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"O Kalai kuyilgale .. SJanaki ( Parthiban & Mohini) Pallavi is a sur shot inspiration of Original song in Hindi -Khoya Khoya Chand by Mohd.Rafi Music by SD Burman"
yes it does look like an inspiration - just that line
"Ore Naal Unai Than( Ilamai Oonjal adigiradhu) : The line oonjaladudhu has a strong influence of "Lag Jaa gale" By Madan Mohan"
that is no inspiration - not even an influence, i would call that a freakish coincidence thats it!
"Inji Iduppazhaga : Old SD Burman Composition set in 2/4 tempo ( Ye dil deewana hai...)"
well - let me put it this way - it was an inspiration as REQUESTED/INSISTED by Kamal, though IR had composed several tunes for the same sequence/situation! and THIS information that it is an inspiration came out ONLY after Kamal said that in an interview! had he not done so, would you/we have known? that itself is a tribute to IR's unparalleled genius!
let us say, we have an informal workshop on "music composition:theory and practice" and IR were to be our chief guest - if he were to be asked, then he would probably start with the first song ever composed for an Indian movie and how the same was used/ resued by every other composer even without their own knowledge of having done so! SUCH IS IR's indepth understanding of the essence of everything that is musical! that is also his trade secret - just like how a magician uses different tricks (btw, watch Christopher Nolan's stunning "The Prestige" featuring Christian Bale and Hugh Jackman and "The Illusionist" featuring Ed Norton with a grand 'illusionist' score by Philip Glass) and everything even the music we listen is magical versions of the same stuff! how deftly and cleverly the magician uses it makes up for creativity!
"If you hear IR's Compositions in 1978-81 the tabla & Dholak patterns have a very strong influence Or rather the same in songs Viz.,Devadhai oru Devadhai ( Pattakatthi bhairavan) Vasandha kala kolangal ( Thyagam) Vaanmegangale
(Pudhiya vaarpugal) to name a few."
maybe, but using a style of tabla/dolak does not for blatant plagiarism, not even inspiration - i would call it adaptation! just like how the percussion was used in "isaiyyil thondagudhamma" in Hey Ram and "Naan sirithhaal" in Nayagan!
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My 2 cents :)
I have been a strong favorite of IR for decades now. I also like RDB , SDB songs from Hindi. And of course who will not like the great Shankar-Jaikishen combo of the 60s. Their music is just fabulous and evergreen,
Two weeks ago, I just wanted to come out of my parochialism (trying music of other Hindi music directors).
So I first selected OP Nayyar. His songs from aar Paar, Naya Daur, Mere sanam etc pretty much captivated me so much that I am totally hooked on to his music now.
I can say that his melodies are so light - with almost no instruments , although, the melody is still there. His songs are very haunting too (please listen to his songs from musicindiaonline if u havent ).
I am very happy to have listened to his songs, it is just satisfaction u know. i am yet to try out songs from Ravi, Chitra gupta, Roshan, Madan Mohan, Naushad etc......
Just disregarding Hindi music is like being a big frog in a small pond - is what I feel :) It is not to offend anybody - but what we get being a little open-minded, is cornucopia of musical joy :)
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in my previous post, please replace fan for favorite, although, I would like to be a favorite of IR.
Unfortunately, I have no talent to impress him :)
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Vem - I second your thoughts! it is not our fault that we grew up listening to IR and not IR's fault that his music has strongly influenced and filled us up! and I dont see any need for us to be APOLOGETIC about liking IR's music! that is the way it is!
of all the composers you have mentioned, Madan Mohan is unique! "Naina Barse Rim Jhim" from "Woh Kaun Thi" is a well- known example of sheer haunting beauty - even in his most lackadaisical moods ("Har Koi Chahta Hai Ek Mutthi Aasman" from "Ek Mutthi Aasman" is an example in this context), he WOULD NEVER stray away from melody - and IMHO some1 of his calibre WOULD HAVE NEVER survived in the present day Hindi film industry! but all said and done, there are some guys like Sanjay Leela Bhansali trying to do honestly contribute - Shreya Goshal was recommended by Bhansali and Goshal is an amazing find!
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OP Nayyar was another of those musical eccentricities! major no of his compositions would have this "tuk tak, tuk tak" rhythm of 'horse hoofs' like sounds! he almost had a musical 'fetish' for that rhythm! but a great composer nevertheless!
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Just one point that makes me wonder is that this guy OP Nayyar had no prior training in music before he became a music director.
U wont believe me - I have been listening to his "Jaayiye" and "Pukaarta" songs from the movie mere sanam...... continously for the past 2 days. What melody it is.
Ooops - It is IR albums page I know. I will stop my ramblins on this guy.
Thanks for ur songs of Madanmohan.... He will be my target next. IR has mentioned his name so many times whenever he was asked about his favorites :)
Similarly my another favorite album is Anurag from SD Burmanda...... Just amazing songs. But let us not forget all Yesudoss songs from Raveendra jain :)
Thats it.
I shall emerge from hibernation when IR releases his next musical album ; unfortunately Naan kadavul has been stopeed due to the loss of Vallavan (Thenapan has no more funds :))
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dig: vem, if you are into OP Nayyar dont miss his combo with Asha. Apart from jaayiye, listen to "Aayiye meherbaan"(from Howrah Bridge and a very popular classic)"ankhon se jo uthri"(I think from Phir wohi dil laaya hun), "chain se hum ko kabhi"(for which she got an award at that time),songs from Kashmir ki kali - at the very least. As for Madan Mohan he is in a different league altogether. It will be a bigger list with his favourite singer Lata. Old HFM rules.
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Yes, I listened to these songs :) thanks.
What do u say about Chal akela from Sambandh - Mukesh's voice puts us to sleep :)
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what is amazing is that, overall every composer then was giving out his best in terms of melody! but thanks much to the advent of 'angry young man of the late 70s' (where the star took the centerstage) and the overcrowding of Bollywood by star families (the Kapoors)and hopeless scripts, the decline of quality was quite rapid - ARR's ROJA was definitely a refreshing change (since 1992)for Bollywood!
it is just the bad luck of bollywood that IR's most creative years were focussed outside bollywood!
