Absolutely love that portion in the song, that really got me and made the song totally captivating for me. I was thinking it's electric guitar not sure though.Quote:
Originally Posted by rprasad
Satru Munbu & Mudhal Murai are having the most impact for me (i'm a sucker for pathos/dark feel with heavy orchestration). These songs would cause a lot more impact on screen with the visuals.
My first look at Saaindhu Saaindhu. Still not sinked in completely:smile:. (Also this is based on mp3 version, not sure how it will vary with CD version).
The musical themes and instrumental bits of this film is already etched in my mind even before the audio launch, thanks to GVM and the media. Saaindhu Saaindhu teaser put-off most just for Yuvan's singing. I don't blame them. The starting vocals of Yuvan is underwhelming, but the bad part is how GVM chose this clip to promote, that too as the first teaser. As a stand-alone 30 second clip, it does look awkward even with Maestro's magic guitar. Especially "adadaa yeah hey", he goes very flat with not much life in it that too for the first and second time. Gradually he gets into the groove. To me, it didn't take the interest out of me in Yuvan's singing as I feared, as he was totally onto the basics later on. Surprisingly, when he sings, "adadaa viral ellaam pEsa" he comes back to the mood. If we listen to the full song, the awkward start disappears from our mind, just because Maestro diverts us to a different world altogether with his outstanding (is there a better word?) orchestration and Ramya NSK's vocals. Yuvan gets into the mood of the song quite well from charanam. Good that Maestro did not (and will never) use auto-tune to correct his pitches and left as it is so that it is natural to even say some mediocre singer is singing his heart of love and his lover saying, 'definitely I love you, but for god's sake please stop singing and relieve me' with a sarcastic laugh.:lol:
The starting rhythm guitar with electric guitar provides a wonderful counterpoint with a different melody compared to the main melody. This starting piece of guitar arrangements gives the rock ballad feel. Acoustic drums with hi-hat gives the perfect cushion effect to our ears. Just when we were wondering where the bass guitar is, Maestro kicks in the bass when Yuvan sings anu-pallavi, VizhyOdu vizhi pEsa, viralOdu viral pEsa. I love the electric guitar sneaking in with different identity during the anu-pallavi. The culminating anu-pallavi piece is just mind boggling, adadaaa vEru enna pEsa (the telugu version does not get its expected elongation as in Thamizh. The chords are shortened makes it little dampening). The chords beautifully transcends and lands to the ground with that outstanding anu-pallavi melody confirming the jazziness in the song. Outstanding touch! Maestro ends the repeat pallavi with additional 'hey hey hey' beautifully, the main reason would be to give the guitar, drums its extended time of play and a also a nice way to stop it convincingly rather than abruptly to start the interludes. Wonderful thought as ever! :notworthy:
When I expected the interludes will continue on the lines of pallavi-anupallavi, Maestro takes half a second pause to get ready to authoritatively state why he is the best in business when it comes to interludes. To be honest, I never expected this kind of interlude for this kind of pallavi. Totally there is no connection between this interlude and the pallavi. Cellos gives a haunting effect followed by delightful piano with violins in the background. The biggest surprise is when electric guitar finishes the interlude in style with substance. :clap: The interlude and more importantly the last electric guitar piece takes me back to Gum Sum Gum's most celebrated second interlude effect, except that was a pure jazz interlude, this one is much more than jazz as it has classical elements too. The way cello is used in this interlude even when piano and violin are majorly playing, is one of the best I have ever heard. What a grandness and richness it gives! This is what I have been missing and expecting from others. We can clearly see how Maestro is going from strength to strength in Jazz from 80s to 90s to 2000s and into 2010s and still learning! Even when we compare Paa and this one, we can clearly see how he has gone ahead. Every piece is unique and most importantly they are not just few pieces given the amount of work he has done for the past 35 years.
Charanam gets sweeter and sweeter. First and fore-most when Yuvan starts the charnam, that loud bass punch, wow! lovely!!. Wonderful charanam melody with wonderfully written lines by Na. Muthukumar. When Ramya NSK starts singing, that's where the song gets it completeness. She has a beautiful voice. Sweetest portion of the song;
en thaayai pOla oru peNNai thEdi unai kandu kondEn, (Yuvan gets better and better! wow!)
oho, en thandhai thOzan ondraana aaNai naan kandu kondEn (wonderfully sung!)
azhagaana undhan maakOlam, adhai kEtkum endhan vaasal (again Yuvan makes it great!)
kaalam vandhu vandhu kOlam idum… (Ramya excels here!)
un kaNNai paarthaale moon jenmam pOvEnE (big surprise this line as it is never a match to the previous line's tune)
angE neeyum naanum naam (he delivers the emotion very well) I can listen to this line any number of times just for that chord progression.
I am always excited to hear how Maestro finishes the charanam and connects to pallavi. I bet no one can finish like him. Either it gets extended and extended only to stop somewhere abruptly or goes somewhere beyond reach unable to comeback or somehow manages to connect with some vague arrangements. This is one of the best strength of Maestro which is not discussed much. Maestro just needs two bars to reach to pallavi/anupallavi wherever he is coming from. Here he doesn't need that too as he connects to pallavi intelligently with zero bar, yes immediately. See how it is. When Ramya sings 'kaalam vandhu vandhu kOlam idum' it so high and you will never know the next line is actually an indirect connect to pallavi, as the next line is nothing but the anupallavi lines; 'un kaNNai paarthaale'. This is exactly the same as 'viralOdu viral pEsa'. Suddenly he drops from higher pitch to anupallavi lines with amazing ease. If you hum the line, kaalam vandhu vandhu kOlam idum, confidently we can say the next line would also be similar in the higher pitch, but Raja does a big surprise by attaching anu-pallavi tune in the next line which is way off the mark from the earlier line, but how it gets attached successfully is still a puzzle to me.
Suddenly there is a lot going on in orchestration in the charanam than in the interludes, another surprise package. To decode just this orchestration will take a life time. :smile: Piano acting as fillers for each line to give the lead to the next line and also acts as a carrier to the melody taking it safely and making sure it reaches its destination. Definitely would like to hear the orchestration without vocals. It sounds so grand, but I think he is just playing the piano.
The repeat pallavi after the first charanam has different color with grand piano compared to the starting pallavi which was having guitar. Just when the pallavi is about to end, sax takes off brilliantly. Even when the sax is playing and gradually dying off lazily, the violins and cellos at the background were played in brisk fashion producing the best counterpoint of the composition. If we need to hear the way sax plays in this interlude and how it dies down beautifully, it is not possible with two ears, we need thousands of them. First time the composition goes into rapid fire round with violins, cellos, piano and most importantly I hear the flute. :D After reaching the crescendo, it gradually dies down in diminuendo, giving way to soulful cello with a mild violin which takes my breath away. I surrender to thee. :notworthy:
Ramya starts the second charanam in ever sweet fashion and emotes extremely well, except the stylish western style singing which I am not a big fan off. Yuvan goes to greater heights with 'innum innum enna tholai dhoorathil'. The best of Yuvan in the entire song. When Yuvan sings the repeat pallavi sax mesmerizes again. The way he ends the repeat pallavi is the highlight of Yuvan's singing, when he sings 'vEru enna pEsa', pEsa is only heard in the air. Not sure if that is the expected direction/style given by Maestro or was he gasping for breath. I was :lol: when he was biting the words when singing the last 'adadaa' (:lol:). The song ends in a beautiful fashion which reminds me of broadway musical of Edaya Bagilu.
Overall I like the laid back tune and lazy singing by Yuvan and a contrast very emotive singing by Ramya. The composition goes to greater heights right from the 1st interlude and there is no return back. It peaks higher and higher as it progresses. Very breezy composition and fresh as a morning dew. Rich orchestration, a grand one that!. If we are talking about new age music, this is the one, which has all the futuristic elements blended with all the classical elements. It would be interesting to see how it was picturized. I think the song would start just when she expresses her love to him. Very romantic song appealing to today's generation. Ideally this should be an iconic song of this generation of lovers. Yet from the orchestration and the style it was composed, it brings back the lovers right from renaissance, baroque, classical to romantic to 20th century periods in front of our eyes. We can even visualize this composition as the song of lovers of future generation, it will never fade out. This is the main reason I could not decode this composition and also could not set this composition to one particular mood and to one particular period, as I see the reverse, the lovers evolve through this composition, hallmark of the genius!
sooper... v_s golden post!!
now i have purchased NEPV frm itunes.. off to connect that darn sound bar...
V_S, lovely lovely, pAttu kEttuttE padichen, of course I had to rewind to match your post. Can't wait for your review on Pengal Enral.
Thanks Jai and grouch for your valuable comments. Glad you are enjoying NEPV songs. Sure will write about all the songs.
http://isaignanibakthan.blogspot.in/...blog-post.html
‘நாம் எல்லோரும் இங்கு வந்திருப்பது அந்த ஒரே ஒரு பெயருக்காகத்தான். அந்த ஒருவருக்காகத்தான். நான் பிரித்துப் பேசுகிறேன் என்று நினைக்கவேண்டாம். இங்கே இருப்பவர்களுக்கு (வி.ஐ.பி.க்களைக் காட்டி) அவர் ராஜா சார்..! அங்கே இருப்பவர்களுக்கு (பார்வையாளர்களைக் காட்டி) அவர் ‘இளையராஜா’... என்று கூறி, தேர்ந்த பாடகருக்குரிய Perfection
இல்லாவிடினும், ‘உன் கண்களின் ஓரம்’ சரணத்தை சுத்தமாய்ப் பாடி முடித்தார்.
தொடர்ந்து பேசிய கௌதம்மேனன், “வணக்கம்..! இப்போதெல்லாம் மைக் கிடைத்தாலே பாடத் துவங்கிவிடுகிறேன். கொஞ்ச நாட்களாக, எனக்கு Notation, Pitch, Chord இதுபோன்ற விஷயங்கள்தான் கண்களுக்குத் தெரிகின்றன. காதுகளில் கேட்கின்றன...” எனக்கூறி, அதற்குமேல் தாமதிக்காமல், இசைஞானியை மேடைக்கு அழைக்க, புயல் எழும்பியது அரங்கத்தில்.
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padam innum varala, rendu thread-ayum merge pannalAmA? Orey confuse. Or, temporarily lock the film thread. oh hell....
After multiple listening - poondhu vilayaadiyirukkiraar manushan. definitely an album to cherish for its orchestration. It's a message to younger MDs and even if IR does 2 movies a year like this, it will keep the young MDs challenged and thinking.
Hard to pick which one tops, but ennodu (what a refreshing BGM), Kaatrai (irrespective of old lyrics) and Saindhu Saindhu are definitely among the top.
"சாய்ந்து சாய்ந்து" பாடலை தொடர்ந்து பலரும் இங்கே பெரிதாக சிலாகித்து பேசுகிறீர்களே என்பதால் நானும் தொடர்ந்து கேட்டுப் பார்த்தேன். ஒரு மாதிரி படுசோம்பேறி பாடலாக தெரிகிறது. முக்கியமாக பல்லவியின் ராக அமைப்பு அப்படி. அதற்கும் மேல் யுவனின் குரல். ஆடத் தெரியாதவர் எப்படி ஆடுவார் என ரோபோ ஷங்கரின் ஒரு வீடியோ... அதுபோல பாடத் தெரியாதவர் எப்படி பாடுவார் என்பதை யுவனிடமிருந்து. என்னவோ தெரியல என்னால ஒட்டவே முடியல. படம் வெளிவந்த பிறகு காட்சிகளோடு பாடல் கேட்கிறேன். அதுவரை குட்பை இந்தப் பாடலுக்கு.
VS, great post!
The 2nd interlude of Saaindu Saaindu just runs for 30 sec..what a sonic drama! Man, oh man! What's this guy made of!
Flesh and blood or something else!
Gokul