how you go on top of those mediocre performances is what matters. I think even Rahman has done the same. I think what Bala was saying is: you have started the post as this score (or the film) is the only comparison between Raja and Rahman, but ending with 'you cannot compare both the scores as 'Jyothika is no Shalini'. I can say Vijay is no Akshay Khanna. :wink:

Somehow, I see from the whole write-up that you wanted to get convinced by Rahman's score (implying his score is no way inferior to Maestro's score, see how he has pulled out) and convinced too, good enough. I don't have any problems with that. :smile:

[sakaLAKALAKAlaa Vallavar]

Just want to mention! Suresh's blog was reportedly being read by Rahman, maybe he wants to write good abt ARR too! Not making fun or Nothing wrong, just saying :)

[sureshmehcnit]

suresh,
Agreed, but you cannot assume this: 'With a stone-faced Jyothika playing the central character, even Ilaiyaraaja couldn’t have saved Doli Saja Ke Rakhna.' I can show plenty of examples. Even in the same cues which you showed, where Vijay was trying to act, but nothing comes out from him. See how he turns his face away from the camera lying on Srividya's shoulders, see how Maestro managed there. You don't go by actors acting, as long as you know what the situation is and how you go on top of those mediocre performances is what matters. I think even Rahman has done the same. I think what Bala was saying is: you have started the post as this score (or the film) is the only comparison between Raja and Rahman, but ending with 'you cannot compare both the scores as 'Jyothika is no Shalini'. I can say Vijay is no Akshay Khanna. :wink:

Somehow, I see from the whole write-up that you wanted to get convinced by Rahman's score (implying his score is no way inferior to Maestro's score, see how he has pulled out) and convinced too, good enough. I don't have any problems with that. :smile:

In that specific shot you mentioned, I don't think Vijay's action or reaction is reference for Ilaiyaraaja's musical idea in that scene. It is the overall mood that Ilaiyaraaja is interested in.

"I liked A.R.Rahman's background score in Doli Saja Ke Rakhna." - Does that mean A.R.Rahman's score is not inferior to Maestro's? Maestro's is in my opinion the best of all versions.

[sureshmehcnit]

Just want to mention! Suresh's blog was reportedly being read by Rahman, maybe he wants to write good abt ARR too! Not making fun or Nothing wrong, just saying :)

Seriously, no. I don't know if you have been following my blog. I have written so many articles criticizing A.R.Rahman's scores.

[Divine22]

Chinmayi dubbed for Nayanthara in Tamil, was she the same person dubbed in the original telegu version ?

Struck by 'Sri rama lera'' again , What a bliss ! :musicsmile:

[Gregorysab]

Divine22,

In telugu, it was not chinmayi!

sri Rama Lera is a gem, which i rate a bit higher than many songs he composed recently.

[Gregorysab]

So NEPV has 3 songs by karthik: http://www.sify.com/movies/karthik-croons-for-ilayaraja-and-gautam-news-tamil-mejjQpfhffd.html?scategory=tamil

[Divine22]

Thank You Aakarsh sir 8-)

[Sureshs65]

"The only case where Ilaiyaraaja Vs A.R.Rahman debate is valid

http://www.backgroundscore.com/2012/...-arrahman.html"

I beg to disagree with ursmusically (Suresh) here. This is one of the finest cases where the debate is not at all valid :D

[rajaramsgi]

மூன்று படங்களின் இசையையும் ஒப்பீடு செய்ய உங்களுக்கு இசை ஞானம், நேரம், ஆர்வம் அதிகம் இருந்திருக்கிறது. அதை ஒரு ஆராய்ச்சி கட்டுரையாக எழுதி வெளியிட்டதும் பெரிய விஷயம்.

எழுத, பேச உங்களுக்கு உரிமை இருந்தாலும், இது தேவை இல்லாத செயல். மூவரும் திறமை சாலிகள் என்றாலும், சாம்பார், சாம்பார் தான். அம்மா வைக்கும் சாம்பாருக்கு, மனைவி வைக்கும் வைக்கும் சாம்பாருக்கும், மகள் வைக்கும் வைக்கும் சாம்பாருக்கும் வித்யாசம் இருப்பதில்லையா? இருந்தாலும், யார் பெஸ்ட் என்று அதை எதற்கு பீத்த வேண்டும்?

அவரவருக்கு தெரிந்ததை மூன்று படங்களிலும் செய்திருக்கிறார்கள்.

[sureshmehcnit]

மூன்று படங்களின் இசையையும் ஒப்பீடு செய்ய உங்களுக்கு இசை ஞானம், நேரம், ஆர்வம் அதிகம் இருந்திருக்கிறது. அதை ஒரு ஆராய்ச்சி கட்டுரையாக எழுதி வெளியிட்டதும் பெரிய விஷயம்.

எழுத, பேச உங்களுக்கு உரிமை இருந்தாலும், இது தேவை இல்லாத செயல். மூவரும் திறமை சாலிகள் என்றாலும், சாம்பார், சாம்பார் தான். அம்மா வைக்கும் சாம்பாருக்கு, மனைவி வைக்கும் வைக்கும் சாம்பாருக்கும், மகள் வைக்கும் வைக்கும் சாம்பாருக்கும் வித்யாசம் இருப்பதில்லையா? இருந்தாலும், யார் பெஸ்ட் என்று அதை எதற்கு பீத்த வேண்டும்?

அவரவருக்கு தெரிந்ததை மூன்று படங்களிலும் செய்திருக்கிறார்கள்.

தேவை இல்லை தான். என்ன பண்ணறது. சைட்-kku traffic increase பண்ண அப்பப்ப இப்படி ஏதாவது sensationalaa எழுத
வேண்டியிருக்கு

[V_S]

In that specific shot you mentioned, I don't think Vijay's action or reaction is reference for Ilaiyaraaja's musical idea in that scene. It is the overall mood that Ilaiyaraaja is interested in.
That's what my point to, you cannot go by acting alone, the overall mood or the situation (how I call it) is what matters the most for music directors. There are many such stone-faced actors/actresses here, if you go by them, you are bound to fail.

Thanks for your response. I really appreciate your effort in stitching those videos together writing this post. :smile:

[sakaLAKALAKAlaa Vallavar]

I was worrying for the constant -ve opinions coming for SureshMechinit's post, atleast we shud appreciate the effort right? Finding all 3 movies, cutting, editing etc... :clap:

[Nerd]

Back on the topic, Sri Rama Rajyam Tamil trailer:
http://www.youtube.com/watch?v=XfAR-5hqMCQ
Any idea who's the female singer in "jagadananda kaaraka" (tamil version)?
And is it Chinmayi singing Sri Raama Lera in thamizh?

[Plum]

Full marks for effort Mehcnit. (Idhai paarkumbodhellaam mehdi hassan dhaan gnaabagan varudhu). I don't think the comparison is valid in terms of instruments used, general mood created etc. But net-net. What I read from your post was that you were implying that while Raja was scoring from the pov of mood shifts among the characters and specifically for the moment, Rahman caught a generic mood of the scene early(pallavi's mother) and referred to it when convenient. To be honest. I think this is a microcosm of Raja vs Rahman BGm scores. You think I am just interpreting your post and creating this narrative? I guess suresh65 and some others can recall that this is what I claimed as the difference in bgm philosophy of Raja vs Rahman many moons ago. I take this as affirmation for my belief :). Thanks for your monumental effort which corroborates my lazy theory formed based on pieces of various mental images and sound processing alone.

[Plum]

To add to that, some people like Feeyar rubbish my theory saying that it is not possible for a score to represent specific moments and generic mood creation only is possible. That too is optional apdinnu solluvaar.

[Plum]

I think I used to callit "macro emotional BGM" vs "micro emotional BGM". Google searchla oru pazhaya postum sikka mAttEngudhu

[Plum]

The difference In composing philosophy between Rahman and Raja is fascinating for me. For example, I read often that Kathir picked a tune/song that Shankar also wanted etc. So part of Rahman's work involves parts of pre-composed products they can choose from. Obviously, this is not the case with Raja. I belive specificity vs genericity factors itself in right there. +bviously, not to be interpreted as all Rahman works are pre-meditated. Just the general philosophy seems to come out in the habits too. I personally include spontaneity as a criterion for evaluation of individuals. In their field of specilaisation - given that I generally don't appreciate Raja songs specifically because they were instantly composed, I also have a theory that at some level, the spontaneity gets embedded in the product and appeals sub-consciously.

[sureshmehcnit]

What I read from your post was that you were implying that while Raja was scoring from the pov of mood shifts among the characters and specifically for the moment, Rahman caught a generic mood of the scene early(pallavi's mother) and referred to it when convenient.

You hit the nail on the head. Thank you.

[sureshmehcnit]

To add to that, some people like Feeyar rubbish my theory saying that it is not possible for a score to represent specific moments and generic mood creation only is possible. That too is optional apdinnu solluvaar.

For anyone who grew listening to Ilaiyaraaja's movies, scoring for specific moments is the most obvious way of scoring background music. I realized later from A.R.Rahman's and many Hollywood scores that it is okay to go with a generic mood to deliver a perfectly right score.

[jaiganes]

suresh,
Agreed, but you cannot assume this: 'With a stone-faced Jyothika playing the central character, even Ilaiyaraaja couldn’t have saved Doli Saja Ke Rakhna.' I can show plenty of examples. Even in the same cues which you showed, where Vijay was trying to act, but nothing comes out from him. See how he turns his face away from the camera lying on Srividya's shoulders, see how Maestro managed there. You don't go by actors acting, as long as you know what the situation is and how you go on top of those mediocre performances is what matters. I think even Rahman has done the same. I think what Bala was saying is: you have started the post as this score (or the film) is the only comparison between Raja and Rahman, but ending with 'you cannot compare both the scores as 'Jyothika is no Shalini'. I can say Vijay is no Akshay Khanna. :wink:

Somehow, I see from the whole write-up that you wanted to get convinced by Rahman's score (implying his score is no way inferior to Maestro's score, see how he has pulled out) and convinced too, good enough. I don't have any problems with that. :smile:
ennaanga idhu.. vijay is much better than akshay thaathangov..

[jaiganes]

For anyone who grew listening to Ilaiyaraaja's movies, scoring for specific moments is the most obvious way of scoring background music. I realized later from A.R.Rahman's and many Hollywood scores that it is okay to go with a generic mood to deliver a perfectly right score.
precisely - except thomas newman, john williams and the likes, no one goes for bit by bit punctuation which raaja indulges in. Avingallaam music editor enna bittu kekkararo adhai vaangi ottuvadhu illai pottu amukkuvadhunnu aagittaangappa. only we fight over this.. even JW is being sidelined by being labeled as "classical style". modern style is purely cut copy paste dhaangov.

[jaiganes]

For anyone who grew listening to Ilaiyaraaja's movies, scoring for specific moments is the most obvious way of scoring background music. I realized later from A.R.Rahman's and many Hollywood scores that it is okay to go with a generic mood to deliver a perfectly right score.
aana paarunga unga sentencela oru contradiction keedhu...
scoring for specific moments dhaan perfectly right score.
neenga solra okay to go with a generic mood is "Edho onnu".

[sakaLAKALAKAlaa Vallavar]

"படம் முழுக்க, படத்தை இன்னும் ஆழமாக ரசிக்க, நம்மை அறியாமல் ஒரு சக்தி நம்மை இயக்குகிறது. அதுதான் இளையராஜாவின் பின்னணி இசை!" This is the vikatan comment about Mahanadhi BGM. This applies for ALL the IR movies. His BGM is a guide to us. Other MD's don't do that. Even bad acting is made to be felt better, when IR's BGM is there, but that is not the case of other MD's. Be it kaathalukku mariyaathai OR Muthal mariyaathai, Only Raja gives utmost importance to BGM

[V_S]

ennaanga idhu.. vijay is much better than akshay thaathangov..
:lol: To be honest, I could not tolerate Vijay/Shalini's acting in that movie. Padam muzhukka avarukku enna panrathunne theriyile, especially the scenes when both are together. Any good actor won't turn his face away from camera when crying, why so much inhibition/shyness that too for a lead actor. Normal emotions ok, this film requires some subtle emotions to be shown, where these actors failed miserably. As skv told, only Maestro's BGM has to lift it above all those short-comings. In that sense Akshay didn't try to cry atleast, so didn't cause embarrassment. :smile:

[jaiganes]

:lol: To be honest, I could not tolerate Vijay/Shalini's acting in that movie. Padam muzhukka avarukku enna panrathunne theriyile, especially the scenes when both are together. Any good actor won't turn his face away from camera when crying, why so much inhibition/shyness that too for a lead actor. Normal emotions ok, this film requires some subtle emotions to be shown, where these actors failed miserably. As skv told, only Maestro's BGM has to lift it above all those short-comings. In that sense Akshay didn't try to cry atleast, so didn't cause embarrassment. :smile:
allov. he doesnt turn away from camera - from the character.. i thought vijay did pretty well. thavira indha situatione avingalukku kaamedy panraapala irukkum..
avinga south bombay sidelaam "pickup drop escape" - kaadhalaavadhu . maruvaadhiyaavadhu.. poippa parungappannu solluvaango.. ippallaam nammaalungalum andha theLivukku vara aarambichuttainga.. adhu vera vishayam.. kaigu padam "aambalaikkum " paattu kekkaliya neenga

[sureshmehcnit]

aana paarunga unga sentencela oru contradiction keedhu...
scoring for specific moments dhaan perfectly right score.
neenga solra okay to go with a generic mood is "Edho onnu".

In my opinion, Ilaiyaraaja's is more than what is just a perfectly right score. As far as I have read on the net, Aniyathi Pravu was also a blockbuster and every one seem to have gotten engrossed and emotionally moved by the climax of the film. It didn't have Ilaiyaraaja's background score.

Ninaivellam Nithya was utter flop. No one connected with the story or the performance or the characters, even though it had in my opinion a background score filled with immortal melodies. Ilaiyaraaja's score couldn't save the film. It couldn't make the audience emotionally connect with the film. We still talk about the score because the melodies in the score were such. They took a life of their own out of the film.

[Plum]

V-S - :thumbsup: - "avaru" enna vachukittA vanjanai paNNinAru? Satti-Agappai etc :)

[Plum]

Jai - good point. Also indha parental approval meme ellAm "idhellAm nAnga DDlJ-laiyE pArthuttOm"-nu rejeet paNNittAnga north indies folks. Padam edhukku hit Ach flop Achunu ellAm guess dhaan paNNa mudiyin. What is indisputable - actually feeyar will dispute - is that after hearing IR score for that movie, it is difficult to accept any other interpretation. Mehcnit hassan - ivlo dhooram pannitinga. Just be informed that the movie was remade in Telugu also. I don't remember any cast, crew details. Search paNNi solREn - adhaiyum oru dhabaa pArthduunga. Wait, don't rush it is not as easy as you might think - if I am right it starred sthithapragnyan Chakkaravarthy and Dheyyam Maheswari.

[Plum]

Padam muzhukka avarukku enna panrathunne theriyile, especially the scenes when both are together. you are right - idhE kaNdi Simbu mattum irundhirundhaa... :yessir:

[V_S]

:lol:

[V_S]

Jai,
Even the malayalam original version, it was not like that, if you watch Kunchacko Boban's acting of that scene.

[jaiganes]

Just imagining gounds in place of fazil trying to teach acting in such a scene..
"Naan untte enna vangittu vara sonnaen"?

[krish244]

More news on NEPV album. This news says Jiiva and Samantha will be singing the title song:

http://www.behindwoods.com/tamil-movie-news-1/apr-12-02/neethane-en-ponvasantham-gautham-menon-09-04-12.html

thanks,

Krishnan

[Sureshs65]

"For anyone who grew listening to Ilaiyaraaja's movies, scoring for specific moments is the most obvious way of scoring background music. I realized later from A.R.Rahman's and many Hollywood scores that it is okay to go with a generic mood to deliver a perfectly right score."

I think the whole philosophy of scoring for Hollywood films is very different from scoring for Indian films. That is not an apple to apple comparison at all. The way they tell the story, the way they edit the movie and the way the actors deliver is very different from our films. Additionally the emotional factor in their films is quite different and generally underplayed compared to our films. So we cannot do this comparison about 'generic mood' of the film etc.

Coming to Rahman's BGM in many of the movie I have seen, his BGM instead of being elevating becomes elevator music. Basically something going on in the background as in the elevator. Recently was watching 'Jodha Akbar' and in one scene which was emotional, the BGM conveyed nothing of the situation. It was generic Hindustani sitar playing an Hindustani ragam in the background. As I said perfect example of elevator music. Somehow in the Indian movies context I think the 'generic music' is more a cover up for lack of skill in this department than of any major philosophy.

[Sureshs65]

It is perfectly true that many emotional scenes are etched in the movie goers mind without a great BGM in the background. The only difference with 'Kadhalukku Mariyadhai' climax is that along with the scene the BGM is also etched in people's mind. In how many movies do you remember the BGM along with the emotional or memorable scene. I remember so many scenes from old movies which are very memorable but I never remember their BGM at all. But even a guy like me, who doesn't concentrate on BGM, cannot take away from my mind Raja's score in many movies. I can't think of a movie like 'Aa Dinagalu' or 'Nizhalkuthu' without Raja's BGM. That is his success.

And I don't buy the argument that Rahman's BGM in DSR 'failed' because of lack of intensity in the scene. It failed because it neither elevated the scene nor was it very memorable.

[SoftSword]

super... ARR, the elevator musician... :clap:

naan pesaama inimae TV Serials paakkuraen...
adhula dhaan amma, akka, anni, maama'nu ovvorutthar reaction tharrappovum toin... doin... dunn... daannn.... apdinu everu reaction of every character and turn of events oru cue poduvaanga...

[Sureshs65]

SS,

:D

You may be surprised but some serials do have a decent BGM score nowadays!!! Atleast sitting in another room and without listening to the dialogs I can make out what the scene is about. I can't say the same about many movies BGM scores. When I hear only the music I can't tell what the scene is about. It is just some music playing!!!

[MADDY]

super... ARR, the elevator musician... :clap:

naan pesaama inimae TV Serials paakkuraen...
adhula dhaan amma, akka, anni, maama'nu ovvorutthar reaction tharrappovum toin... doin... dunn... daannn.... apdinu everu reaction of every character and turn of events oru cue poduvaanga...

yea because tv serial MDs have skill which AR doesent have, u know

i do agree that thalaivar doesent score for every window, car door open shots etc in a movie.....he goes with the general mood of the film(using song's tunes in BGM) and sometimes goes conveniently silent on some of the scenes - short circuting the whole tedium of scoring for repeated cliches........but many of AR's BGM works like RangdeBasanti, Rockstar are a complete 180 degree turn from the IR's or any other indian composers way of scoring BGM.......

[MADDY]

when i watched DSKR in cinemas, my North Indian(above hyderabad) frnds were wondering why 3 sons i.e men are blindly being toyed by the mother i.e a woman in the movie........the whole concept of a lady head of the family, which is only relevant in kerala culture, was very odd in Hindi..........scoring for a hindi film and tamil film is completely different - even the stories/performances need to be customised.....no wonder DSKR sank but AR is a legend in bollywood

[Sureshs65]

For some reason, the reply with quote is not working on my browser. So I need to cut and paste. Here is what Maddy said:

"i do agree that thalaivar doesent score for every window, car door open shots etc in a movie.....he goes with the general mood of the film(using song's tunes in BGM) and sometimes goes conveniently silent on some of the scenes - short circuting the whole tedium of scoring for repeated cliches........but many of AR's BGM works like RangdeBasanti, Rockstar are a complete 180 degree turn from the IR's or any other indian composers way of scoring BGM......"

And neither do the good MDs. They too don't score for every car door open shots etc. And yes, silence is an integral part of Raja's BGM. He knows when to be silent and when to score. And yes, some of the Rahman scores may be 180 degree turn from other composers but just being 180 degrees away is not enough. My question is, is it effective in the context of the movie? I haven't seen both the movies you mentioned so I cannot comment. In the movies I did see, like Jodha Akbar, Kizhakku Seemaiyile the BGM was not at all effective in the context of the movie. It did nothing to many of the scenes. In some movies like 'Ravan' I actually laughed out in the theater as I found the BGM very inappropriate in many places.

I don't have the patience to sit and watch 'Ravan' again to give you the exact scene but I do remember a scene from 'Zubeida'. The grandson wants to find his mother's dairies which his grandmother has locked in a cupboard. So he goes to steal them from his own house. It is an emotional scene but Rahman gives music as if it is part of a thriller movie!!! 180 degree turn alright, but appropriate?

" even the stories/performances need to be customised"
Maybe even the BGM :D

"AR is a legend in bollywood"
No one would dispute it and in my opinion it has everything to do with his song making skills, not his BGM skills.

[Gregorysab]

Havent watched Kadhalikku mariyadhai or Doli sajake Rakhna - so can't comment.

But personally, I like Raaja's BGMs more. I think they very well underline the moment there, on the screen. And ARR, i think, uses the western classical approach (not to be confused with western classical music) of having one governing theme music and then altering them to various moods. The central idea might be common but various versions are built around the central piece, with variations in tune and instruments. I might be wrong too.. I am merely guessing, from some the BGMs i heard. I felt ARR's BGMs were good in some films (Dil Se, Lagaan) & sometimes unimpressive (raavan).

[dochu]

"AR is a legend in bollywood"
No one would dispute it and in my opinion it has everything to do with his song making skills, not his BGM skills.

Well, IMHO, I find it hard to digest for a man bagging brilliantly twin oscars and stuff to do this.
http://www.youtube.com/watch?feature=player_embedded&v=lnFLK4iBcok - from 0.12s = Veera veera from Ravanan. And many more.

Its all, how you can hide and reshape it.

[venkkiram]

ரஹ்மானுக்கு பின்னணி இசை வராது என்ற கூற்றை மறுக்கிறேன். அவரோட இசை வேறொரு பரிமாணம். லகான் படமெல்லாம் பிச்சிக்கிட்டு ஓடியதற்கு இன்னொரு காரணம் பின்னணி இசையும் கூட. அதே லகான் படத்தை வேறொருவர் செய்து அந்த அளவுக்கு எலிவேட் செய்திருப்பார் என தோன்றவில்லை. ஞாபகமிருக்கிறது. இசையைப் பற்றி, படங்களைப் பற்றி எதையுமே பகிராத ஒரு நண்பன் லகான் பார்த்துவிட்டு சொன்னது "மாப்ள.. பின்னிட்டாண்டா ரஹ்மான்!.. அதுபோன்ற இசையை நான் என் வாழ்க்கையிலேயே இதுவரை கேட்டதில்லை".

[MADDY]

Suresh65, i have agreed that AR "conveniently" goes silent on some of the scenes which means its not "appropriate" ......

reg ur other points of being appropriate/not appropriate & effective/ineffective, obviously, ive felt the "appropriate effect" and thats why ive quoted them............but since u've considered AR as unskilled in BGM dept, which is diametrically opposite to my view, i do not see the need to continue the arguement :-)......

[littlemaster1982]

Venkki,

Enga vandhu enna pechu pesareenga :lol:

[Sureshs65]

Maddy,

Fair enough. I do concede that I hold the opposite view as far as Rahman's BGM is concered and I haven't been impressed.

[Gregorysab]

Well, IMHO, I find it hard to digest for a man bagging brilliantly twin oscars and stuff to do this.
http://www.youtube.com/watch?feature=player_embedded&v=lnFLK4iBcok - from 0.12s = Veera veera from Ravanan. And many more.

Its all, how you can hide and reshape it.

I can only laugh at this example :-D

[MumbaiRamki]

appa sureshmechnit ..sandhosama .. unnaa irundha makkala ippadi sanda poda vechutiye !

[Plum]

CivilA thAnE pOikittirukku Ramki? Ivangallaam irukkattum, namma rendu pErum Karthikeyan BGM paththi oru thread pOttu pEsikkuvuOmA? Ulagathuleye namma rendu pEru mattumE pEsa koodiya subject adhu :)

[teja]

appa sureshmechnit ..sandhosama .. unnaa irundha makkala ippadi sanda poda vechutiye !


Exactly!. As I mentioned a couple of days back, this is a futile topic. It will go on and on, inviting unfair comments on both the composers. I fail to understand the purpose of discussing this topic time and again. IMHO, it's just rabble-rousing...

Generally speaking, we appreciate a certain BGM piece because we like the melody in it, or because it manages to connect us with the scene, leaving a lasting impression. (On a side-note, IR proved it many times that he doesn't need actors or well conceived scenes to elevate his BGMs. He has given stunning melodies for opening and ending credits in many movies, which do not involve actors or their expressions in any form). While I do appreciate sureshmechnit's efforts behind the article, with all due respect, I don't think we need to analyze, dissect the BGM at this level, just to convince ourselves that the BGM is good. If it were really good, we would have noticed it already.

Comping to my personal opinion, though ARR, GVP, Yuvan, DSP etc have come up with good BGMs once in a while, none can hold a candle to Ilayaraja.

My 2c.

[Plum]

Varuga varuga Maddy. Vara vechuttom pArunga ;-)

[Plum]

Teja, now that you have put it in such a logical manner, I am sure everyone will agree. Ennatha dissection, analysis. Opinion dhaanE mukkiyam? :thumbsup:

[SoftSword]

Comping to my personal opinion, though ARR, GVP, Yuvan, DSP etc have come up with good BGMs once in a while, none can hold a candle to Ilayaraja.

My 2c.

epdi kattam kattinaar paattheengalaa... :lol2: adhuvum logical manner'la...
already oru murai idhae maadhiri oru instance'a quote pannirukkaen...

periyavanga periyavanga dhaan'ya...

:notworthy: :wave:

[jaiganes]

appa sureshmechnit ..sandhosama .. unnaa irundha makkala ippadi sanda poda vechutiye !

idhai vambadiyai andha blogla potrundhaa avar happypattukkuvaar. inga poattu enna punniyam..

maaplaingaLa - anga irukku ennore M*** sandhu. angittu eduthuttu ponga meenbody vandiyai. enga aaL (suresh-chicken-65) romba Nallavarrrr..

[Sureshs65]

jai,

yov :lol:

[MADDY]

Varuga varuga Maddy. Vara vechuttom pArunga ;-)

//thanks Plum.........i was always here but work was killing - paper pottaachu....career enna career-ngren, HUB-la time spend panna mudiyama :P //

[kiru]

Rahman is an Oscar winner for BGM, while IR is not. This surely means Rahman atleast knows how to score BGM :-) That said, I feel Rahman and IR's style are different. For Slumdog Millionaire, Rahman himself mentioned he was given 26 cues (or some technical term like that). He had come up with 26 melodies capturing the mood. Note, melody is the forte of Rahman (and I think it is an innate Indian musician's strength). Overwhelmed by the power of his melodies, the Academy gave away the statuettes to him.
Another strength of Rahman is - he understands the structure of current BGM and songs in America/Europe very well and plays well within the framework.
Going by my miniscule knowledge of music and the comments from western reviewers of IR's music, I think he is more of a non-conformist. His structure of songs and maybe BGMs might be different from the American/European contemporary works. This is my guess, that he might have trouble appealing to the West and winning any awards. I do know the Hungarian musicians called him "hollywood kind". Maybe I am wrong and one day IR will win an Oscar and we can have much more heated debates :-)

[Plum]

Maddy - :thumbsup:. Actually, ivlo dhooram vandhachu - let me express my opinion. I personally think BGM is not a natural passion for Rahman. His passion and stated mission was to change the paradigm of popular music in TN/India. I think Films are just a medium for that ambition for him. With Raja, I think for all his protestations about film music shackling him, it is when presented with emotions in very specific context that his creativity flies high (I.em) bgm is a natural passion for him. As such, Rahman has been more celebrated for what he is and what he wanted to be - I think he has been very very blessed that way. Raja and his BGM skills that define him are celebrated only in TN. I also believe that Rahman might even have been annoyed initially with BGM duties. His later works see him getting better in BGM - imo atleast. I think if it is possible to quit movies and work through Albums alone that can express his vison of what popular music should be unfettered by pesky directorial vison, Rahman might even quit movies.

[wizzy]

blasphemy :neutral:

[krish244]

A guy named Vivek says he worked with IR on "Ponnar Sankar" background score!

http://ibnlive.in.com/news/film-music-city-youth-taking-big-strides/246581-60-123.html

"...In ‘Ponnar Shankar’, an epic film penned by Karunanidhi and directed by Thiagarajan, Vivek did the background score with the maestro,� Ilayaraja. “It was the first time that Ilayaraja did music for a film along with somebody else,” claimed Vivek..."

thanks,

Krishnan

[sureshmehcnit]

CivilA thAnE pOikittirukku Ramki? Ivangallaam irukkattum, namma rendu pErum Karthikeyan BGM paththi oru thread pOttu pEsikkuvuOmA? Ulagathuleye namma rendu pEru mattumE pEsa koodiya subject adhu :)

Yennayum saethukkanga.. actually next post KR bgm dhaan

sample this http://getfile8.posterous.com/getfile/files.posterous.com/temp-2012-04-10/HdjnasAjzqlbelacFjdJulffqJfIshesleqEFcsEyxcAmghIBH FosgwjhBci/Guess-KR.mp3 Enna padam theriyudhaa?

[MumbaiRamki]

Yennayum saethukkanga.. actually next post KR bgm dhaan

sample this http://getfile8.posterous.com/getfile/files.posterous.com/temp-2012-04-10/HdjnasAjzqlbelacFjdJulffqJfIshesleqEFcsEyxcAmghIBH FosgwjhBci/Guess-KR.mp3 Enna padam theriyudhaa?

Should be Dumm Dumm Dumm - just before interval ?

[sakaLAKALAKAlaa Vallavar]

Another strength of Rahman is - he understands the structure of current BGM and songs in America/Europe very well and plays well within the framework. You mean to say rahman's ALL/MOST films confirm with this World movie/Hollywood structure?!? If not, why do you say this?



Going by my miniscule knowledge of music and the comments from western reviewers of IR's music, I think he is more of a non-conformist. His structure of songs and maybe BGMs might be different from the American/European contemporary works. This is my guess, that he might have trouble appealing to the West and winning any awards. I do know the Hungarian musicians called him "hollywood kind". Maybe I am wrong and one day IR will win an Oscar and we can have much more heated debates :-)

If you say Rahman and IR's style are different (which you already said, and which everybody knows and agrees) then it is OK. But, why do you say
1. Rahman understands some standard which you say exist in global movies and his music conforms that
2. Raja is a non conformist? Raja's music is generally quoted as most natural and apt and most tailor-fit with the scene. his BGM is being quoted as indirect force to help the audience acquire the intended feeling easily. nowadays in audio launces, ppl are showing scenes with sound muted and then with his BGM. I don't understand when you say him as non conformist. What does he doesn't conform to?!?

There are instances which showed that its only a matter of not listening, when it comes to North, if they are played some IR songs/BGM which they never had a direct chance to hear, they are surely liking it. That apart, Almost all of the South states agree and listen to IR even today. both his Songs and BGM.

Some body said Raja doesn't need even good actors, his title and end credits have become very popular, where no actors are seen. Agreed but its not that way. That is one instance, infact that is NOT BGM. That can be called Theme Music. In Mouna Raagam, he uses a theme all over the movie, both in title, end and in between scenes. He made it fit well, in all cases. And there are cases where he compliments excellent performances on screen, with his BGM so that whole scene and its experience is elevated to some high level. there are also instances where the performance is not remarkable but still the scene impacts and works mainly becos of his BGM. That is not something we are finding much with other MDs, given whatever standard they follow Indian or European or American or Atlantic.

[Bala (Karthik)]

!!
My point about suresh's post was this
1. If you want to compare their BGMs (approach, teknikki, effectiveness) and make value judgments, then their body of work is more than enough to go ahead and just do it. One does not need to wait for a remade movie to compare with everything else supposed to be equal, only to realize midway that ALL things are not equal (of course it's not going to be the same right?)
2. I have a problem (sorry for being such a pulithi AH, seriously) with write-ups which attempt to deconstruct music without getting technical enough on one hand and not make a point about perceived differences in approach, quality and impact on the other hand. I personally find it (such "objectivity" without theory) tedious. As in registering every stroke is fine but then what does one take away from that? Is there a conscious or unconscious restraint to go further?
3. I may be wrong but I'm afraid sometimes we over analyze and impose our readings
4. Both movies are not worth the shte :lol:

[Bala (Karthik)]

By the by, speaking about cars, doors, may I remind that Swamigal has scored even for a car - cult and iconic, I'll add! :lol:

[Bala (Karthik)]

The obsession with being Specific, context etc etc - what was specific about "Mozart I love you" in Geethaanjali? Or the temple robbery in Guna?
It just transcends the films

[Bala (Karthik)]

@Rahman's BGM - Oscar, I think it's the rhythm which captivated the west (at least I find his rhythms more captivating than melody, string section motifs etc in BGMs)

BTB, I think JTYJN illustrates Kiru's point...

[kiru]

Maddy - :thumbsup:. Actually, ivlo dhooram vandhachu - let me express my opinion. I personally think BGM is not a natural passion for Rahman. His passion and stated mission was to change the paradigm of popular music in TN/India. I think Films are just a medium for that ambition for him. With Raja, I think for all his protestations about film music shackling him, it is when presented with emotions in very specific context that his creativity flies high (I.em) bgm is a natural passion for him. As such, Rahman has been more celebrated for what he is and what he wanted to be - I think he has been very very blessed that way. Raja and his BGM skills that define him are celebrated only in TN. I also believe that Rahman might even have been annoyed initially with BGM duties. His later works see him getting better in BGM - imo atleast. I think if it is possible to quit movies and work through Albums alone that can express his vison of what popular music should be unfettered by pesky directorial vison, Rahman might even quit movies.

I cannot agree more with this assessment. Rahman leveraged his song/melody skills for the BGM in Slumdog Millionaire. If he had done any WCM style arrangements he would have lost out to some WCM heavyweights in Hollywood.

[kiru]

SKV, I dont think I can answer you conclusively/definitively (as I am not qualified enough). But my guess is .. a majority of IR's film songs follow a WCM style structure and style to it. But normally songs are melody laid out on a rhythm (not just Rahman or anybody or geography in particular). IR's prelude's, interludes are interesting genre bending introductions to popular film music. For that matter, I think indian "film music" is a genre by itself and IR's music falls into this category and innovates on top. Rahman, in his own words, follows "World Music" genre, which I think is basically focussed on introducing ethnic sounds/patterns on a western song/rhythm framework. For eg. hip hop beats were used in Slumdog but the melody was indian.Again, there would be exceptions in each composers's work and I might be generalizing a bit here. All for understanding each composer's style/focus rather than to pull them down in anyway.

[rajaramsgi]

�in ‘ponnar shankar’, an epic film penned by karunanidhi and directed by thiagarajan, vivek did the background score with the maestro,� ilayaraja. “it was the first time that ilayaraja did music for a film along with somebody else,” claimed vivek.

விவேக்: நம்பற மாதிரி சொல்லுங்கப்பா.. சொல்ல வர விஷயத்த தமிழ் நாட்டுல சொல்ல மாட்டிங்களா? நீங்க பெரிய ஆளா இருந்துட்டு போங்க, அதுக்காக அதுக்காக இப்படியா புளுகனும்? ராஜா சாரோட எத்தனையோ பேர் வேலை செஞ்சுருக்காங்க, நிங்களும் வேலை செய்ததை நாங்கள் ஒத்துக்கொள்கிறோம், முழு bgm நீங்க செய்தீங்க என்பதை நம்ப முடியவில்லை.

பொன்னர் சங்கர் bgm க்காக, தியாகராஜன் அழகர் சாமியின் குதிரை ரிக்கார்டிங் நேரத்துல வந்து போயிட்டு இருந்ததா ராஜா சார் சொல்லி இருக்கார். அடுத்தவங்க உழைப்பை தான் செய்ததாய் சொல்ற ஆள் அவர் இல்லை. அந்த பழக்கம் தன்னிடத்தில் இல்லை என்று பலமுறை சொல்லி இருக்கிறார், தினமணியில் வெளிவந்த அவருடைய வரலாற்று சுவடுகளிலும் இருக்கிறது.

[sakaLAKALAKAlaa Vallavar]

The obsession with being Specific, context etc etc - what was specific about "Mozart I love you" in Geethaanjali? Or the temple robbery in Guna?
It just transcends the films

If you look that way, where is BGM in real life?!? :lol: You are right. But there are such cases too, illayaa! I mean, we feel it guides us in background, even if we wake up and start noticing, it still feels apt for us right?

Agree that we have done many such discussions before and if there is no musical, technical, logical explanation, there is no point in just discussing.

[SoftSword]

Should be Dumm Dumm Dumm - just before interval ?

I guess its from ullaasam.. not sure though..

[Plum]

Bala - specificity eppadi explain paNdradhu? Hmmm..look at it this way - Mottai...I mean Mozart ilu being used generically - isn't that an exception you are talking about? Vazhakkamaa pre-library music use paNNa mAttARE? Indha "velayaatta padagotti" ya "enge sellum" sichuvesanku use panni irundhalum same dhaan argument is fairly acceptable (I mean the argument is acceptable not the point being made)- but that's not the point, is it? My theory is when the scenario itself involves macro or mega emotions - such as a whole bloody village in emotional high against britishers - that's where Rahman scores very well. When it comes to micro emotions of individusls - unless in a macro template such as heroine frolicking enjoying nature, hero in general love failure turmoil(think ratchagan with its generic ballad situation), these are the ones Rahman excels in. I even have an extreme theory that Rahman with his sufism probably cannot even get into the mind of a saadharana AsApAsangaL of normal human charatters. See the bgm from Rahman that stand out as outstanding - lagaan, Swades, Bose, tamizha tamizha...is there a theme and pattern there? I have seen Fire and I have to say the bgm gets nowhere near the underlying key themes and character delineations of the movie. Again, I don't think much of the movie either but it certainly had a theme and character motifs to score for. Same with Earth - good songs but bgm? I mean, many a time, functional bgm is enough. But that is not the mark of an outstanding bgm composer. And it is not blasphemy to say this - there are specific strengths each composer has - old tfm found a lot of arguments on twists and turns in melody and msv being King in it. Given Raja's necessity for predictable structure given his wcm rigour, can we argue that he outdid or equalled MSV in that aspect by quoting a few examples from his career conforming to that? Sila vishayangalai concede pannuvadhu dhaan objective. Ellaa musical aspectlaiyum MSV, Raja and Rahman are equalnu solRadhu in my view is not objective.

[sakaLAKALAKAlaa Vallavar]

இந்த நேரத்தில் நாம் நினைவுகூறவேண்டிய ஒரு பதிவு! - இளையராஜாவுடன் ஒரு ரயில் பயணம் (http://solvanam.com/?p=1299)

[sureshmehcnit]

!!
My point about suresh's post was this
1. If you want to compare their BGMs (approach, teknikki, effectiveness) and make value judgments, then their body of work is more than enough to go ahead and just do it. One does not need to wait for a remade movie to compare with everything else supposed to be equal, only to realize midway that ALL things are not equal (of course it's not going to be the same right?)
2. I have a problem (sorry for being such a pulithi AH, seriously) with write-ups which attempt to deconstruct music without getting technical enough on one hand and not make a point about perceived differences in approach, quality and impact on the other hand. I personally find it (such "objectivity" without theory) tedious. As in registering every stroke is fine but then what does one take away from that? Is there a conscious or unconscious restraint to go further?
3. I may be wrong but I'm afraid sometimes we over analyze and impose our readings
4. Both movies are not worth the shte :lol:

Apology Accepted.

[AravindMano]

Yennayum saethukkanga.. actually next post KR bgm dhaan

sample this http://getfile8.posterous.com/getfile/files.posterous.com/temp-2012-04-10/HdjnasAjzqlbelacFjdJulffqJfIshesleqEFcsEyxcAmghIBH FosgwjhBci/Guess-KR.mp3 Enna padam theriyudhaa?

Mild thEsingu rAja thEsingu rAja feel.

[ajaybaskar]

Its from Dumm Dumm Dumm. Penn paarkkum padalam.

[Gregorysab]

I also believe that Rahman might even have been annoyed initially with BGM duties. His later works see him getting better in BGM - imo atleast. I think if it is possible to quit movies and work through Albums alone that can express his vison of what popular music should be unfettered by pesky directorial vison, Rahman might even quit movies.

i dont know if he was annoyed, given the fact that he was almost doing the same in ads and jingles. But yes, SPB remarked once that ARR expressed doubts about his success in movies and gave himself 5 years of survival. ARR came from bands and his musical preferences were/are very different (which is why i dont expect him to go completely classical, be it indian or western, anytime). So his idea, as plum said and as i too think, was about bringing new kind of music. Films was just a platform he came across, accidentally. Infact, Raaja's own keyboard player Viji Manuel encouraged ARR to go solo. Contrary to the belief of some raaja fans, ARR never started out with a plan to enter film music to become numero Uno, displacing the existing numero uno. That was not his agenda I think. He just wanted another kind of music in the scene as such, be it film or anywhere, which explains his non-film ventures, even pre-Roja. So film music ie., making songs in films itself was not his natural passion probably, in pre-Roja period. probably he was bored of jingles. I think it is just chance and one thing leading to another. and slowly with the success, he too started developing passion. And the same happened with his BGMs too. His Thiruda Thiruda BGM is more engrossing than Roja BGM (for me). but overall, i think his drive in making film music, was an acquired passion, over years.

There was a period when i felt that if ARR gets a chance, he might quit movies. but i dont think so now, after the hollywood assignments he has been signing up.

Raaja's case is different. He grew up listening to composers who were making strong melodies. He learnt WCM and was applying learnings, instead of exploring world music and stuff. Thats fine. raaja also worked with Salil Chaudhary, who was known of his background score skills back in that era. So, Raaja's vision of the world he was surrounded by, was totally different, which shaped his sensibilities.

[Plum]

Raagas - lot of what you say is what I think also. Infact, when Rahman made that Dholak statement, I judged him and resented the implication. But looking back, it clearly is a mission statement. To his credit, he has accomplished the mission he set out to. Again, saying this, it doesn't automatically follow that "Person A who is naturally passionate about Attribute X WILL be more succesful in X than Person B for whom X is an acquired passion". But the tilting factor is Person A here is IR, who is atleast as much a giant as Rahman in the overall scheme of things - I believe that everything else being equal, natural passion will tilt the scale in terms of output produced. I don't see this theory as belittling Rahman in any manner. Just as Rahman succeeded in changing the paradigm of succesful film music(songs) since that was his passion and mission. As even the rabidest of Rahman fan would admit, Rahman hasn't been able to change the successful paradigm of BGM in Raja's sphere of influence - even now, Raja remains the historical and contemporary benchmark for BGM in South Indian filmdom. To me, it affirms my theory w.r.t where their "natural passion" lays. Basically, these are talents that can pretty much achieve whatever artistic mission they are on as long as it fits in their natural philosophical outlook.(Gindhila illainu sollalaam - but keep in mind BGM hasn't historically been something they value and till date it remains so. Just happened to read reviews of Cheeni Kum, Delhi 6, Paa and a few other movies - which to us south indians are important primarily because of the music/bgm factor - today morning as I followed some links casually. Nary a mention of music in those reviews. Avainga apdi thaan)

[Plum]

Also, the reason I believe he must have been annoyed with BGM duties is that it comes usually with a deadline - something which he is not known to be happy about. He likes to perfect his output until he is fully satisfied with it - I am sure none of you will dispute it - and by nature of the duty, BGM has to be scored in a shorter frame of time against a set deadline, in general. i

[rajaramsgi]

வல்லவரே, ரயில் பயணத்தில் எங்களையும் சேர்த்து கொண்டதற்கு மிக்க நன்றி. இதை முன்பே ஒரு முறை படித்திருந்தாலும், இப்போது படிக்க ரயிலில் சென்ற உணர்வு ஏற்பட்டது.

ராஜா சார் என்ன மனுஷன்? இதெல்லாம் தெரிந்து செய்தாரா இல்லை சாதனைகளை குவித்து கொண்டிருக்கிறோம் என்று தெரியாமலேயே செய்தாரா? பரிசுகளை தட்டி சென்றால் மட்டுமே சாதனை இல்லை, இத்தனை வருடங்களுக்கு பிறகும், உலகத்தின் பல மூலைகளிலும் இருந்து அவர் செய்ததை பேசி கொண்டிருக்கிறோமே.. அவர் பக்திமான், யாரை வேண்டுமானாலும் கும்பிட்டு போகட்டும், ஆனால், கடவுள் விரும்பும் மனிதர் இவர்.

குறிப்பு: இங்கு என் வீட்டின் கீழ் அறையில் உள்ள SUN MUSIC சானலை F.M transmitter வழியாக பெட் ரூமில் கேட்பது வழக்கம். தினந்தோறும் இரவில் நல்ல ராஜா சார் பாடல்களை போடுவான். நேற்றிரவு, சொல்ல துடிக்குது மனசு படத்தில் வந்த "எனது விழி வழி மேலே" பாடலை பல ஆண்டுகளுக்கு பிறகு கேட்டேன்.சாதாரண பாடல் தான், புல்லரித்தது சார்.

[Gregorysab]

Raagas - lot of what you say is what I think also. Infact, when Rahman made that Dholak statement, I judged him and resented the implication. But looking back, it clearly is a mission statement. To his credit, he has accomplished the mission he set out to.

As even the rabidest of Rahman fan would admit, Rahman hasn't been able to change the successful paradigm of BGM in Raja's sphere of influence - even now, Raja remains the historical and contemporary benchmark for BGM in South Indian filmdom.

Frankly, I did not find anything wrong with dholak statement because it was a generic statement. Some raaja fans protested saying that it implied at Raaja (dont know why). But i did not feel so. if anything, i felt that it reflected the collective scenario of music that was made in Bombay, by a whole bunch of people with no sense of aesthetics, and that music sold across all the corners of the country (less in TN and Kerala probably, but the hits of 1985-1994 were hits across even Andhra Pradesh). Was watching this video yesterday where Javed Akhtar remembered the dark ages of Hindi Film Music: http://www.youtube.com/watch?v=25sg_Sy3s4w

a peek into the times that were. anyway, i realize this is a digression and lets end it with something we very much know/agree"

Raaja remains a benchmark for BGM in Indian film industry, not just south-indian. Agreed that he did not get to do Hindi films, but still, music afficionados in the North too, aware of his talents, particularly in the BGM arena.

[Plum]

Aakarsh - as I said, I HAD issues with that statement. Not HAVE issues. I fully concur with your assessment. As I keep saying, Rahman is really blessed - in that he was precisely appreciated for what he set out to do. It is just that I feel - for precisely the same reasons - doing BGM is a functional exercise for him - and at times if pressed with deadlines, I reckon it will be a burden.

[Gregorysab]

Plum,

totally agree! deadlines are one of the many aspects that limit him, I think. The way he looks at a scene is also different (from Raaja's PoV). Ideally, I prefer raaja's method of interpretation of a scene, which is why i think I liked most of Raaja BGMs while i liked some and disliked some among arr's bgms.

[kr]

I have been mesmerized recently by these older gems from IR - "Poondhendra Katre Vaa" from Manjal Nila, "Paadi Vaa Thendrale" from Mudivilla Arambam, "Oru Kunguma Chengamalam" from Aradhanai, "Adhikalai" from Meendum Oru Kadhal Kadhai and "Paniyil Naniyum Malargal Irnadu" from Priya O Priya - I wonder how his music is able to just captivate you and not think of anything else.....I am sure most of you have heard these songs- if not dont miss them

[Devaraagam]

GVM about IR in Vkatan.

''அவரைச் சந்திக்க அப்பாயின்மென்ட் வாங்கும்போதுகூட என்ன விஷயம் பேசப்போறேன்னு சொல்லவே இல்லை. 'நான் ஒரு படம் பண்றேன். ஏற்கெனவே 50 சதவிகிதம் ஷூட்டிங் முடிஞ்சிருச்சு. இதுதான் கதை. இந்த மாதிரி மியூஸிக் வேணும்’னு சொல்லி, ஷூட் பண்ணின போர்ஷனைப் போட்டுக் காட்டினேன். எல்லாத்தையும் உள்வாங்கிட்டு பிரமாதமான டியூன்கள் தந்தார். ஒரே நாள்தான்... எனக்குத் திக்குமுக்காடிடுச்சு! 'சார்... என்னால இவ்வளவு விஷயங்களையும் மனசுல ஏத்திக்க முடியலை. மீதியை நாளைக்கு வெச்சுக்கலாம்’னு சொன்னேன். 'ஒரு விஷயம் நல்லா நடக்கும்போது பிரேக் பண்ணாதீங்க’ன்னார். 'சார்... நீங்க கொட்றீங்க. என்னால முடியலை’னு சொல்லிச் சமாளிச்சேன். 'இளையராஜா ஒரு பாடலை உருவாக்கும்போது, நாம கூட இருக்கிறதே பெரிய கொடுப்பினை’னு என்கிட்ட ஒரு ஸ்டார் நடிகர் சொன்னார். அது நூத்துக்கு நூறு உண்மை!''

[thumburu]

'இளையராஜா ஒரு பாடலை உருவாக்கும்போது, நாம கூட இருக்கிறதே பெரிய கொடுப்பினை’னு என்கிட்ட ஒரு ஸ்டார் நடிகர் சொன்னார். -
AmAm, idhu yaarA irukkum? Prashanth ??

[SoftSword]

Kamal.

[venkkiram]

Kamal. avar five star actor-nga!

[K]

http://www.facebook.com/raagadevan

இசைஞானி பக்தர்கள் (The Maestro’s Devotees)
11 hours ago

ஜூன் 2002 ‘கணையாழி’யில் வெளியான திரு. செழியன் அவர்களின் கட்டுரையிலிருந்து…

”ஒருமுறை எனது இசைவகுப்பின் ஆசிரியர் மேற்கத்திய இசையின் கூட்டுச்சுரங்கள் (Chords) பற்றிய பாடத்தில் ‘C Major’ Scale பற்றி நடத்தினார். அப்போது ‘C Major’ Scale’ன் முதல் Chord ‘C’ Major, இரண்டாவது Chord ‘D Minor”. ஒரு பாடலின் ஏற்பாட்டில் (Arrangements) இந்த இரண்டு Chordகளையும் அடுத்தடுத்து இசைப்பது தவறானது' என்று சொன்னார். கர்நாடக சங்கீதத்திலும், ஸட்ஜமம் என்கிற முதல் ஸ்வரத்திற்கு, அடுத்து வருகிற இரண்டாவது ஸ்வரமான ரிஷபம் பகைஸ்வரம். இதுபோலவே மேற்கத்திய இசையிலும் முதல் Chord (இதனை Tonic Chord என்றும் இரண்டாவது Super tonic Chord என்றும் அழைக்க வேண்டும்) அதற்கடுத்த இரண்டாவது Chord’உடன் இணைந்து வருவதில்லை.

’உதிரிப்பூக்கள்’ படத்தில் ‘அழகிய கண்ணே’ பாடலைக் கேட்கும்போது அந்தப் பாடலின் துவக்கமே C Major, D Minor இரண்டு Chord’களின் அடுத்தடுத்த தொடர்ச்சியோடு இருந்தது ஆச்சரியமாக இருந்தது. இதைப்போல ஹார்மனி (Harmony) பற்றிய பாடத்தில், ஒரு இசையை இயற்றும்போது, ஒரு ஸ்வரத்திலிருந்து அடுத்த ஸ்வரத்திற்கு நகருகையில் ஒரு ஒழுங்கான இயக்கம் (movement) இருக்க வேண்டும். முதல் ஸ்வரத்திலிருந்து ஏழாவது ஸ்வரத்துக்கு தாவுதல் போன்ற Great Jump செய்யக்கூடாது; அது இனிமையாக இருக்காது என்பது இசைக் கோட்பாடு. ஒரு இசைவிதி. ‘செந்தூரப்பூவே’ என்ற ‘பதினாறு வயதினிலே’ பாடலைக் கேட்கும்போதும், ‘என்னுள்ளில் எங்கோ..’ என்ற ‘ரோசாப்பூ ரவிக்கைக்காரி’ பாடலின் ஹம்மிங் கேட்கும்போதும் இந்த விதி இவரால் எவ்வளவு அழகாக மீறப்பட்டிருக்கிறது என்பது புரிந்தது.

இவை மிகச்சிறிய உதாரணங்கள். இதுபோல மேலோட்டமாகப் புலப்படாத, இசைவிதிகளுக்கு முரணான மீறல்களைத் தனது பாடல்கள் பெரும்பாலானவற்றில் நிகழ்த்துவதன் மூலம் விதிகளைத் திருத்தி எழுதியிருக்கிறார். இதுபோலவே ‘மலர்களே, நாதஸ்வரங்கள்’ என்ற பாடலின் முடிவு அந்தரத்தில் ஒரு மணியோசையோடு முடியும். Cadence’ விதிகளின் இனிமையான மீறல் இது.

ஒரு பாடலை ஏதேனும் இசைக்கருவியில் வாசித்துப் பார்க்கும்போதுதான் ராகங்களை, அதன் கடினத்தன்மையை எப்படியெல்லாம் இவர் இனிமையாக்கியிருக்கிறார் என்பது புரியும். Chord Progression’ல் Dischord என்று ஒதுக்கப்படுகிறவைகளைக்கூட இவர் இனிமையாகக் கையாள்கிற விதம் ஆச்சரியமானது. ‘என் வானிலே’ என்ற ‘ஜானி’ படப்பாடலின் ஸ்வரங்களின் முரணான தொடர்ச்சியும், அதன் போக்குக்கேற்ப புனையப்படும் chordகளின் தொடர்ச்சியும் அலாதியானது.

ஒரு மைத்துளி நீர்ப்பரப்பில் உதிரும்போது உள்வரையும் சித்திரம்போல, இவரது படைப்புச் செயல்பாடு தன்னிச்சையாக, விதிகளைப் பொருட்படுத்தாமல் தனக்குள்ளாக ஒரு இயங்குதலோடு நிகழ்கிறது.

நன்றி : கணையாழி, ஜூன் 2002

தகவல் நன்றி: திரு. Senthil Kumar Jayakumar — with Bala Venkatesh.

[kameshratnam]

Raaja Sir - How to name it concert
How to name it concert to be held in chennai on april 29th , 2012 at anna centenary auditorium at 6:30 pm IST

Book ur tickets here

http://www.indianstage.in/events/ilaiyaraaja_2012.html

[MumbaiRamki]

Raaja Sir - How to name it concert
How to name it concert to be held in chennai on april 29th , 2012 at anna centenary auditorium at 6:30 pm IST

Book ur tickets here

http://www.indianstage.in/events/ilaiyaraaja_2012.html

1000,2000,3000 a !too much - skipu ..

[kameshratnam]

the tickets are priced because they want an elite audience

[dochu]

So people with lots of money are 'elite' and rest of us are 'non-elite'. :-)
I too feel that is quite pricey for doing 2 albums of IR. I was planning to attend, but now I will wait for a telecast in the TV.

[Gregorysab]

Pricing issue is dealt by organisers i think. And I think, like in the case of NBW concert, Ilaiyaraaja has no role in this live concert, except for gracing the function, listening to music and blessing the artists.

But yes, it would have been nice if they had a Rs.500 or Rs.750 section. I mean, may be some of us can afford Rs.1000, but I am thinking about some people, like say, students etc, who might not be able to.

[MumbaiRamki]

Pricing issue is dealt by organisers i think. And I think, like in the case of NBW concert, Ilaiyaraaja has no role in this live concert, except for gracing the function, listening to music and blessing the artists.

But yes, it would have been nice if they had a Rs.500 or Rs.750 section. I mean, may be some of us can afford Rs.1000, but I am thinking about some people, like say, students etc, who might not be able to.

It is not just being able to afford - but a price like this is ridiculous and mis-using fan's interest to enjoy raaja's music and questions the objective of this .... Ok , nobody is doing free service , but at the same time, as far as they dont say this is for fans , i think everything is ok - someone wants to make money and thats fine...

On the other side of the coin, whats the total money that costs for such concerts ? Is it so high to have a minimum of 1 K as ticket price ?

O

[dochu]

Pricing issue is dealt by organisers i think.
Ofcourse, but they are using IR's talent to do so. And I am sure IR will have a say on it as well because higher the price, he is bound to get a better 'cut' from the profit too. I don't think he will agree to a token (thengai moodi) profit just for the sake of getting something. It sounds more 'business' like and not done out of passion. well in the current economical circumstances, people likes to make money out of everything they can.

[p]

What's going on here?
http://www.youtube.com/watch?v=NDyRAoBQO2M

Who is the MD for this movie? தெரிஞ்சே சுட்டதா தெரியாம சுட்டதா?

[Fliflo]

தெரிஞ்சே சுட்டதா தெரியாம சுட்டதா?

What is the difference between both?

[p]

தெரிஞ்சே சுட்டதா தெரியாம சுட்டதா?

What is the difference between both?

தெரிஞ்ச்சே சுட்டது - Remix with permission from IR
தெரியாம சுட்டது - Remix without permission from IR

[Plum]

Seems to have Devi SriPrasad latchaNams in the arrangement and choice of singer...pAttu lyric enna. purinjA dhAnE google paNNi kaNdu pidikka...

[Plum]

Oh DepartmentA? It is a Ram Gopal Varma movie. RGV sonna andha 80s hits cassetter which he used to treasure - adhai MD-ku pOttu kAtti vAngi iruppAru....btw, total mutiliation. idhai paNNinavan en kaiyila kedaichAn...refer my signature :evil:

[sureshmehcnit]

http://www.backgroundscore.com/2012/04/another-experiment.html

[appushiva]

Dear Suresh kumar,'

Thanking you for your time and efforts, good job done. Now, anybody can feel which background enhances the scene and bring emotions while watching.

Those who had a lenghty conversation on background score by oscar winner, their comments are requested.

Pls post it in the ARR blog too.
(No offence)..

Regards,

[teja]

Good job Suresh. Clearly illustrates who's the best in enhancing & underlining the emotions in a scene. Hope the topic doesn't drag further.

[dochu]

Reg background score analysis: I don't mean to drag. 2 cents. ARR's bit sounded ordinary and provided an expected cultural fit (traditional music). Good fit. I felt IR's fit for hindi movie to be bit overdone probably I don't know the story. However, IR's bit stood out and immediately imprinted in my mind and was able to 'hum'. I would love to get that into a song.

[V_S]

From the tweets, links, news we now atleast the male singers; IR, Yuvan, Karthik, Krish?, Suri Jagan. But who are the female singers? Do we know about this?

[Devaraagam]

Does any one of you having the complete program?

http://www.youtube.com/watch?v=EMTI4FpjZa8&feature=g-vrec&context=G2acc5d9RVAAAAAAAADQ

[sakaLAKALAKAlaa Vallavar]

Here it is, Devaraagam - http://www.youtube.com/results?search_query=ilayaraja-Composing+Sessions&sa=X&spell=1&search=Search&oi=spell

[sakaLAKALAKAlaa Vallavar]

16 நாட்களில் எட்டுப் பாடல்கள் - கவுதம் மேனனுக்கு இளையராஜா தந்த இன்ப அதிர்ச்சி! (http://tamil.oneindia.in/movies/music/2012/04/guatham-menon-hails-ilayaraaja-s-music-aid0136.html)

நடுநிசி நாய்களுக்குப் பிறகு சிதைந்துபோன கவுதம் மேனன் இமேஜ், நீதானே என் பொன்வசந்தம் பட அறிவிப்பு, இளையராஜா இசை என்றெல்லாம் அறிவிப்புகள் வந்த பிறகு, கம்பீரத்துக்கு திரும்பியிருக்கிறது. சமீபத்தில் எந்தப் படப் பாடல்களுக்கும் இல்லாத எதிர்ப்பார்ப்பு நீதானே என் பொன்வசந்தம் படத்துக்கு உருவாகியுள்ளது.

‘‘ஒவ்வொரு படம் தொடங்கும்போதும் ‘இதுக்கு ராஜா சார்தான் மியூஸிக்’னு யோசிப்பேன். ஆனா, அமையாது. இந்தப் படத்துக்கு கண்டிப்பா அவர்கிட்ட கேட்கலாம்னு தைரியம் வந்துச்சு. அவரைச் சந்திக்க அப்பாயின்மென்ட் வாங்கும்போதுகூட என்ன விஷயம் பேசப்போறேன்னு சொல்லவே இல்லை.

‘நான் ஒரு படம் பண்றேன். ஏற்கெனவே 50 சதவிகிதம் ஷூட்டிங் முடிஞ்சிருச்சு. இதுதான் கதை. இந்த மாதிரி மியூஸிக் வேணும்’னு சொல்லி, ஷூட் பண்ணின போர்ஷனைப் போட்டுக் காட்டினேன். எல்லாத்தையும் உள்வாங்கிட்டு பிரமாதமான டியூன்கள் தந்தார். ஒரே நாள்தான்... எனக்குத் திக்குமுக்காடிடுச்சு! ‘சார்... என்னால இவ்வளவு விஷயங்களையும் மனசுல ஏத்திக்க முடியலை. மீதியை நாளைக்கு வெச்சுக்கலாம்’னு சொன்னேன்.

‘ஒரு விஷயம் நல்லா நடக்கும்போது பிரேக் பண்ணாதீங்க’ன்னார்.

‘சார்... நீங்க கொட்றீங்க. என்னால முடியலை’னு சொல்லிச் சமாளிச்சேன். ‘இளையராஜா ஒரு பாடலை உருவாக்கும்போது, நாம கூட இருக்கிறதே பெரிய கொடுப்பினை’னு என்கிட்ட ஒரு ஸ்டார் நடிகர் சொன்னார். அது நூத்துக்கு நூறு உண்மை!

‘உங்க மெலடி எனக்கு வேணும். புது சவுண்ட், புது ட்ரீட்மென்ட்ல தரணும்’னு போய் நின்னேன். எல்லா பாட்டுக்கும் ஹார்மோனியத்தில் டியூன் போட்டு அதுக்கு நா.முத்துக்குமாரை வரிகள் எழுத வைச்சு, எந்த இசைக் கருவிகளின் ஒலிக்கோர்ப்பும் இல்லாம பாடவெச்சு பதிவு பண்ணோம். அந்தக் குரலை மட்டும் லண்டன் எடுத்துட்டுப் போய் ஹங்கேரியில் இருந்து வரவைச்ச சிம்பொனி ஆர்கெஸ்ட்ரா மூலம் பதிவு பண்ணோம். படத்தில் மொத்தம் எட்டுப் பாடல்கள். ஒரு பாட்டுக்கு இரண்டு நாள்னு கிட்டத்தட்ட 16 நாள்ல மொத்த ஒலிப்பதிவும் முடிஞ்சிருச்சு. மூணு வாரத்துல எல்லா பாடல்களும் ஷூட்டிங்கிற்கு ரெடி. இதுவும் ஒரு புது அனுபவம்தான்!’’

எட்டுப் பாட்டும் சூப்பர் ஹிட்டாகட்டும்!

[Devaraagam]

thanks sakala. for the link, will check in the evening (cannot access youtube from office :) )

so after long time,, IR movie got 8 songs. ensoi thangamani.

[ajithfederer]

https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-prn1/543656_210582555711998_153944858042435_268302_1713 009976_n.jpg

[krish244]

http://timesofindia.indiatimes.com/entertainment/regional/tamil/news-interviews/Rajinikanths-song-inspires-RGVs-item-number/articleshow/12688799.cms

"...Director Ram Gopal Varma said that that it is true that Rajinikanth's Aasai Nooruvagai inspired the Dan Dan song. He added that it is his way of paying tribute to a song that has remained an ever-green favorite even after all these years."

thanks,

Krishnan

[Gregorysab]

Agimusic's Agilan wrote on facebook that they licensed the rights to RGV. That should settle the matter i think!

[KV]

Ofcourse, but they are using IR's talent to do so. And I am sure IR will have a say on it as well because higher the price, he is bound to get a better 'cut' from the profit too. I don't think he will agree to a token (thengai moodi) profit just for the sake of getting something. It sounds more 'business' like and not done out of passion. well in the current economical circumstances, people likes to make money out of everything they can.

Bhava had run an opinion poll, right? Chances are that this could've been the most voted range.
Yeah, on the higher side, but definitely not uncommon or baffling (many katcheris, rockshows, stage plays, etc get priced in this range).

[Plum]

Yuvan concetukku ticket evlo aththai sollungO? Adhukku kuduthadhai vida 10 times amt dhArALamA kodukkalAmgaREn! Indha muRai I want to come - yaaravadhu teknikal enakkum sErththu book paNNinInganna money transfer paNNidaREn. Naane website pOi paNNanumna, lazyyA epdiyum paNNAma vittuduvEn. ennaiya nambi yArAchum ticket book chEsthArA?

[wizzy]

Bhava had run an opinion poll, right? Chances are that this could've been the most voted range.
Yeah, on the higher side, but definitely not uncommon or baffling (many katcheris, rockshows, stage plays, etc get priced in this range).

correct thaen but we are talking about mean Chennai :lol2: Nothing but Wind concert had tickets from 500rs..taking in inflation tickets prices could have started from 750rs for this concert.also who are the fiddlers for this concert? heard Ganesh/Kumaresh are giving this a miss.

[skr]

Yes i too believe we can definitely afford INR 1000 for Our Maestro ..even 2000/3000 is fine ..its not always we get to witness a How to Name it show ..

Wizzy ,
You're right ..Ganesh-Kumaresh are no more involved in the show , it is being performed by Ambi Subramanian and 40 musicians from Raaja's troupe..

Plum ,
Raajasaranam just got 13 tickets :) , you should contact him ..
Do get yours fast , Anna Centenary is a pretty small hall , tickets can be sold out fast ..

[SVN]

Ambi is none other than the great L Subramaniam's young son. He has definitely got it in his genes (Grandfather Late Lakshmi Nayarana, uncles L Shankar and L Vaidyanathan and of course dad L Subramanian).

That makes me wonder, will we ever get to listen to L Sub's original composition for Hey Ram, which was replaced by IR's new score, due to Kamal's fallout with the former?
It would definitely make for a fascinating comparison.

[Plum]

Rajasaranam - engeyyA irukka? SKR, konjam avar gavanaththai ipdi thiruppungalen....

[skr]

It will be redundant to state that maestro Ilaiyaraaja is bestowed the status of a god by his legion of fans. So, it comes as no surprise when die-hard lovers of the Isaignani's musical oeuvre were much instrumental in helping organize a live concert of one of his eclectic works.

Says the maestro's daughter and singer Bhavatharini, who is the brain behind the event, "In 2010, I had organized a concert that featured pieces from my dad's non-film album Nothing But Wind and the response was amazing. After that, many fans kept requesting for a similar concert for his other album, How To Name It. And now, we are organizing it as a benefit concert for the foundation we have started in memory of our mom Jeeva. The proceeds will go to deserving youngsters who need help on the academic front."

Talking about the concert, she says that it will feature all the pieces from the album. "Though dad will not be conducting the concert, violin maestro L Subramaniam's son Ambi and Rajesh Vadiya will be performing with dad's orchestra. Singers Haricharan, Shalini, Sriram Parthasarathy and my cousins Venkat Prabhu and Premgi will also be part of the concert," she reveals.

However, quiz whether her brothers Karthik and Yuvan will also share the stage, and all she lets out is that they will be attending the event, but whether they will be a part of the concert will be a surprise. The concert will be held on April 29 in Chennai.

[skr]

Some insider news : Apart from the pieces of How To Name it , there is a plan to perform some of his rerecordiong pieces too and also some of his rare gems ..now isnt that a wholesome treat ? :)

Btw , I booked 3 tickets for family in INR 2000 range ..

Plum ,
I will let you know if anybody is booking tickets or is any extra available ..pm me your no.

Wizzy ,
Have you bought the tickets sir ? Which price range are you getting ?.

[wizzy]

Venkat Prabhu/Premgi :banghead:

Skr..will get it by today..1k seems to be the consensus.

Plum..couldn't PM you..if you are fine with 1k ticket I could get you one.

also peeps in need of ticket pliss to PM

[Plum]

Wiz - thanks. Do pls go ahead. Will pay you in person. Epdiyum meet paNNiralaam. So nice of you ;)

[SoftSword]

enna oru naadagam...
ambiyum remo'vum pesikkiraanga paarunga...

[wizzy]

Plum, done.

SS, summer thane..oru trip adingo..concert'um paartha mathiri erukum :huh:

[SoftSword]

trip plan in june wizzy...
but short trip... one week dhaan :oops:

[venkkiram]

Wishing How to name it concert a grand success!
Congrats to Bhava and organizers & volunteers !
Let Raja's Raja notes shower us!

[sakaLAKALAKAlaa Vallavar]

ஹௌ டு நேம் இட் பெயர் போட்ட தேனீர் சட்டைகள் இலவசமா தர்ராங்களாம், நிகழ்சிக்கு போறவங்களுக்கு

[Plum]

Softie - wrong Remo and Anniyan in conversation.

[SoftSword]

i din wanna name u anniyan, so conciously called the other names... :)

[V_S]

ஹௌ டு நேம் இட் பெயர் போட்ட தேனீர் சட்டைகள் இலவசமா தர்ராங்களாம், நிகழ்சிக்கு போறவங்களுக்கு
:rotfl2:

[teja]

IR's "Yeto Vellipoyindi Manasu" (NEPV) audio in May last week. Film has 9 songs.
http://www.123telugu.com/mnews/exclusive-yeto-vellipoyindi-manasu-audio-in-may.html

[MumbaiRamki]

IR's "Yeto Vellipoyindi Manasu" (NEPV) audio in May last week. Film has 9 songs.
http://www.123telugu.com/mnews/exclusive-yeto-vellipoyindi-manasu-audio-in-may.html

Im guessing 1 will be theme music and 2 repeats

[Bala (Karthik)]

Indha concert-um paakka mudiyaadhu :banghead: paakaravaalukku :thumbsup:
Ticket vela daasthi, neenga thappa purinjuntel, nu paakka mudinjum skip panravaalukku :hammer: idhellaam oru reason-a? Ridiculous

[sakaLAKALAKAlaa Vallavar]

http://a5.sphotos.ak.fbcdn.net/hphotos-ak-ash3/532678_386636851380417_112842955426476_1218522_157 5211811_n.jpg

[Gregorysab]

Im guessing 1 will be theme music and 2 repeats

The link says 2 songs are bit songs! I think in total, it will be about 7 compositions!

[Devaraagam]

IR's "Yeto Vellipoyindi Manasu" (NEPV) audio in May last week. Film has 9 songs.
http://www.123telugu.com/mnews/exclusive-yeto-vellipoyindi-manasu-audio-in-may.html

whats this..every day these people are increasing song count..Finally we are going to get 4 to 5 songs (with repeated version too)

[MumbaiRamki]

book panni tholachaachu :)
ennamo ponga

[Devaraagam]

I understand that, IR Music troop will play How to Name it compositions and IR will not be in stage. IR might participate as Audience.

[Punnaimaran]

ஹௌ டு நேம் இட் பெயர் போட்ட தேனீர் சட்டைகள் இலவசமா தர்ராங்களாம், நிகழ்சிக்கு போறவங்களுக்கு

"Tea" shirts ? Are they not T-shirts??

[skr]

Of all the great honours, I am extremely thrilled to be asked to present and anchor Maestro Ilayaraja's "How to Name It" on April 29th. I will be introducing the pieces, but in a musical manner :)....

Pianist Anil Srinivasan

[Bala (Karthik)]

book panni tholachaachu :)
ennamo ponga
Adhu! :thumbsup: idhu periya manushanukku azhagu :razz:

[jaiganes]

Adhu! :thumbsup: idhu periya manushanukku azhagu :razz:
adhu sari neengo poreengaLango?

[Bala (Karthik)]

Not fossible-nga :(

[SoftSword]

Not fossible-nga :(

adhukku idhu badhil illayae...
pOreengalaa'nu dhane avar kettaar...

[Bala (Karthik)]

Rendum onnu dhaane da, kuzhappureengaleda

[Plum]

wiz - nandri. nEril sandhippOm :thumbsup:

[wizzy]

^Hub banner'oda vanga :-)

RR romba silent'a erukarae..avarum foreign land'a :roll:

[SoftSword]

http://www.youtube.com/watch?v=vaCCRnKdYss

[rajaramsgi]

அரிதான அந்த போட்டோவை கொடுத்ததற்காக வல்லவருக்கு நன்றி. ராஜா சாரின் கெட்டப், மற்றும் சூழ்நிலையை பார்த்தால் இந்த புகைப்படம் நிழல்கள், அலைகள் ஓய்வதில்லை, காதல் ஓவியம்,வாலிபமே வா வா அல்லது டிக் டிக் டிக் பட பாடல் பதிவின் போது எடுத்துருக்க வேண்டும். வேறு தகவல் யாருக்கும் தெரிந்தால் சொல்லுங்களேன்.

ஒரு சந்தேகம்: ராஜா சாரின் தளபதிகளாகிய புருஷோத்தமன், சதானந்தம், நெப்போலியன், விஜி மேனுவல், பிரபாகர், பிரசாத், கன்னையா போன்றோர் ரகுமான், தேவா போன்ற வேறு இசை அமைப்பாளர்களிடம் வேலை செய்வார்களா?

[baroque]

aahaa! Sakala, golden photo!:ty:
vinatha

[raajarasigan]

^Hub banner'oda vanga :-)

RR romba silent'a erukarae..avarum foreign land'a :roll:naan 29th out of chennai' nga... :sad: 1st May holiday... 30th naan leave pottuttu home town pora plan... cancel panna mudiyatha nelama... :mad:

[raja_fan]

NEPV audio release in May end or June . How long to wait paaaaaaaa

http://twitter.com/#!/nep_movie

[sakaLAKALAKAlaa Vallavar]

another one!

http://a7.sphotos.ak.fbcdn.net/hphotos-ak-ash3/532678_386636848047084_112842955426476_1218521_693 499040_n.jpg

[layman10]

Looks young like vijay for his age then.

[sakaLAKALAKAlaa Vallavar]

one more, this is not Raasaa but young kings! yuvan's pose :lol:

http://a8.sphotos.ak.fbcdn.net/hphotos-ak-ash4/377853_10150974494225430_775895429_22066854_761000 324_n.jpg

[jaiganes]

one more, this is not Raasaa but young kings! yuvan's pose :lol:

http://a8.sphotos.ak.fbcdn.net/hphotos-ak-ash4/377853_10150974494225430_775895429_22066854_761000 324_n.jpg
andha attapottikuLLa enna irukkum? enna posthagamlaam irukkum? :roll:
andha out of focus photo innaavaa irukkum?

[app_engine]

andha out of focus photo innaavaa irukkum?

Looks like getting some award from MGR...

[rajaramsgi]

Kids photo.

They must have lived a very simple life.. no sign of luxury except the stereo player.

[K]

http://www.jaychaa.com/

[baroque]

yen kamal azhudhundu eruakkananga?

chinnadha paarunga:-D
vinatha

[raja_fan]

http://www.thehindu.com/news/states/tamil-nadu/article3336980.ece?homepage=true

[V_S]

Thanks raja_fan for the link. Always good to read Maestro's thoughts on music.

[baroque]

yeah....wonderful article, raja_fan. thanks!

[sakaLAKALAKAlaa Vallavar]

http://www.youtube.com/watch?v=UFNMt73ih74

[sakaLAKALAKAlaa Vallavar]

Even wikipedia doesn't list all he movies of Raja. raaga.com has some 600+ albums and claims it has most high no of Rja album collections. But in reality, thiraipaadal.com has 751 -> http://www.thiraipaadal.com/md.php?MDID=MD00001&lang=en

But as far as listing goes, looks like IMDB is the only one crossing 900. It has 918 titles, including Neethaane En Ponvasantham

http://www.imdb.com/name/nm0006137/#Composer

a website called 7swara.com has 688 albums listed -> http://7swara.com/rcorner/irDatabase.html

But interesting thing is it has a graphical representation of albums versus year.

http://7swara.com/rcorner/images/raaja_film_year_graph.jpg

[app_engine]

thiraippAdal has only Thamizh albums (as far as I've seen).

rAkkammA.com has all of those plus some other language stuff (though there are no music files hosted by them).

I think rAkkammA should have sizeable numbers...IMDB is unreliable IMHO (anyone with a login can post whatever they want, much like wikipedia)...

[app_engine]

rakkamma.com lists 1080 (including dubbed ones) :
http://rakkamma.com/films.phtml?alpha=*

[app_engine]

One can do language-wise search in rAkkamma...

Thamizh (725 only, may be accurate as thiraippAdal has some duplicates, some errors) : http://rakkamma.com/films.phtml?lang=0
Telugu (228, including dubbed ones) : http://rakkamma.com/telugu.phtml
Kannada (31): http://rakkamma.com/kannada.phtml
Malayalam (68) : http://rakkamma.com/malayaalam.phtml
Hindi (28 :lol: mostly dubbing) : http://rakkamma.com/hindi.phtml

[sakaLAKALAKAlaa Vallavar]

thanks for the link app! Appo nammaaLi 1000 films cross panniyaachaa! :shock: :D

but both this and IMDB are missing the non film albums. wiki covers them..

[sakaLAKALAKAlaa Vallavar]

App, looks like rakkamma too only just lists! So thiraipaadal.com is the only mega database of songs to listen. Do we have any other websites which extensively cover non tamil albums to listen?

[rajaramsgi]

Weldone Latchu.. Great thoughts and well presented art from scratch with the most apt and colourful song. Thank you Vallavarey for sharing gems like this.

[sakaLAKALAKAlaa Vallavar]

One can do language-wise search in rAkkamma...

Thamizh (725 only, may be accurate as thiraippAdal has some duplicates, some errors) : http://rakkamma.com/films.phtml?lang=0

Thiraipaadal has his private albums too. Wiki lists 13 private albums -> http://en.wikipedia.org/wiki/Ilaiyaraaja#Non-cinematic_output

[sakaLAKALAKAlaa Vallavar]

http://a6.sphotos.ak.fbcdn.net/hphotos-ak-ash3/549208_364715160247329_353994154652763_1057607_240 92823_n.jpg

[sakaLAKALAKAlaa Vallavar]

http://a8.sphotos.ak.fbcdn.net/hphotos-ak-snc7/579306_361540620564783_353994154652763_1048605_983 935912_n.jpg

http://a3.sphotos.ak.fbcdn.net/hphotos-ak-prn1/535587_359290027456509_353994154652763_1045183_231 286737_n.jpg

[sakaLAKALAKAlaa Vallavar]

http://a8.sphotos.ak.fbcdn.net/hphotos-ak-ash3/576476_355267264525452_353994154652763_1035463_140 6859534_n.jpg

http://a5.sphotos.ak.fbcdn.net/hphotos-ak-ash3/533976_359289757456536_353994154652763_1045182_208 0101454_n.jpg

[krish244]

sakaLAKALAKAlaa Vallavar,

You have successfully posted three blank posts :)

thanks,

Krishnan

[Devaraagam]

Thiraipaadal has his private albums too. Wiki lists 13 private albums -> http://en.wikipedia.org/wiki/Ilaiyaraaja#Non-cinematic_output

sakala, look at the name of amma pamalai in wiki.. "2002 Amma Appa Paamalai" :)

[rajaramsgi]

Did you notice 'Jeeva Foundatation' fund raiser in vallavar's postings.. hearing it for the first time, I think the kids into for some good cause on Jeeva's name.

[sakaLAKALAKAlaa Vallavar]

Ok, krish244, now my posts are not blank! :wink:

[krish244]

Ok, krish244, now my posts are not blank! :wink:

I am still seeing those posts by you as blank posts. I am able to see the posts through my mobile though ! I think my company is blocking the image links !

thanks,

Krishnan

[Devaraagam]

I am still seeing those posts by you as blank posts. I am able to see the posts through my mobile though ! I think my company is blocking the image links !

thanks,

Krishnan
Krish, your company is blocking the images :)

[sakaLAKALAKAlaa Vallavar]

Oh! krish, i posted 5 images which are ads for HTNI concert, mostly its contents are same, but only a different caption in every pic. So i thought you said my posts are waste! Only now i am getting that technically u r not able to see the posts!

Ok, for you, i am posting the links, u can try to click and see... but ensure you are not contradicting ur Comp't IT policies

http://a6.sphotos.ak.fbcdn.net/hphotos-ak-ash3/549208_364715160247329_353994154652763_1057607_240 92823_n.jpg
http://a8.sphotos.ak.fbcdn.net/hphotos-ak-snc7/579306_361540620564783_353994154652763_1048605_983 935912_n.jpg
http://a3.sphotos.ak.fbcdn.net/hphotos-ak-prn1/535587_359290027456509_353994154652763_1045183_231 286737_n.jpg
http://a8.sphotos.ak.fbcdn.net/hphotos-ak-ash3/576476_355267264525452_353994154652763_1035463_140 6859534_n.jpg
http://a5.sphotos.ak.fbcdn.net/hphotos-ak-ash3/533976_359289757456536_353994154652763_1045182_208 0101454_n.jpg

[layman10]

Some progressive rock forum mentioning Raja's ability to make music all in his mind. (just a tit bit for a slow new day) http://www.progarchives.com/forum/forum_posts.asp?TID=85790&PID=4490814

[skr]

Poor thing Bhavatha had advertised that Dir Venkat Prabhu was part of the How to Name it Concert till what happened today on Twitter

@dirvenkatprabhu
Hey guys off to Dubai for a week with family!! Daughter's holiday started!! So taking them on a holiday before starting the next! Bye

@bhavatharaini
@dirvenkatprabhu what is this?how can u go to dubai?

Hope all is well ..

[skr]

Pianinst Anil Srinivasan on How To Name It Show
http://www.youtube.com/watch?v=N39ahFPyD8k&feature=youtu.be
http://www.youtube.com/watch?v=nShKJiF4mFc&feature=youtu.be
http://www.youtube.com/watch?v=YwTHlC3HA-c&feature=youtu.be

[Bala (Karthik)]

Thanks a lot SKR. It looks like this show will be beyond awesome, seriously.

[baroque]

sakala.. super!:)

SKR,:ty: namba Rajannaley, good music players namakku theriyardhu! Rajavey saranagadhi!

Bhava :thumbsup:

vinatha

[V_S]

skr,
Thank you so much for sharing the links. I am going to terribly miss this rare opportunity. It doesn't come again. :sad:

[Gregorysab]

There is some jinx for me and Raaja's live concerts! Couldnt attend Nothing but wind. And will not be able to attend How to Name it!!! Missing an experience of a lifetime!! :-(

[krish244]

Thanks Sakala for reposting the links!

Devaragam,

:)

thanks,

Krishnan

[sakaLAKALAKAlaa Vallavar]

'நீதானே என் பொன்வசந்தம்' படப்பிடிப்பு தளம்
http://cinema.vikatan.com/index.php?view=category&catid=150&option=com_joomgallery&Itemid=142

Be ready for a college stage song, may be after Idhayam?!?

http://cinema.vikatan.com/index.php?view=image&format=raw&type=img&id=6103&option=com_joomgallery&Itemid=142

[Nerd]

Thank you for the promo videos, skr :-) Always a pleasure watching musicals talk about Raaja.

[venkkiram]

Thank you for the promo videos, skr :-) Always a pleasure watching musicals talk about Raaja. அந்த நிகழ்ச்சியில விஐபிங்க பேசப்போறாங்கன்னு சொல்றார் அவரு! அவங்களும் இசைக்கலைஞர்களாக இருக்கணும்னு ஆசைப்படுறேன். போதும். இந்த சினிமாக் காரங்க பேசுனது இதுவரை! இது முழுக்க முழுக்க ராஜாவின் தனிப்பட்ட ஆல்பம். சினிமாக்காரங்க யாரையுமே நிகழ்ச்சியில் விடக் கூடாதுங்குறேன்.

[sakaLAKALAKAlaa Vallavar]

His small rendition of the mouna raagam theme, though the base tune is same, it sounds different(and nice too :D ) If you watch the dozens of videos in youtube, where fans trying to play this theme, though all the videos have same tune, none of them sounds like the original. Why?!? The piano instrument sound in the original is too peculiar! too soft!

[app_engine]

சினிமாக்காரங்க யாரையுமே நிகழ்ச்சியில் விடக் கூடாதுங்குறேன்.

oru dEvar makan vasanam by NT comes to mind :wink:

[irir123]

His small rendition of the mouna raagam theme, though the base tune is same, it sounds different(and nice too :D ) If you watch the dozens of videos in youtube, where fans trying to play this theme, though all the videos have same tune, none of them sounds like the original. Why?!? The piano instrument sound in the original is too peculiar! too soft!

often IR used synth piano even in the 1980s ! maybe thats the reason !

[MumbaiRamki]

In Manathodu Mano - A flute player from Raaja troupe . Fantastic ones .. pls watch now

PS : Putham pudhu kaalai initial flute bit was played by a holland lady . Raaja wanted this flute player to learn from this Holland lady and made efforts for the same . It is one to give credits to the players in cd cover, it is another to have an intense desire at heart to improve them as much as possible - seeing them as part of himself ! No wonder , they drop the "illaya" and call him Raaja !

PS 2 : There is a difference between raaja players and others - they seem to be soaked in music . What bliss !