thanks wizzy, but same time, it looks like i have heard this song in tamil film. is it?
Also that mystically mesmerizing flute at aroung 3.56, which film? athaiyum ketta pheeling
thanks wizzy, but same time, it looks like i have heard this song in tamil film. is it?
Also that mystically mesmerizing flute at aroung 3.56, which film? athaiyum ketta pheeling
skv,Quote:
Originally Posted by sakaLAKALAKAlaa Vallavar
The flute at 3:56 is from 80's biggest blockbuster Hero (1983) starring Jackie Shroff and Meenakshi Seshadri. This film shot both to stardom. I remember seeing this film 5 times that time. All songs were smash hits all over India. Music by duo Laxmikant Pyarelel. This flute is the main theme of the film and also comes in one of the songs which is one of my all time hindi favorite and an excellent sufi number, 'Lambi Judai' sung by a Pakistani singer Reshma Allah. What a soulful song and rendering!
http://bit.ly/feBX2b
Aadhisokka
Wow, what a song? Packed full of surprises and it’s definitely a woodwind galore.
The way Reeta started of the song made me quiver with excitement. At that point I didn’t even know what genre to expect but with the initial drum drops in the prelude I thought I’d been for a village sounding treat.
The song has many musical genres subtly combined and on first hearing they’re not even obvious. Thanks to the flute fest I repeated the song only to realize that this number has more nuances both in its melody and instrumentation.
The Kirukki da kirukki chorus is highly Middle Eastern in its texture and Reeta’s vocals explore this thoroughly. When she says “Un peru” we hear the Raaja Saab dimension. After this the flute infuses soul in to the Pallavi.
The first interlude is literally like a ride going from a village to the highlands with transportation provided by the flutes and Celtic sounding violins. When I heard this song for the first time I couldn’t tell there was a Tabla in the first interlude because IR only displays the Ga sound of the Dagga. When the second interlude arrived I thought there will only be percussion present but with the introduction of the hot air flute we get to hear the sound of more and more flutes. The second Charanam’s flute backdrop is more conventional for a nature BGM score but the way the maestro permeates it here by panning the sounds from left to right makes it an apt support to the unimaginable modulations from Reeta Mam.
Friends,
Thanks for the news&tidbits, but they are better posted in the 'IR news&tidbits' thread. Let's keep this thread for new albums discussion. Tks.
I have read this number is akin to the songs Raaja Saab churned out in the late 80s/early 90s. As I’m still acquainting myself with songs from that era, this song exhibits a new experience for me. Furthermore, it’s probably a new experience for devoted fans too as those days the sound was mono (?). Anyways, it’s great to know that the Maestro is bringing back his nostalgic arrangements in stereo for this day and age and especially for rookies like me who are not well versed with his music from the 70s/80s/90s.
Thukkamenna Thuyaramenna might be routine for ongoing IR fans but it’s definitely my pick from Mayilu. Just like Sikkikichchu Sikkikichchu and Kaathiruppen Kaathiruppen, this too is very tabla, dholak and dafli orientated but one wouldn’t think that Raaja Saab would go along the conventional route wrt Indian beats because in all these three songs the prelude presents either WCM or synth/electronia/midi instrumentation for a minute or so before showcasing the beats.
Now that I think I’ve cracked that certain formula of arrangements by the maestro, I eagerly await more songs with this reminiscent tabla, dholak, etc. effect because from my observations each of these songs may have the same instruments but are individually highly engaging in their own right, but how?
The answer is the Maestro himself :bow:
My take on Mayilu after few listens...
Enna Kutham - According to me, this song is version 2 of Solai PasunkiLiye from En Raasaavin ManasilE. The situation (his wife/lover dies and husband/lover feels now how precious she was and he was not able to make her happy during her life), feel and Raja's singing could not hide to take me to that song. May be that's why Maestro chose (automatically) same Sindhu Bhairavi again. Just listening both the songs back to back is a great experience. But one thing to notice is the tune is completely different, even when the feel is same. That's the beauty. If any of these two songs is sung by a different singer, I might not have noticed this. The song starts without any prelude. New and fresh rhythm arrangements with odd 5/8 time signature (as against 5/4 because the beats are divided in 2+3 rather than 3+2?). Maestro displays the middle-eastern sounds with just guitar which comes in between the percussion. Some sort of celestial sounds creep just after the pallavi followed by some haunting humming by Dharshini. If you closely observe, the bass/rhythm track comes out and goes away (almost like speaking) giving us a lump in our throat. Excellent lyrics, by the director himself. Second interlude has excellent mix of violins and synth again with that haunting humming. Definitely, I too miss the solo violin (of Prabhakar sir) which we saw during the recording sessions, somehow the rhythm arrangement gave that feel. Normally the gloomy feel can be heard either through a flute or violin, but how Maestro used the rhythm arrangements to maximum effect is one of the main highlight of the song. Extra-ordinary thinking and innovation. As I said, it was literally speaking. Raja's voice fits to 'T' for this kind of song, no one else can even try this song. Another highlight is the humming in interludes, so haunting. Could not imagine this was composed 3 years ago when Ayyan was also composed around the same time. Another dark song from Maestro, will take some time to get out of this.
Yathea - From Gum Sum Gum I can really see the positive change in Bhavatharini's singing. Before that, even when it was a good melody, either she picks one semi-tone up or down resulting in whole song sounding sharp or flat added to the absence of any feel. First time when I saw Bhavatharini's name in Gum Sum Gum I was skeptical, but I was surprised first as neither I could identify her voice nor her singing, she was absolutely stunning there!. May be this this one was first recorded compared to Gum Sum Gum. May be she worked on her improvement areas and she is dazzling in this song. The starting 'Yathea' with cracking and husky voice and the feel when she sings 'Paavi paya paarthE Kolluraan', wow!, she just excels and dominates Sriram easily. If Yathe was song of the last year, I am certain Yathe is also song of this year. For some people, they will enjoy this year's Yathea provided they don't see Maestro's name in the inlay card, such is the pity of this generation. The way pallavi finishes gives me goosebumps. Again some excellent rhythm arrangements. After the pallavi, the small kids sing some phrases which is just amazing and innocent. When they utter 'Chellapaandi' followed by kids laughing is just breath-taking. Maestro signed his class there. Charanam does not directly start with lyrics. Bhava gives some brief humming which enhances the sweetness of the song. Tune in charanams takes it so high with some innocent lyrics and great singing. Observe the rhythm arrangements during the humming and when Sriram starts singing. He introduces tabla when Sriram starts singing. In Second interlude Maestro experiments with some beautiful electronic sounds, so pleasant to hear. The song of the year (so far) and I fall flat for Bhava's singing, especially the line 'Paavi paya paarthE Kolluraan'.
Thukkamenna Thuyaramenna - A song to encourage her lover. What a start and Anupallavi is just fantastic! I surrender to Maestro, when she sings 'En Maama' in anu-pallavi/charanam. If those two words (I mean when she sings En Maama the second time) were not there, there is no completeness. Just like Senanayake hitting six of penultimate ball and taking SL to victory today. If he was not there all the hardwork by his teammates will be wasted. Sriram sings very well. Subdued flute followed by santhoor takes us back to Maestro's 90's folk landscapes. In second interlude, he picks up piano beautifully with some great synth usage. The flute which comes at the end of every line of charanam is typical Maestro's ornamentation which we heard in 80's/90's and have been missing all these years. One of the best folk composition by Maestro in recent years. The song where we can literally go back to nostalgic days of 80's/90's without worrying too much what's new in it. To put it simply, if we want to know how many blades does a fan have, when it is running, it is impossible to find it. To know that, we have to stop it. Life is running without any stop until we realize how far we have come. These are the kind of songs which stop us to think where we are. This song is a great nostalgic trip down memory/melody lane.
Aadhisokka - The start is not very convincing. The whisper of 'Chellapaandi' is the icing on the cake in pallavi. Flute, tabla, violins and some new sounds makes the interlude interesting. Charanam is more sweeter than pallavi. The song speaks her mad love for him. While the other three songs are more matured, this song is so young and youth in it. The song is so breezy. The interludes are mesmerizing! Reeta did a fantastic job here! This song may turn out be a blinder and capable of knocking out every other song, need to keep a watch :wink:
Kalyanamam Kalyanam - Authentic folk composition with right singers. Lines are good and funny. 'Thaai maaaman seedhanama veecharuva koduppOm' :lol: The nadhaswaram piece is so enticing. This is more a drama than a song. So much lively! Did I hear Aasai Adhigam Vechcha? (Sindu Bhairavi again?) But what a variation in treatment and feel in both these melodies!
Namaloda Paattu thaanda - Tippu's song. A fun song taking on new trend in music and also in our culture. Tune-wise, not much twist and turns, except in the middle of charanam where the tune takes a turn 'sendhoora pottu maari ippo sticker aagi pocchu, manja poosum ponnunga ippo cream'a thEdi pochchu' makes an interesting listen. Need to listen to this one more.
An excellent soundtrack to start the year and it will make a big big round for me. If at all there is minus in this soundtrack, it has to be Reeta and Sriram Parthasarathy. They did perform well, but I felt they are being overused by Maestro (I am not talking solely about this soundtrack alone) that might take some off. I even prefer Tippu in one of the melodies, rather he only gets opportunities for singing kuthus. No one will say these songs were composed 3 years before. As RS said it in one-liner, it sounds very fresh as composed today and will sound fresh after many more years to come. Four outstanding melodies. Good to hear the all the lyrics have been written by the director himself. Some are very good while some are just fine. All songs brings us close to nativity and also brings back our lost nostalgic trip. While we got a glimpse of 90's in Sengaathu Bhoomiyile, here we can feel we are really there in that period. While he does that, he comes up with some excellent and fresh rhythm arrangements and interludes to suit to this trend too. On top of that, he kept all the folk, carnatic and western grammars intact. While music and music director are 'behind the screen' activity, Maestro still goes behind (basic) to keep these grammars intact laying a strong foundation, so that these composition can be listened for many more years to come. It should be interesting to watch these songs on screen. If Maestro gets inspired more with the story like ASK or Nandhalala, we can expect another breath-taking background score, eagerly waiting for that. Full house folks! :notworthy:
Sunil,
Excellent write-up on Aadhisokka and Thukkamenna :clap: Would like your views on other songs as well. :smile:
V_S,
Lovely writeup. Very detailed one. I am unable to get the CD yet and online listening has been patchy. Anyway you have reviewed it well enough. I need not write a detailed review :)
Nice observation Sunil. Good to see you love the tabla sounds which many nowadays don't want to hear.
V_S, A lovely review. My fav from the album are Kirukki & Nammaloda pattu.
The composing videos which were aired in Kalaignar TV are here:
http://www.youtube.com/user/akbarraa...h?query=mayilu
I also noticed that the songs were (may be not all) composed to the lyrics. Its funny to see the director with an amazed look during the recording sessions.
Also, there is a video where Maestro gives some rhythm variations to the drummer. I'm not sure if it was used in any song.