Ayyan falls several notches below any album composed by Ayya that got released in a long time. Not able to digest this, even after repeated listenings nothing impresses! a big FAIL :-(
Ayyan falls several notches below any album composed by Ayya that got released in a long time. Not able to digest this, even after repeated listenings nothing impresses! a big FAIL :-(
I completely agree.Quote:
Originally Posted by rajasaranam
hi Querida... Ayyan songs are available in
www.raaga.com
Do not worry, Suresh65 already has answer... look here: http://itwofs.com/milliblog/2011/01/...mil-ilayaraja/Quote:
Originally Posted by rajasaranam
Thanks Shankar.P :)Quote:
Originally Posted by Shankar.P
Is it just me or does Maya sound like she's singing off key? :shock: :(
"Vidhuthulaikul Naan" I think appealed just because I have a biased liking for IR's voice.
Ayyan songs are very ordinary and monotonous. nothing to brag about raja sir's class....:) eagerly waiting for Padithurai and Azhagarsamiyim Kuthirai :)
http://www.thehindu.com/arts/music/a...c1c927be69%2C0
An article mentioning about Padithurai songs. Didn't know that director Suga was trained in Carnatic music. Hope the audio gets released soon.
Listened to Ayyan songs. Can't dismiss it as a failed effort completely. Manasoram, Yenekkena oruthi and Viduthalai Kuyil are still good and I can see IR in his elements in those songs. I liked Ye Sivagami too mainly the pallavi portion. The other songs are pretty contextual and I fail to understand why the director comes up with such uninspiring song situations.
Can't wait!Quote:
Imagine traces of raga Dhenuka seamlessly blending with beats emanating from percussion instruments played by the artists of Kaniyan Koothu, a folk art performed at Sudalai Madan temples.
Music composer Ilaiyaraja has come up with an exotic blend of folk and Carnatic music “Ada inge yethukku”, a song in soon-to-be-released ‘Padithurai'. The song, like several others composed by the maestro, captures fine nuances of both traditions and makes the listener want to instantly dance.
“It is not as if that he is listening to Kaniyan Koothu for the first time. He briefly used the percussion instrument in the film Kadhal Ovivam. But in my film, he has used the instrument in a full full-fledged manner,” said director Suka, who is also trained in Carnatic music.
Break-neck speed
With magudam and mandham playing in break-neck speed, a group of singers including Priyadharsini, Maya, Manikavinayagam, Velmurugan and Mukesh have rendered the song in an equally peppy manner. Lyricist Muthulingam has penned the song.
Perfect synchronisation
“Mr. Ilayaraja liked the manolayam of these artists. So engrossed was he in their music, that he wondered how they could achieve such perfect synchronisation,” recalled Mr Suka.
Magudam, the sharp version of percussion instrument is played by one person while the bass is played by another player.
“When they heated the instruments to fine-tune the shruti, Mr. Ilayaraja excitedly called everyone at the Prasad Studio to listen to them. He brought a lot of gifts and shawls from his house and honoured them,” Mr. Suka said. The artists belong to Mr. Thangasami's troupe in Tirunelveli district.
Mr. Suka said all the songs in the film have been based on Carnatic ragas. Vocalists Sudha Ragunathan and Bombay Jayashri have together rendered ‘Therodum veediyile' a song based on the raga Saranga. Tamil novelist S. Ramakrishnan, who has penned scripts and dialogues for many films, has written this song.
Another song ‘Nadi meedu odum' in raga Hamsanandi has also been sung by Bombay Jayashri. Mr. Suka has also roped in Sahitya Akademi Winner Nanjil Nadan to write a song for his film.
The song ‘Unnai maadiri' in raga Mand has been rendered by Bela Shinde.
Singers Karthik and Bhavatharini have sung a duet ‘Enna valachu..' based on raga Bhimplas.
“Story the hero”
“The story is the hero of the film. Almost everyone in the unit has acted in the movie. Editor Suresh Urs and art director Krishnamurthy have also appeared in the film,” Mr. Suka said, adding that it would be released soon.
I wish Suga is my close friend :-)
i dont know which thread to pose/ask this question but here it goes:
during the late 80s - i think post 'agni natchatiram', IR began using a certain kind of polyphonic percussion/rhythm sometimes very very complex - often making one wonder as to how he even conjured up such complex patterns!
the percussion base for 'en uyire vaa' or 'ding dong dong - irandum ondrodu' or 'poongatru un per solla', or, 'subhalekha' (the polyphonic sounds in this track is a riot! http://www.youtube.com/watch?v=Fu-waXRLXU8 - the interludes and NOT the prelude), or 'vayase tholi' (http://www.youtube.com/watch?v=UXvFsQrwyM0 - the prelude percussion wow!)
since 1992-1993, his scores shifted away from the use of such polyphonic percussion arrangements and became more new-age style - the rock ballad like 'arumbum thalire' from chandralekha (1995) or the songs of poovarasan or an IV sasi film (forgot the name, it had the 'siru koottil chinna kokilam irandu' song)
if IR were to revert back to such percussion usage, the present day night club slam bang music crazy junta wud lap it all up for sure!