Thanks V_S. That was very enlightening about the opera style of singing. This song is definitely a milestone, even in the great man's career. Extraordinary grasp of WCM fundamentals at all levels.
Thanks V_S. That was very enlightening about the opera style of singing. This song is definitely a milestone, even in the great man's career. Extraordinary grasp of WCM fundamentals at all levels.
Voted for 7/8. Second half of the second half of "pudikkala mAmu" is the only bit I haven't warmed up to. Everything else.. is class apart. I just hope GM does justice to the songs. I'm not too happy to see dialogues eclipsing a major chunk of "Vaanam Mella". Hope he didn't do it to all others.
I think Raaja Saab sees the current crop (with the exclusion of a few MDs) as being scared to experiment just because they worry about killing off their careers or popularity and I assume he hates that attitude and that is exactly the reason why I feel that he will always only compose the music that he wants (as he said in his interview, that he has to satisfy himself first).
Music is the most honest thing he can create because no matter what he does, it will always be a direct mirror of his soul. So whatever he composes, he is proud of it and finds no reason to think it's weak because ignorant people say so. It's a part of him and nobody can judge him except for himself.
It doesn't matter if you get a hand full bunch or a countless number of fans. IMO a music director should always put themselves first!
Djoko lost his serve with a double fault and smashed his racket. Now Murray on windy side.
appudeennA?Quote:
Originally Posted by VinodKumar's
:lol2:
Thank you, Rangarajan nambi :thumbsup:
There's no doubt that Ilaiyaraaja is well versed in Carnatic music. C'mon he has introduced many Raagams in to the film scene, my favourite being Reeti Gowlai. There are so many songs by him where Raagam unfamiliar listeners (me being one of them) hardly understand any Carnatic theory behind a song. We just feel it sounds right! Then knowledgeable people like you who've learned the music theory tell us stuff like -
Changing between raagams is very clever and sometimes I think Raaja Saab doesn't even choose a particular Raagam for a situation. Because he is well versed in the Carnatic field, certain Raagams just flow out naturally and to the educated listeners it seems intentional as they can identify with it. Sometimes sense of harmony is more greater, which is what seems the case to me with "Kaatrai Konjam" but thanks for clarifying the Raagam.Quote:
Originally Posted by Rangarajan nambi
Any idea of what Raagam, if any has been used in "Vaanam Mella"?
Where are the Carnatic illuminators i.e. RR, Vel, etc?
:exactly: The way he composes is very intuitive and natural that you can sort of summarize thalaivar as a inbuilt infinite music processing system with a processor working at the speed of light.Quote:
Originally Posted by Sunil_M88
For those who have been following Raaja closely in the recent years, (not for the pseudo HCIRFs ) doesnt "satru munbu" remind you of "Naan porandha neramaa" from "KannukkuLLE"? The same angst and frustration in mood, amazing how Raaja has put that emotion under his magnifying lens and worked out this monster of a song!!!
today morning,i was listening the song, 'Pudikkale maamu' while travelling in my company bus..suddenly i recall the song, 'Raaja raajathi raajan intha raajaa'...
am seeing sum similarities betn. tis 2 songs.. is it so ? :roll:
idhu varaikkum yaarukkume "Kanmani Anbodu" songoda later parts Vanam Mella pattula kekelaya?
Every time I hear "Vanam Mella" it reminds me of ”பூஜைகேத்த பூவிது”.
NEPV audio launch Telecast JayaTV @3.30 PM Sunday,16th September.
Is that considered "prime-time" by TV channel standards in TN?Quote:
Originally Posted by rooky
Nice post in Tamil on 'satru munbu'
http://beyondwords.typepad.com/beyon...tru-munpu.html
"Vaanam mella" oozing with syruppy, loopy melody is the song on my lips for the past couple of days. Even the nursery rhyme like simplicity in charanam is "cute" allavaa?[Raaja pottA appidithaan cholluvOmaakkum]. Esp that "tharunam tharunam" sounds too sweet musically and fits well in the song.
Tharunam , munumunukka enna kAranam? anga thAn varanum
Small but significant Nitpick : Both Raja and Bela are misfits for this melody. SPB/Hariharan/Haricharan/Rahul NambiyAr/Naresh Iyer and if Shreya had no dates, then Saindhavi/Shweta Mohan/ Chinmayi might have enhanced the listening pleasure to a great extnt
I don't know this but when I heard Mudhal Murai - i started humming Manidha Manidha ini un vizhigal!!Quote:
Originally Posted by anegan
Superb article on Satru munbu. :clap: Anbuvichu ezhuthi irukkaar. Thanks a lot Suresh ji.Quote:
Originally Posted by Sureshs65
Quote:
போர்முனை போல வெகுண்டு எழும் செல்லோ இசையும், சத்தமான சிம்பல் உச்சகட்டங்களும் பாடலை இசைநாடகம் போல உணர்ச்சிகொந்தளிப்பாக ஆக்கியுள்ளது. அதுவும் குறிப்பாக, 'தன்னந்தனி காட்டில் எந்தன் காதல் வாட', என உச்சியில் நிறுத்தும் இடம் சமீபகால திரைப்பட இசையில் எங்கும் கேட்டிராதது.
:notworthy:Quote:
'சற்று முன்பு' பாடலில் இளையராஜா சாதித்திருப்பதும் இப்படிப்பட்ட உணர்வைத்தான். மீண்டும் மீண்டும் பலமுறை கேட்கத் தூண்டும் பாடல், கேட்க கேட்க நம்முள் ஊர்ந்து வளரும் தன்மையைக் கொண்ட இசை. மிக அந்தரங்கமான உணர்வை வெளிப்படுத்த கனமான குரலில் நிதானமாகப் பாடியுள்ளார் ரம்யா. அற்புதமான இசையாக்கம். தென்றல் வந்து தீண்டும்போது, நீ பார்த்த பார்வை, வானெங்கும் தங்க விண்மீன்கள், என்னுள்ளே என்னுள்ளே, என் இனிய பொன்னிலாவே வரிசையில் மிக ஆழமான சோகத்தை தன்னுள் அடக்கிய பாடல். காலத்தைத் தாண்டி ஒலிக்கக்கூடிய பாடலாக இதுவும் இருக்கும்.
I told this (posted here) after listening to this song for the first time :-)Quote:
காலத்தைத் தாண்டி ஒலிக்கக்கூடிய பாடலாக
Nice share, nanRi Sureshji!
No! But may be the programme will run till 9! In reality the programme started at 8 and ran till 12. So ~2 Hrs of Commercial stuff! Considering this is the 1st programme after the Audio becming a Blockbuster Hit, there could be many sponsors. Its a Jackpot for Jaya TV!Quote:
Originally Posted by app_engine
Why not? it is holiday after lunch many will be relaxed and can watch the showQuote:
Originally Posted by app_engine
for some exclusive programs, any time the program being telecasted becomes prime time...
I think the weak link is Jaya TV. I think not many even tune to it, to able to catch the promo.Quote:
Originally Posted by San_K
Since the composition we are about to talk is mainly composed with the violin family (Double bass, Cello, Viola, Violin) and the piano, I thought what would be the impact when we listen to such extravagant piece of music. The results are astounding. When Thomas Jefferson was about to write the Declaration of independence, he could not get the correct words. He was struggling. He picked up his violin and started playing. Through this music, he was able to get the right words from his brain to paper. Einstein says he was so smart because he played violin. Looks like he found most of this unsolved problems solved by playing his violin. Cello is again a wonderful instrument. This is actually a therapeutic instrument which creates positive influences in life. These are the instruments which can provide self-expression where words fail to describe their thoughts.
Mozart’s Sonata for two pianos as they say is often used as a test to test the students IQ before and after. Those who listened to this music before they wrote their exams performed way better than those who listened to other kind of music and also more than who didn’t listen to any. Even the studies and research on music for plants and animals gave stunning results. We already know that cows can yield more milk when it listens to music. We have seen this in our ‘grAmarAjan’ films when he sings Azhagee Nee PErazhagi.
Violin (and the family) is one of the best instruments humans have ever invented. Unfortunately this is not used frequently in our Indian music nowadays. Studies prove those who listen to baroque music and Classical music which mainly consists of violins, decreases the heart rate, blood pressure and relaxes you more and increases the ability to learn. The biggest advantage is our memory retention even increases to 100%. I have certainly experienced great relaxation when I hear Mudhal Murai and Satru Munbu. The music literally releases the neurons in our brain which make us relax more. That’s why I call this as pure music with no adulteration, it cleanses our body and soul and creates positive vibrations. Let’s move on…
I have never heard such a bold female voice in recent times. Even when Sunidhi sang in MX, Chal Chalein, Om Shanthi, Paa, I could not recognize this boldness in her voice. May be in 2-3 years her voice matured. That little bit of masculine hint in her voice as App stated adds more kick and spice to her voice. We know Usha Utup, but the masculine is more prominent in her voice, which only suits for particular songs. LR Eswari, K B SundarambaL were the two I could think of. They also have a bit of masculine throat, but with Sunidhi , she only has a small hint of it, just small and tiny, which makes her voice very special. Topping it all, she also has a sweet voice unlike others. This also makes the Mudhal murai very special and seducing to hear. Another specialty about these bold voices is that they almost sound the same at lower, middle and higher octaves which give a pleasant listen throughout the song. Only Mohammed Rafi (even though he does not have bold voice) has such kind of voice in male playback singers. It is constant throughout. He can touch any higher note very easily without any strain.
Even when we have few complaints about some singer choices in this soundtrack, all this is nullified by just the selection of this singer. I am amazed how Maestro selected Sunidhi’ s voice for this song. From any of her previous songs (at least in IR compositions) did not explicitly say she would be perfect for this song, since her voice was totally different in all her previous outings. In that way, Maestro accurately sensed that her voice would be perfect for this mood and singing, especially finding that masculine hint in her voice. She also needed a composition like this to really make her voice stand out like never before. All this makes this song a Nadia Comaneci.
Very unusual start to the song. Double bass playing just two chords at lower octaves with electric guitar punctuation at higher octaves. Piano playing 6 base notes followed by the same guitar screaming along with double bass. Then the usual rhythm starts with double bass. He just needed 6 seconds to warm up and get into the rhythm of the song. Even the first 6 seconds he is not relaxing, just getting into the groove with intermittent chords. That sound of double bass is very haunting, even these instruments only play lowest notes. It's been a very long long time I am hearing this instrument in an Indian film song, or is it the first time? As they say, Raavan creates strings out of his nerves and plays, I can literally feel that sound here. The main reason there is purest devotion when he needs more power, and here is out of purest love, when she needs more love.
I guess this follows the standard 4/4 time signature. The electric guitar pitches high when she sings mudhal murai paartha nyaabagam, but when she sings uyirinil thanthu pOgiraai, the guitar chords amazingly comes down, even both the lines has exactly same swaras if I am not wrong. Still he brings the chords down in the second line while the tune goes up and to hear that, brings shiver in me. In every note like this, there is a surprise. When she sings the next line, EnO Or bhaaram, the cellos rush along with her to give a crescendo finish with a fractional pause. The cellos continue even after she finished singing EnO bhaaram. Why? The guitar which was extending the first two lines is not there in the next two lines. Since the cellos start playing in the next two lines building the tension, Maestro uses the same cello to extend rather than bringing guitar. Brilliant idea!
I am completely blown away by this tune in anu-pallavi. A very very sweet tune for this racy song.
sila nEram maayam seithaai
sila nEram kaayam seithaai
madi meethu thoonga vaithaai
maru naaLil yEnga vaithaai
veyilaa mazhaiyaa valiyaa sugamaa edhu nee.. neethaane en pon vasantham…neethane en pon vasantham
Again I am shattered during the charanam, especially when see sings 'thee alaigaL'. What a seducing rendition! :notworthy:
neenthi varum nilavinilE
or aayiram nyabagangalL
neenganedum kanaavinilE
nooraayiram thee alaigaL
Here too he didn't want to repeat pon vasantham more than twice, so that it will be tedious. He changes to un vasantham…un vasantham. Small thought, big rewards. Maestro keeps the same tension in anu-pallavi too. Normally we have seen instruments will be minimal when the singer is singing. Many apply this concept as a default for all the song. Here imagine if there were no backing instruments when the singer is singing that too for this fierce emotion. It would have lacked big time, just like a sprinter tries to gear up for the finish having started poorly. Since the cellos are played continuously right when she started singing, that why he can build up the crescendo effortlessly and finish it up brilliantly. If he had used only as filler between the lines, again it would have looked awkward to hear. He plans, prepares based on how the tune is and how the instruments should be arranged accordingly, rather than waiting for that moment to start playing. Just like a sprinter, has to start off correctly, keep running to finish first. If he misses anywhere either at the start, middle or at the finish, he cannot win. All these brilliant ideas make us to get into the groove right-away. Big stuff made to look so simple.
Everyone already talked about the solo melancholy violin. How slowly he builds with a solo violin into group of violins and cellos and finish with crescendo only to give the baton to ever soothing piano and when it is about to finish, he kicks off with the drums to gain momentum into the charanam. All the while he has been playing bass guitar without fail, but only during the piano and in the charanam it is ever heard. That small roll of hi-hat is such delectation to hear. How minute we hear that sound, may be first I am hearing this very clearly. I used to rewind this piece 'n' number of times.
The cellos and violins closely follow the tune in charanam to avoid any last minute rush as I said earlier. Very very sweet and free flowing charanam despite the raciness, fierce energy, not a drop of soul was compromised. As Sunidhi goes to up to higher pitches, I like her voice even more. No shrill, no strain, very confident, very dominant, very powerful, yet I can hear the huge pain in her voice. Totally floored by her voice and singing. :notworthy: Even there is a slight slang in her singing in certain words, that is so absorbing to hear. That innocence in those words doesn't make me feel odd, rather feel high. Waiting to hear her sing again for Maestro.
One of the striking aspects of this composition is the speed. It races like a jet once it starts, except that few seconds of piano in the interlude which comes as an oasis for her fierce emotions. Any speed less or more would have spoiled the composition. This is one aspect I always admire, how he fixes the correct tempo? :notworthy: The highlight is this is not even a happy song or a dance song. How audacious to keep a tempo like this in songs like this? Maestro only knows the trick! Just like pengaL endraal, this is highly unstructured song where we have only one charanam, with one pallavi, one anupallavi with another mini anupallavi in the form of neethaane en ponvasantham hook. This unconventional structure describes the varied and unwary emotions and mood of the lover. One of the biggest contrasts of this song compared to pengaL yendraal is the way he arranged and orchestrated both the songs. We should even add Satru Munbu here to see all three solos with almost similar situation carrying contrasting styles. One is purely based on rock genres, this one is based on rock classical while Satru munbu is based on opera classical.
While he brought the similar emotions using guitar in pengaL yendraal, he did the current one mostly with violin family. While he traversed many rock sub genres mainly with just electric guitar, here he traversed the whole violin family (double bass, cellos, violas, violins) keeping almost the single genre. There the instrument is one but genres are different, here the genre is same (not much changes) but used many different instruments in the same family. In Satru munbu, since that is opera, he used everything right from flute, piano, violins, male choir, and female choir to bring out the drama effectively. One Maestro, three brilliant concepts for almost same situation.
This is what I call music. It shook me to extremes. There is not a single note which is out of focus. There is not a single instrument which is out of place. Every note and every instrument has a purpose. Every note is fresh and new after 5000 songs. The mood he brought in with the orchestration is top notch (no words to describe actually) and only proves again why orchestration is so important in a composition like this! We can be totally with the song throughout. We can cry (at the mood and the singing), smile (at his brilliant ideas), laugh (with pride what we are listening to) with this composition. We can feel the pain listening to it. We can bring back our fond memories with the song. Compositions like this will haunt us forever. Compositions like this really prove he is a super-human. Compositions of a life time which only Maestro can compose again. If Maestro is ready to take us to an entire different journey and world with his pure music which will provide positive influences, to understand the real meaning of life, to the paths of glory, we are adamant and hell bent that we will not provide him any such opportunities and only listen and hail the mediocre. That’s our birth right and freedom.
சாகா வரம் பெற்ற பாடல்கள் !
http://www.youtube.com/watch?v=Iz33GIqQAYQ
+1Quote:
Originally Posted by V_S
This was precisely what I had in mind this morning when listening to Satru Munbu.
Gokul.
Awesome write-up, V_Sji!
It's getting better and better :-)
I felt the same way. Keep hearing K.B. SundarambaL when I hum on my own. But LRE could be great too!Quote:
Originally Posted by V_S
Excellent write-up V_S. Inspiring for me to throw my 2 notes in there. May be soon!
V_S :clap: Ammadiyov
I think this is first time ever in this forum, a music album thread heading towards 200 pages (almostt) that too even before movie release. Only raaja possible :)
OK... NEPV even induced me to write something
Quote:
நீதானே என் பொன்வசந்தம் பாடல்கள் - ஒரு கேட்பு அனுபவம்
நேற்று இரவு படுக்கையில் ஏற்கனவே பல தடவைகள் கேட்ட நீதானே என் பொன்வசந்தம் பாடல்கள் மீண்டும் கேட்க ஆரம்பித்தேன். முதல் பாடலாக 'முதல் முறை பார்த்த ஞாபகம்'. முடிந்தவுடன் மீண்டும் கேட்டே ஆக வேண்டும் என்று மனது பரபரக்க அதை ரிபீட் செய்ய முயல்கையில், ஆரம்பித்தது பாருங்கள் கடவுள் உள்ளமே பாட்டின் ஆரம்ப கோரஸ் போல கிறங்கடிக்கும் கோரஸுடன் அந்த பாட்டு, அதே தான் வானம் மெல்ல.., செவிடன் தான் பாதியில் நிப்பாட்டுவான் அதை.
பாட்டு ஊதின மகுடியில் பாட்டு முடிய, சரி இப்போவாவது அந்த முதல் பாடலை ரிபீட் செய்யலாம்னா, 'கிட்டார் குத்து' புடிக்கல மாமு ஆரம்பிக்க, சரி இந்தப்பாட்டு புடிக்கும் ஆனா புடிக்காது வகையறா ஆச்சே அப்படினா நினச்சதுதான் தாமதம், செவுட்டுல அடிச்சது முதல் இண்டர்லுட் அப்புறம் கார்த்திக்கின் 'பத்தாதே' எனக்கு பத்தலை கேட்க கேட்க. எனவே பத்தாதே பார்ட் மட்டும் ரிபீட் செய்ய ஆவலாகி, 'சே சே முதல்ல முதல் முறை தான் ரிபீட் செய்யணும்'.
இப்படிஎல்லாம் யோசிச்சுகிட்டு இருக்கும் போதே என்னோடு வா வா பாட்டு குச்சிய வாங்கிட்டு ரிலே ரேஸ்ல யானை பிளிறலோடு ஓட ஓரம்பித்தது. வேற வழி அதோட தான் போகணும். இந்த பாட்டு முடிந்தவுடன், இந்த தடவை, கண்டிப்பா முதல் பாடலை ரிபீட் செஞ்சே ஆகணும்... என்னோடு வா வா பாடலோட முதல் பாதியில் கார்த்திக் குரல் இசைகருவிகளின் சத்தங்களுடன் பின்னிப்பிணைய இரண்டாவது சரணத்தில் துண்டாக ஒலிக்கும். ஏன் இப்படி பண்ணி இருக்கார் இவர்.
ஒரே குழப்பம். யுவன் தான் சிந்தனை கலைத்தார் 'பெண்கள் என்றால் பொய்யா பொய் தானா' என்று உண்மை பாடி. ஆஹா வித வித கிடார்களும் அதன் ஒலிகளும், நினைக்கவே இனிக்கும் இதை கேட்காமல் விடுவானேன். இந்த பாடலின் முதல் இண்டர்லுட் அவ்வளவு மாடர்ன், அதோட ஓட்டம் பாடலின் எல்லைக்கே கொண்டு சென்றது.
கலைவாணர் பேத்தி ஆரம்பிப்பதற்கு சற்று முன்பே நான் முழிச்சுருக்கணும். ஹ்ம்ம் முதல் முறை ரிபீட் செய்ய முடியாமல் தவிப்பது இது முதல் முறையா என்ன? சுந்தரி கண்ணால் ஒரு சேதிக்கு சவால் விடும் இண்டர்லுட்கள் கேட்பதுனா சும்மாவா. பாடலின் முடிவில் உத்துக்கேட்டதில், ஒரு கோரஸ் தாண்டவமே ஆட, பாடலால் காதலியின் சோகம் அப்பிக்கொள்ள அதை துடைக்குறதுக்குள்ள, சாய்ந்து சாய்ந்து ன்னு ஒரு பாடல், இதன் சரணங்களின் பாதங்களில் சரணம் ஆவதை தவிர வேறு வழி இருக்கவில்லை பத்தாக்குறைக்கு அந்த இரண்டாவது இண்டர்லுட் வேறு.
அப்போ எப்போதான் முதல் முறை ரிபீட் செய்வது?. சாய்ந்து சாய்ந்து பாடலின் ரிதத்தில் ஒரு ரதமே ஓடி முடிய, காற்றையே நிற்க வைக்கும் பாட்டு... 'ரிபீட் செய்வதையா' மறக்க வைக்க முடியாது. இந்த பாட்டில் எந்தெந்த இடங்களில் எத்தனை லேயர்கள் மியூசிக் போட்டு இருக்கிறார் என்று எண்ணுவது (சரியாக எண்ண முடியாவிட்டாலும்) சுகமோ சுகம், அதையே செய்தேன். கம்ப்யூட்டர் துணை இல்லாமல் இப்படி செய்வது எப்படி சார் எப்படி?.
அடுத்த பாடல்..... முதல் முறை பார்த்த ஞாபகம். நான் 'ரிபீட் ஆல்' சுவிட்ச் ஆன் பண்ணியிருந்தேன் போல. இந்த பாடலை ரிபீட் செய்து கேட்க நினைத்தது ஞாபகம் வந்சுச்சா இல்லையானு கேட்குறீங்களா? ஆனா ஒன்னு இந்த மாதிரி இந்த பாடலை மூணு, நாலு முறை ரிபீட் செஞ்சது கேட்டது அடுத்த நாள் பல் விளக்கும் போது ஞாபகம் வந்தது. அந்த பாடலின் முதல் இண்டர்லுடில் வரும் 'அழும் ஒற்றை வயலினுக்கு' நான் அடிமை.
கவனிக்க: இதில் ஒரு முறை கூட இளையராஜா பெயரை நான் உபயோகிக்கவில்லை :)
VS - Great writeup :clap:
San_K - That's what happens with me every time and I repeat the whole album instead of one song :smile:
San_K, WOW!
This is probably one rare album with such a variety / energy / novelty / repeatability!
எட்டு லட்டு!
:thumbsup: Gautam!
Thank you gokul, App, senthilv, San_K, rajkumarc for your compliments.:smile:
San_K, Beautifully written. :clap: Great to see NEPV made you write. Please do so often.
senthilv, waiting for your post eagerly.
i still cant figure out as to how and why IR chose to do this ranagalam for GVM ?!
what did GVM do that most other directors in recent times couldnt - to bring out this monster from IR ?!
was it the freedom he accorded IR, or, was it his genuine 'sir naan chinna vayasilirundhey unga fan sir', or, is it the lure of the 108 piece orchestra in london that drove IR to such creative lunacy (if i can use that word here at all) ??
Very good question irir123. :thumbsup: I may be wrong, but this is what I feel.
I think it is the subject (youth subject), budget, freedom, and of course the marketing. He could replace the synth with live instruments which made a huge difference. Even in Dhoni, SRR, Pazhassi Raja, ASK, Ponnar Shankar, Snehaveedu he used real instruments, still the former was a tight budget one with poor marketing, while the latter even though they were hits in their respective places, they were not reachable to many mainly because they are regional films. If we strictly restrict to thamizh films only, then subject, budget, freedom, marketing all are needed nowadays, apart from the movie also need to be from recognized director. If any one of them is not there, then it is difficult nowadays.
Also, I think he was eyeing to use the symphony orchestra (knowing those musicians calibre) for a long time and it got materialized in NEPV. In no way his recent other songs were inferior to these songs. Even in 80s/90s we had grand Dhalapathi, Anjali on the other hand, Ooru vittu ooru vandhu, en raasaavin manasile etc, but the time was such that they recognized both of them equally even without much promotions. Also the film subjects were totally different still they were recognized. We didn't see the difference as huge as now. In no way Ooru vittu ooru vandhu or en raasaavin manasile is inferior to the former, but now we tend to think the other way that IR did not do his best for other movies and suddenly he has shown everything in NEPV. If so, I would disagree on that. I still can't take my ears away on viLaayaatta padagOti or Vaangum Panathukkum or yathe yathe or feel inferior compared to NEPV. That is one kind of beauty, this is another. We can even argue if Dhoni got a freedom as much as NEPV, he would have changed the orchestration and all, which according to me is hypothetical.
We all wrote these big posts for NEPV (crossed 200 pages) which never happened to his other recent films. The mentality is totally changed nowadays even among we fans. What I meant to say is, we see a huge difference in NEPV compared to his recent works, that is probably because it is newly released and we too succumb to popularity and marketing apart from musically (which is already well deserved). As and when the years pass by, the difference quotient will reduce gradually that we will see the beauty in every of his composition (IMHO).
Concluding my opinion again: the subject (most important), budget, freedom, and of course the marketing is the need of the hour. All of the above, not just one or two or three. If Raja does a village subject with less known producer/director, it will never click, the atmosphere has completely changed. Mainly because there is not much focus among the audience. There is no concentration. There are too many things for them to do. Even NEPV, I am sure they will listen for few days and trash it. Today, even with heavy marketing, they tend to listen kolaveri di, nakka mukka with same enthusiasm to NEPV, treating them the same unable to distinguish. The audience we got in 80s/90s is already lost. Only when it knocks them, they turn back and tend to listen. This one knocked them and are listening and thinking Raja is back, no fault with Raja, it is the shuffled atmosphere (like Vijay and his friends shuffle the papers in 3 idiots in the exam hall). ellathayum kalachi pOttutaanga. :smile:
AQuote:
Originally Posted by irir123
And to add to what V_S has already written, GVM is the only one who could express clearly what he wanted like " i want your melodies with completely new sound" etc. And he was not scared of Raja like others. He even went to the extent of suggesting " inga male voice start ahuthu appuram guitar start ahuthu nnu nan en mind le fix panni vachu irukken sir". How many directors of his recent movies could have had the guts to talk to him like this.
He was very comfortable with IR and was not hesitant to express what he wanted. Only a man very confident of himself and his work can do this. Juxtapose this incident with Naser's avathaaram experience. No doubt IR gave divine melodies there too but what was the contribution of the director in that.
So GVK deserves kudos for having shown to the world what IR is capable of.
sumaal nit pick V_Sji - sunidhi has always been known to be the 'blast the heck out' singer in north. Maestro surprised many in north by using her against the stereotype inQuote:
Originally Posted by senthilv.com
Hichki Hichki.
Here he asks her to perform in a familiar arena - but the difference is that the crescendo where she peaks - he pulls her abruptly out and puts the 'chorus' in with 'Nee Dhaa NE en pon vasandham' - That is the pinnacle moment of the song - that surprise sustains the song and carries it to its immortality.. Beautiful beautiful song - and V_S what wonderful writing man!!
thou art a trader alone in your practice!!! very unique style of writing - details, technicality and then the delighted fanboy in you with whom we connect everyday!! Nalla Iruyya nee!!
Thank you so much Ji for your heart-felt kind words. :D Good to know that Sunidhi is already a different singer in North. I didn't know that. Great information.
Very well said Jai. :thumbsup: Absolutely!Quote:
Originally Posted by jaiganes
I wondered why Kamal didn't couldn't pull something similar. But if u look keen, Kamal is the only producer who agreed for a professional orchestra outside india, for 2 times, Hey Raam & Mumbai Express. Maybe Virumaandi they avoided as it is a rural subject. Viru & Hey Raam, the music did full justice for the theme/plot, both of them were dark themes, not as vibrant as a simple love story like NEPV. Suresh65 says NEPV itself a darker album of Raja! Athu vera kathai, but still NEPV is the most colorful albums of recent times, be it IR or non-IR.Quote:
Originally Posted by irir123
I always will feel MX is kind of let down. Jazz, athu ithunnu sollunga, athu vera vishayam. But some how the album didn't work for me, as a thara ticket IR fan.
One may say that Kamal always breaks and skips (spoils nnu kooda sollalaam :lol: ) the Songs as much as possible! DevarMagan the Puthiyathu piranthathu song is half cut, Maasaru ponne varuga partly filled with dialogs, song runs in background. Mahanathi one song skipped & audio itself released too late after the film release! Anbe Sivam, one song cut & one song the singer is changed. Likewise, Virumaandi too all songs not used. MX, too same case. Just saying!
Kamal always looks for new combination Almost all the current stars do that. Likewise, IR too wud be too too excited for a new combo like GVM the current gen's Maniratnam :lol: added to that the other respects he did( :clap: :notworthy: )But when composing was done, nothing was done! Just that GVM released the teaser and agreed for "Enga veNaa pOi record pannalaam, Sir". So, may be, IR is interested for new gen, talented directors!
Ippo irukkura actors, both 50+ and those nearing 40(ajith, vijay, surya) all want new heroines, new new directors, top class technicians etc, and some still act as college student! IR mattum yang directors oda work apnnanumnu aasaippada koodaathaa :lol: avarum youth thaaneyaa!! :D
Dhoni ellaam, as a subject, avarai konjam kooda excite pannirukka vaaippillai. ASK et all, NEPV maathiri new blood illai. Surely an indication that either the director shud excite him to the core wrt the subject he says and/or his talent, give full freedom. Youth aa irunthaa, setha thevalai :)
திரு வி.எஸ். கலக்கிட்டிங்க. அசத்தலான கட்டுரை. உங்களின் ஒவ்வொரு வரிகளும் என்னைப் போன்ற இசைக்கருவிகளை பற்றிய ஞானம் இல்லாதவர்களுக்கு உறுதுணையான அகராதி. ராஜாவின் ஜீவனுள்ள இசைப் பாடல்களுக்கு இதுபோன்ற கட்டுரைகள்தான் பாமாலைகள். வாழ்த்துக்கள்.
சற்று முன்பு, முதல் முறை இரண்டிலும் பாடல் வரிகள் ரொம்ப கச்சிதமா அதே நேரத்தில் காதலின் பிரிவை, சோகத்தை, வலியை, இயலாமையை, வெறுமையை ரொம்ப தீவிரமாக வெளிப்படுத்துகிறது.
ரம்யா, சுனிதாவின் குரல் ஏற்ற இறக்கங்கள் - இந்த ஆல்பத்தை எங்கேயோ போய் நிறுத்துகின்றது. ஆமாம். சாகா வரம் பெற்ற பாடல்கள்.
(ஓம் சாந்தி ஓமிலிருந்து Jag soona lage பாடலை கேட்டுப்பாருங்கள். ஆரம்பத்தில் வரும் ரிச்சா ஷர்மா என்ற பெண்ணின் குரல் வழி வெளிப்படும் காதலின் பிரிவுத் துயரம் நம் மனதையே அசைத்துவிட்டு செல்லும்.)