And where do these people hear 'vintage Raja' in this? I sometimes think people hear what they want and not actually what is recorded.
And where do these people hear 'vintage Raja' in this? I sometimes think people hear what they want and not actually what is recorded.
During 70's - 80's, i.e. when rAsA was peaking, there was this AkAshvANi news reader for Thamizh (which used to get relayed from Delhi in all TN AIR stations) called Saroj(a) Narayanswamy.Quote:
Originally Posted by Sureshs65
Wonderful reader!
The whole TN loved her voice, oru mAthiri vadakkaththiya AnAl sariyAna Thamizh uchcharippu etc. I was a regular listener to the 7.15 AM AkAshvANi news and her voice is embedded in my dimAg strongly.
Singer of the song on repeat in my car, 'mudhal muRai pArththa gnAbakam', Sunithi Chauhan, at times remind me of Saroj Narayanswamy :-)
oru vELai indha mAthiri EdhAvadhu 80's connection irukkum :mrgreen:
Good Article, Recommended Read!
http://raviaditya.blogspot.in/2012/09/blog-post.html
Quote:
இளைஞர்களின் கனவு டைரக்டர் ராஜாவுடன் இணைவது எதிர்பார்ப்பை உருவாக்கியது. அதுவும் புடபெஸ்ட் இசைக்கலைஞர்களை வைத்து லண்டன் ஸ்டியோவில்ராஜா சூட்டுடன் லைவ் ரிகார்டிங் என்றதும் இன்னும் எதிர்பார்ப்பு எகிறியது.
எதிர்பார்ப்பு மற்றும் எகிறுவது இருந்தாலும் சில லாஜிக்கான கேள்விகள் இருக்கு. இசைஞானி இதுவரை போட்டது 5500 மேற்பட்ட பாடல்கள். எவ்வளவு வகையான உணர்ச்சிகள் அதிலும் அரைத்தமாவையே அரைத்த உணர்ச்சிகள்.2000-2012 வரையிலுமே கிட்டதட்ட 65 படங்கள்.கார் ரிஜிஸ்ட்ரேஷன் நம்பர் மாதிரி பலவித கலவைகளில் எல்லா உணர்ச்சிகளுக்கும் பாட்டு போட்டாகிவிட்டது.கட்டம் கட்டமாக தாண்டி வந்து ஒரு காட்டு காட்டியாகிவிட்டது. இப்போது மீண்டும் ஒரு காதல்கதை.பழையபாடல்களின் சாயல் இருக்காதா? அதே குறுக்கும் நெடுக்கும் பின்னணியிலும் பலவித இசைக்கருவிகளின் பின்னல்களா? அதே பல்லவிகளா?சரணங்களா?மிச்ச மீதி ஸ்டாக் இருக்கா?
சாயல் வராமல் இருப்பது உலக மகா கஷ்டம்.அதை நிறைய தவிர்க்கிறார் தன் திறமையால்
:clap:Quote:
Originally Posted by Sureshs65
neenga "rAsA-mind"ai nallA read paNNa Arambichchutteenga :thumbsup:
Suresh ji,
As I said before, many could not even digest this success. They don't want this to happen. They are not seeing the music, they are seeing the man and his good old 80s. rediff is one among them, they want to intentionally play it down, so that that the soundtrack does not get its credit. Very cheap tricks. Let them be happy.
Hilarious review ever by rediff. But honestly, I didnt expect much anyway, given the quality of writing there. So no worries.
Quote:
Originally Posted by app_engine
I was wracking my brain to recollect Saroja Narayanswamy name but I couldn't. My dad used to listen to her news. Indeed a great voice. I do see the connection with Sunidhi voice. Amazing App_engine. Thanks for solving the puzzle for me :) http://www.youtube.com/watch?v=C28Ii_rZZDw
btw, for some strange reason, I have been imagining as if K.B. Sundarambal sang Mudhal Murai!!!
app_engine, no problem...you mistook me for someone else..that's all. No offence taken at all.
Suresh65, thanks for your note too. The only two places I post are in BR's blog (as Shankar) and here (as Shank).
Thanks. I think all of us are trying to connect to his mind but as Usha (where is she?) used to say we are blind men in front of an elephant. I see one side and suddenly I find someone seeing some other side and I am surprised how I missed it !!! That's why I urge more people to write their impression on Raja's music so that we will get an idea on the different ways he has impressed people.Quote:
Originally Posted by app_engine
While that sax takeover of repeat pallavi into the second interlude of Saayndhu Saayndhu is haunting me for ever even in my dreams, today I just peeped into the last two songs of NEPV which I never listened earlier; PengaL endraaL and Satru Munbu. I am torn into pieces. Yuvan :shock: Ramya :shock: Na. Muthukumar :shock:. When Yuvan utters 'Kaathaadi' and when Ramya utters 'yEnada' and 'yennada' with NaM's touching lyrics, I am all done with my music searching. A male solo and a female solo, almost mirroring situation, yet what a contrast in the compositions. The hard rock mode given his nerve and a opera/classical mode for a depressing girl.
This soundtrack is a mighty one and a pinnacle in music (in terms of everything what music has to offer) no one can ever dream to touch it, not even reach it and it might take years/lifetime for us to get into it fully, still don't know for sure. Maestro has proved his 'raatchasan' in himself when it comes to music and the expectations. For God's sake please don't even compare this insane inhuman with any music directors/composers of any era or in any context. It will be a big shame to music.
Yaar enna sonna namakku enna saar? Namakku nalla music kidachirukku. Enjoy pannuvom. Public response is awesome.Cds sold outnu Sonye sollittanga. Nalla eriyuttum vayiru.:-DQuote:
Originally Posted by V_S
Yaar enna sonna namakku enna saar? Namakku nalla music kidachirukku. Enjoy pannuvom. Public response is awesome.Cds sold outnu Sonye sollittanga. Nalla eriyuttum vayiru.:-DQuote:
Originally Posted by V_S
Superbly put V_S. My request to everyone is the same. This is an album at an entirely different level when it comes to film music and I see it as milestone in Indian film music, just like 'Guru' was.
Mannichidunge anne..got carried away by this magical album..just wanted to convey that proper respect and inspiration is a requisite element apart from paying salary to bring the best out of Isaignani.By the way thiru 'BRIGS' avargal should apply for a patent for that magnificent inventionQuote:
Originally Posted by MumbaiRamki
IMHO (im a layman..no technical or scientific knowledge on music..just a listener) with 'MUDHAL MURAI' and to some extend 'PENGAL ENDRAAL' Ayya says "F O" loud and clear to all pseudo rockers,(com)Posers,baile funk importers and the schmucks who spend money and time on them as well as the reviewers who assume the role of the authorities in musicQuote:
Originally Posted by ashivanji
Good point. Most of Raja's songs has lot of depth in it. So it allows for more than one interpretation. He often uses one musical idea to express multiple things and color/contrast one emotion with a related emotion or different emotion. It is not easy to figure out all.Quote:
Originally Posted by Sureshs65
indha shankar kozhappam enna?
Hub Shank = BR Blog Shankar = BR's BITS Pilani mate. CorreettA?
innoru shankar yAru?
(andha innOnnu DhAnga idhunnE sollikittirukkInga :scratchead:
Its for everyone to see that Raaja does on the spot composing unlike those midnight wallahs. He never does anything behind the back of the directors and when they narrate the scene music is born right in front of them. That is his style for more than three decades now. So the accusations of getting inspired or ripping tunes from x,y,z are laughable and are best ignored.
Agree ..after repeated listening .. this is in the filmy/popular genre..but a milestone it is ..Quote:
Originally Posted by Sureshs65
I have always thought of "Indian Film music" as a genre.. and I said it "reached" its peak with IR (once - in the context of style shift after IR). But I have to say now he is taking this genre "higher".
The fundamental composing style is still the same . With
* interludes (solo violin in muthan murai interlude is a Raja touch)
* no percussion or atleast for a short time in the interludes
* use of the orchestra in interludes
* use of the strings/orchestra for the higher octave portions of pallavi-charanams
* the use of "bridge" from pallavi-charanam to interlude and vice-versa
* charanams much quieter with subtler rhythm so you can enjoy the lyrics/tune (muthan murai, pengal enRal have quiet charanams)
But different/more fresh with -
* more infusion of harmonic elements (vaanam mella, kaaRRai konjam)
* conscious avoidance of oft-used guitar chords etc (saaindhu saaindhu)
* avoiding same instrumental phrases (except the first charanam in ennodu vaa vaa instrumental usage sounds fresh throughout)
* the non-annoying anglicized accented singing
* there are some changes in tune composition too (cannot put my finger to it though)
* heavy usage of rock elements which have only been seen in a very muted/minimal way in earlier works (pengal enRaal - interlude sounds Pink Floydish to me, the cello string/electric guitar prelude to muthan murai is awesome)
Consequently there is freshness and lack of familiarity to hard-core IR fans (including self).
To echo venkiram - this is a "Renaissance of the Orchestra" in film music .. A revival of the genre (in my opinion).
Super ji :clap:Quote:
Originally Posted by Sureshs65
The first interlude and the charanams are my favorite. So many things going on in the first interlude. Sax conversing with the electric guitar(?), followed by the chorus, flute and the violins with the piano playing a counter melody all this time. The piano continues without any accompaniments for a while till that pause. Then the oboe playing the piano's tune. Blissful. Also the pallavi after the charanam has delightful violin 'punches'.
senthiv.com,
nanRi for the Saroj youtube - veettil pOy pArkkaNum :-)
Plum,
Hub Shank (i.e. BR blog's Shankar for that 'saRRu munbu' post) is different from our old tfmpage / Hub / dhool Shankar.
I got confused and created the issue yesterday ; that is cleared up today.
(BTW, dhool/tfmpage/Hub Shankar is BITS, webgate.motorola, CISCO...avarai Bangalore & Trichy'la personalA meet paNNi irukkEn, ennOda linkedin-la irukkAr etc...
"Hub Shank" sArai inga mattum thAn idhu varai theriyum; Sureshji friendu; inRu mudhal avar BR bloggilum iruppadhai aRindhEn)
Listened to NEPV. Most songs are listenable but not his greatest in recent times. As someone have posted here, Pithamagan and Naan Kadavul fair better. I got a headache after listening to NEPV songs may be because the music dominates vocals (or not balanced well). Secondly, the interludes sound nice standalone, fail to jive neither with the pallavi nor the charanam. Gives me the impression all of these are done in seclusion (that's not IR's trait). It a another rehash of his old tunes/melodies and I see no new Genre of music (as claimed by GVM).
Further, on Vaanam Mella, you can see the sub-standard sound editing. You can notice IR taking breadth at the end of the 1st pallavi (right after tharunam...tharunam.., after he finishes his portion). But this song is the best melody in the whole album apart from Saindhu Saindhu (sans Yuvan's singing).
I see a pattern. When kamal does extra-ordinary stuff, set of critics who are anti-kamal will take great efforts to find micro faults and build-up them as a larger schema, and point that as a reason to reject the product. They will mandatorily include this line"Ivar enna ulaga naayagan? ivlo mistakes irukku??"Quote:
Originally Posted by doraip
Same thing here.
But the pattern i mentioned is, some how, great artists "force" critics to get into deeper level of their product and analyse them and find silly mistakes! (taking breath :lol: )
These critics will talk about only mistakes and generally they don't really "find" any mistakes so they go ahead to "create" mistakes and project them bigger! Never a moment they will talk about what exactly is new and exceptional in the product, and they will never wear the fan's shoe even for a moment. Instead, will glue their legs into critics shoe! Appadiyum, still its Raja who gloriously wins in the end! Thus, Raja actually, even raise the bar for the critic too! Critics feel confident that they can write off even greater works! Though that confidence is a bubble :lol:
NEPV is not just an album, its a Statement of a Genius' Musical Capability!
Very well said V_S. And the second interlude of Saainthu Sainthu (epdi ezhuthurathu!) is arguably one of top 3 interludes of this album :). Just I tweeted the same, yesterday.Quote:
Originally Posted by V_S
BTW
யோவ் என்னையா நடக்குது இங்க , சுனிதி மேடத்த சரோஜ் நாராயண சுவாமி, கே பி சுந்தரம்பாள் அப்டி இப்டினுட்டு. ஆனா ஒன்னு அம்மணி ஸ்பீக்கர முழுங்கி வாய்க்கு உள்ளார வச்சுருக்கு அப்டின்றது மற்றும் உறுதி. நிகழ்ச்சியில் நேரடியா பார்த்து அசந்துட்டேன்
Quote:
Originally Posted by doraip
dorai saab!
It is Raaja genre. Period. there is no second thought. GVM wanted an urban touch to all songs and IR gave just that...I dont think IR has done this to prove his talent...All songs are great musical stuff and it takes a hell to recreate them on stage or in a studio by others. Saindhu is of the same calibre or even more than the "Titanic" movie song!
This is definitely on par with "Guru"...or even better...Guru went unnoticed...this one should not...Quote:
Originally Posted by Sureshs65
Meanwhile I dont see reviews from big websites...I have not seen review even by Thatstamil...
irir123 must be a happy person right now :-)
He need not struggle / run around poor quality audio files / disks / song-choices etc to showcase rAsA to his western acquaintances :-)
I don't know if Sony has plans to ship CD's abroad...(indhiyAla irundhA niRaiya vAngi avarukku anuppi irukkalAm)
Very mundane review...I dont know how she missed all these record of sorts...Quote:
Originally Posted by Nerd
1. 8 songs in a single film in the current film industry...
2. making all the songs appealing
3. No song is out of melody
4. A symphony orchestra being used for a film music
5. most important, all are "written music" and not computer generated music
6. creation @70
7. though all are ultra modern composition with wide variety of genres, all songs are poetic (except maybe pudikkalae song)
MelHarmony,
There are some previous albums in recent yrs with 7 or 8 compositions, say....Rahman's JA, Delhi 6, endhiran etc..
It doesn't mean anything for some people!
Raja's AA DINAGALU - 2007 has only 2 compositions or TIK TIK TIK - 1981 has only 3 songs :musicsmile: love everything about those compositions & the albums!
I emotionally connect with them!
'good music' they appeal to me etc... are relative term.
all compositions appeal to you, good for you!
Not everyone has to warm up to all compositions!
that's nice, Raja has enjoyed surely!Quote:
symphony orchestra is used for a film music!
It's good NEPV producers has money to spend which Raja appreciated very much.
that doesn't mean anything to some folks!:)
I bet with no orchestral gimmicks, melodic, minimalistic - 'oh....sajna - Parakh of Salilda or early IR's suga mo aayiram..... etc.. they may be cherishing forever!
Quote:
Originally Posted by Sureshs65
The drumming in the album is really of top class..I hada longstanding varutham on IR music...he missed out Sivamani from his troop due to various reasons. there was no one to fill that gap...who can forget "vaanam keezhe" or "aattam ingae" or "pesa koodaathu" etc.,. This album has satisfied me by having a good drummer with a good quality instrument.
but i have a few questions...
1. In Saindhu I feel the hi-hats could have been used in a open mode always. Actually it is opened from the beginning till the end of 1st interlude.....after that inside the 1st charanam and after that it is used in a closed manner..."
2.. tom tom is used at many places... But i dont hear rim click...
app_engine: only last night, I hummed the tune of 'satru mumbu' in a Starbucks outlet at the Univ of Minnesota, Minneapolis, after the students managing the counter requested me to do so, after i gave them an IR flyer ! ellaam NEPV audio quality thandha confidence! having done my best to sing/ hum the 'satru munbu' tune as huskily as i cud, i assured them that the entire album is a zillion times better than how i rendered!! they looked very much hooked!
Fantastic write-up and analysis on Kaatrai Konjam. :clap: Incidently I started writing about it yesterday. You wrote what I had in my mind.:smile: Very very special composition. This composition is in E-Major. As you said, I was stunned by the rhythmic innovation. By the fast tempo, it is 7/8 (123+1234) as you said, but it could also be 7/4 provided which beat gets attention. Can't imagine how fast this song is. We will not know by listening, just when we try to find the time signature, we know what pace it is going. Silent killer! I asked my teacher a tricky question forwarding this song yesterday.:D Which genre can we classify this song? She almost told everything right from rock/pop/jazz/blues/classical and then asked, wait a minute, how is that even possible?. She said this statement about the whole composition and its time signature. "I will admit, the more I listen to this, the more confused I become!"Quote:
Originally Posted by Sureshs65
I was smiling myself as I knew what genre that is in. It is a cracker of a composition and we don't often get to hear a composition like this. One thing is for sure. Playing piano, guitar, violins are not that tough for this time signature, but for wind/brass instrument it is not easy to play, as it gasps for breath. Surprisingly sax goes so close to the main melody, it is not just a filler, and where it gets a small opportunity. That electric guitar in the first interlude, what a delight! This is the supremacy and authority we are talking about. More later....:smile:
That rediff reviewer is so pathetic in hiding her biases. If I were her - I would go all out and attack IR.
I would say it is all a rehash of 80s melodies with too much of loud orchestral sounds to hide it. If young MDs are using loud synth percussion IR is using loud orchestra and not to mention the satanic rock music electric guitar sounds (ha ha ) IR has no respect for chennai musicians. This "foreign" obsession should go way from indian people blah blah (See an ardent IR fan like me can say it without any compunctions :-) )
She has no guts.. Sorry for her.. There are posters here who are reviewing and criticizing the albums much better ..
To Jai (for his comment on Mugamoodi)
http://www.youtube.com/watch?v=qDapz...eature=related
1. In Saindhu Saindhu.. the high-hats are used in closed mode.. the sound after the strike is more subdued versus the open mode where in the sound strike is resonated for couple of milli seconds and then it is closed as he keeps striking it in certain intervals.Quote:
Originally Posted by MelHarmony
2. Regarding the "Rim Click", its the tapping sound that you hear right after the initial rendition of "Saindhu Saindhu" is that when he strikes the stick on the rim of the snare drum or it could be mini version of a drum which produces the "tak... tak" sound.. Any drummers out there?
The more impressed instrument for me is the Acoustic drums and Guitar.. The Drums dominate the whole album followed by Guitar (Acoustics/Electric). You can see the brass/Flute/Oboe dominating every now and then.. This is a musical treat for all of us..
Problem with IR albums isn't so much that you don't have much to say, but how to say something that's not already said (and better than I ever could)..Quote:
Originally Posted by Nerd
Hope at least one of the guys from your group search and buy the tracks say.... at places like AMAZON , i tunes etc..Quote:
Originally Posted by irir123
Care to let you know that your efforts fascinate them! You deserve it!:-D
Correct, Plum...Quote:
Originally Posted by Plum
Quote:
Originally Posted by baroque
This is a problem for sure. Especially for our Indian melody loving people. If you are going to look for "just" the melody in the song and it doesn't appeal to them, it doesn't mean the song is not good. It means they have a different taste. Raja has moved on whether some will like it not. He is trying move from an era where the orchestra is an ornamental and supportive element to the main melody, to successfully integrating the orchestral and other elements into melody as an essential element of the song. They are becoming integral and soul of the song. Remove them from the song there is a loss of essence in every angle -- impact, aesthetics and feeling. He is almost moving into true western classical structure but still figuring out a way to retain the beauty of Indian melody. He is sure gonna lose some Indian melody purist but we all know Raja's love for western classical, he wants to go in this direction. I'm not saying he has not done this before. He started this trend in 80's and he going really far into this territory now and I don't think he is going to do pure Indian melody type song unless the song/situation requires that treatment.
You can see this kind of shift even in western classical music. Beethoven's "Fur Elise" melody is not same as Ravel's "Bolero". Difficult see the impact of Bolero melody's full impact without those marching drums around it. Debussy 's "Claire de lune" is completely different in treatment from Beethoven's "Moonlight sonata" but subjectively they both take me to heavenly world and create a similar feeling in me.
Extreme example in WCM would be Igor Stravinsky's "The Rite of Spring" Such a discordant and shocking piece of WCM when it came out. The aesthetic to appreciate is completely different but the world came around and appreciated it later. There would probably be no Psycho's creepy music, Jaw's shark theme and Close encounter of the third kind music with out "The Rite of spring"
Coming back to the point, Raja is trying to take us into a completely new direction. We either go with him in to future or make our own choice but to compare his music to a different era of his music is just a futile exercise. If they are going to look for 80's style musical "comeback" they will surely be disappointed.
--Senthil
ydkv da?Quote:
Originally Posted by kid-glove