V-s, precisely because it isn't mediocrely devotional despite being named sri rama rajyam, the natl award will not be given to this one.
V-s, precisely because it isn't mediocrely devotional despite being named sri rama rajyam, the natl award will not be given to this one.
Jai , Congratulations on the new arrival ..
Ah yes Jai, pAttu mummurathula matter-ai maRandhuttEn. Congrats!
Congrats Jai :)
Here are the mandatory requirements for this project:
1. Lyrics were already written for 15 songs.You have to compose tunes for the written lyrics. :shaking:
2. Orchestration prowess should not be shown, even if it is your special skills, as everything should ride on the lyrics and no time for this, as the story/film should progress as the songs progress.
3. This is a historical/classical/devotional film, but it should cater to all the three. No compromise there.
4. There are more story oriented themes, so tunes should not be boring and also tunes should have the depth as in yesteryear songs. Always it should keep the audience in check.
5. All songs should be based on Indian classical/Indian folk. Most preferably South Indian.
6. Rap, pop, rock, jazz etc genres are ruled out. Even WCM is not allowed. :frightened:
7. Need to use only live instruments with occasional synth is permitted, but should be hidden.
8. Singers should sing to perfect diction, no compromise there, as this uses pure language and the film is historical. No screaming allowed. :twisted:
9. Most of all we have only couple of days to meet the deadline.
10. Once the film is shot completely again we have just a week to complete the score. All above requirements are valid for the score as well.:cry2:
Any one can do?
Ada pongappa, Ithu enna manushan seyyara kaariyama. Remba aniyaayama irukku. Kaalam kethudichu. Naan intha vilayattukku varalai.
V_s - perect except that change indian folk to telugu folk. That seems to be the target
Thanks Plum. I agree. :smile: This one suddenly struck me as I was listening to Sitarama charitam/DevuLLe mecchinde/Sri Ramayanamu. Maestro's hands were really tied, no scope to show his mastery over orchestration/interludes. Only scope he had here was to get the perfect tune for the lyrics utilizing various indian classical raagas with some amicable background. Since this these three songs were story driven, that too in those classical days, absolutely nothing else in it for Maestro. Comparing this one to 'Annanmaar Kathai' which had similar theme of story narration through the song, where he showed all his WCM/Opera/folk skills, here pulls up a blinder without all this. What a contrast!! Absolutely stunning!
See, V_S, that's why rAsA needed SPB/KSC/ShreyA to do a significant part of the now-big-hit Telugu SRR album.Quote:
Originally Posted by V_S
In aNNamAru kathai, he could play around with a hopeless (IMSO) Madhu B :-)
வாழ்த்துகள் ஜெய் :d
I completely agree App. Raja utilizes even a minute opportunity to sneak through in and he eagerly looks for it everytime. That's where the difference lies. Here he needs his best singers to prove his skills and he utilizes at the right time.
Still, he even used new singers to the best possible extent.I cannot stop applauding Anita for her brilliant performance both in Annanmaar kathai and in Sitarama Charitam. Again what a contrasting song and she nailed it perfectly in both the innings. Keerthana though her voice is similar to Shreya, she was too amazing in the same song.
Raja keeps changing the tracks/rhythm and scales in that song every 30-40 seconds. At two places he almost brings the song to a halt (one when sita was taken by ravana, and another when sita was asked to agni pariksha) and picks it up again effortlessly. I could sense around 9-10 rhythm/scale/raaga changes. And those cries from Rama when he searches for Sita, and the shout of soorpanaka when her nose was cut by Lakshmana. How brilliantly he sneaks those pieces in. No time either, he cannot insert it later, everything has to go along with the story. Classy stuff by Thalaivar!!
I am all the more surprised by the absence of any shades of Reethi gowlai - considering how he embellished Sitha raama kalyaanam hari kadha in swathi muthyam with that raaga.
If at all there is some disappointment it is the absence of this raaga along with charukesi from the songs.
Raaja has done quite a few "Lord Rama" numbers before in his career (the ones like "Janaki anuko ledhu" - a sudhdha saveri beauty from Rajkumar - pointed out by raj_musing in his blog), the whole Rama -sita shades in Swathi muthyam etc.,) . It appears as if he sat down with vehemence to not use any of those templates. This album in that way is totally different even from the "Sri Balaji mahathyam" (Ezhumalayan mahimai in thamizh). On this count the album slightly suffers from "melody" quotient a little, but makes up with the innovation and voice arrangements.
After all this is the album in which every listener's long standing dream of hearin Shreya G, Chitra and SPB sing together was realised and sweetness me that was under Raja's baton..
What a dream this?
V_S,
Fully agree with your assessment. Infact that is what I said in my initial review of this album. It is as if Raja's hands are tied up and still he delivered!! I know the older generation music directions love to tune for pre written lyrics and have done some outstanding work that. For us, it is Raja's imagination of tune that is so important that we miss it in this album. Yet he satisfies us fully in different ways.
As you said, the three Ramayanam songs are superb. The rhythm changes, the tune changes, the voices, the words, everything jells well. I am enjoying the album thoroughly.
Yes Sureshji. I could not believe in spite of all the limitations, we are getting some blissful tunes in Jagadananda karaka, Sri Rama lera, Kalaya Nijama, Gali Ningi Neeru, Sita seemantham added to those wonderful story compositions.
Nice post Jai!. I too agree Maestro did not stick with earlier templates. But as you said, charukesi should be a very good raaga for this kind of film and situation. Still I thought he could have come up with other new raagas instead of Keeravani, Sindhu bhairavi, Hindolam which we heard a lot from him, but that does not take away anything from enjoying atleast for me. Even though they are same raagas, the treatment offered is totally different and unique!
I am blown by the variety of music that is on display in this movie. I am glad that it did not turn out to be a mere 'devotional' album!
I hope Rama doesn't pour milk or honey or whatnot over Seetha's belly in any of the songs! (Having seen a few of Balakrishna movies, it is not unlikely)
Writefac2, that is unlikely as the Director is Bapu, not Raghavendra Rao.
Writeface,
:lol: As Plum assures us, it is Bapu so you will not get such scenes, however much you may want it :lol:
'gali ningi neeru' - is strongly close to 'mada vilakka yaaru ippo' from virumandi - same raaga ?
Sitarama Charitam - A power-packed composition. Not much prelude. In first 30 seconds pallavi-anupallavi is over. The tune in pallavi-anupallavi is so sweet that you don't want to go over to charanam at all. I think the songs starts with Rama, Lakshmana and Sita start their vanavaasam. In just under 2 minutes of song, the story travels too far to Sita abducted by Ravana. Unbelievable!. In next 2 minutes story conveys the strategy being worked between sukreev, maruti and Rama how to get to lanka to get back Sita. First Hanuman goes to meet sita with kanayazhi, and later on, Rama wages war and wins. Next 1:45 minute is where the most important part of the song and most of the time spent on the song, where Rama asks Sita to perform agni pariksha. Beautiful portion in the whole song after pallavi. In last 1.15 minutes, Maestro ends with mangalagaramana Madyamavathi (?). What a lovely and soothing end when Sita passes the test.
The mood in the song switches back and forth brilliantly and within 6.30 minutes Maestro and Jonnavithula finishes four major portions of Ramayana; Aaranya Gaandam, Kishkinta Gaandam, Sundara Gaandam and Yuddha Gaandam. Unbelievable by any means. :notworthy: In all these busy timing, Maestro uses every possible instrument to match the mood. Also Maestro checks the depth of tune at every moment not to dip at any cost. As mentioned earlier every 30-40 seconds he changes the rhythm arrangements and the raagams too. Singers Anitha and Keerthana sang extremely well and supported Maestro. Can't get out of this.
DevuLLe Mecchinde - Out of the world composition. Unlike the earlier Sitarama Charitam, which has more mood swings, this song has nice good feel to it. It has a beautiful flow like a complete song, as the song describes right from the birth of Rama and brothers till he gets married to Sita (if I am not wrong). So the mood is constant here. Still how Maestro makes it more arresting is a point to note.
Maestro begins the song in folkish style, but later on during first charanam he gives a glimpse of classical touch. In second charanam he opts for bhajan and goes to light classical in third charanam. Last charanam he brilliantly fuses carnatic semi-classical with hindustani punch, before routing back to folk at the end. During the last charanam portions surprisingly the bass lines are clearly heard. The most 'arajagam' part being Maestro using piano/synth interludes which sounds so modern for this composition.
But all the four charanams are so sweet, totally different from each other and equivalent to separate song. During last charanam he changes the scale during 'nee needaka saguninka janaki yanae' and slows down for the first time unexpected. But my most favorite portion of the song is the third charanam. The tune is so absorbing here:
shiva dhanu vadhigo, nava vadhu vidhigo
raguramuni tejam abhayam abhi gadhigo
sundara vadhanam choosina madhuram
nagumo munavelike vijayam adhi gadhigo (fanastic!)
Chitra and Shreya at their best!
Ramayanamu Sri Ramayanamu - Begins in 'pitchai paathiram yenthi vanthaen' fashion. Absorbing start. I believe the song start itself tells that it is going towards sad end. While Dasaratha arranges for Rama's pattabhishekam Kaikeyi sends them to vanavas and the whole Ayodhya turns dark (amavasya) and people revolt. Jonnavithula brilliantly describes the pattabhishekam arrangements to Kaikeyi sending them to vanavas in just two lines. Briliant! Maestro wonderfully sets the tone and slows down during charanam. The interludes this time is more authentic and conventional to the situation using mridangam, tabla, nathaswaram and veena.
Only complaint about this song is the singing part. Somehow I feel Chitra sings whole-heartedly with that bhakti and sadness, while Shreya singing little casually with smile in her face (at least sounds like that) especially at the beginning. At later stages, she catches up.
You can clearly hear the difference in Chitra and Shreya's singing during these lines.
Adugaduguna thyagamu anuanuvuna dharmamu
anuraagamu anubandhamu anupamaanamu
sahala shell dheera veera varaga bheeeramu (again what a finish to pallavi by Maestro!)
Another haunting portion of the song:
yemmaiyya ramaiyya yemai povaal ayya me memai povaal ayya
Wow! what a sudden change of mood and Chitra dazzles here!
(sorry for my horrible telugu mistakes)
Song to remember for lifetime! These three songs in nested loop! :smile: It will take a while (loop :smile:) to come out of these rare gems.
Three great epic songs for the great epic. Colossal contribution by Maestro. :notworthy:
PS: Still another minor rant. Almost every singer has atleast one or more solo, SPB, Shreya, Tippu, Swetha, but Chitra didn't even have one. She didn't' have much of a chance here except two female duets, where most of the time they sing together. Little disappointed there.
V_S - lovely posts. Actually, among the biggie songs of the movie, these 3 are the most difficult ones to compose AND even *appreciate*. I personally find functional songs like this very difficult to appreciate. As might be understood by old-timers like suresh65, I tend to like songs that encapsulate a single moment/emotion/event and linger over it slowly and deliberately.
To take that template, and give 3 songs like this that tell the story, linger over emotions, ever too briefly, but still manage to attract a listener like me, now that's the Maestro's talent.
A couple of weeks back, I was randomly browsing thiraipaadal, and consquently, early mornings used to start with riffs of songs like "jaganamaganajam" and "atha atha atha" from aval appadi thaan(more about it later) in my head. Interesting songs, those, but not what you want reverberating in your head early in the morning and through the day. Sri Rama Rajyam has been a strong anti-dote to that tendency, and over the last few days, mornings tend to start with some or other phrase from these 3 songs. Nice.
Today's phrase:
kodhaNdaPaniy-A dhaNdakAruNya-muna
kolu-vuNdE bhArya-thO niNdu-gA....
Even if you are an atheist, try avoiding a picture of a Rama-Sita darsanam amid the dhandakaranyam jungle while listening to that. And come back to me if you dont find tears rolling down the eyes.
(Rajasaranam, I am looking at you :) )
Yesterday's phrase was:
endhukku ee pareeksha, evarikki ee pareeksha
Those two new singers, Anita and Keerthana, are finds. idhukku pEru dhAn modhirakkaila kuttu,
Shreya poNNu, you finally have competitionmA
A word on Shreya pAppA. I think any expectation that she'll sing like Chitra are unfair. The whole point about two singers for that song is to provide a contrast in style, and add a layer of appreciation to the song. I think she did a fair job. Obviously, Chitra brought in all her experience and knowledge of Telugu* but I dont think Shreya did an average job. She was very good. Just that Chitra was *great*.
* Although this isn't confirmed via any interview, I believe she is proficient in Telugu based on her perfect pronounciations, and correct employment of emotional cues in her songs in Telugu over the years. You wouldnt really think that she is not a telugu native from her singing, contrasting violently with jesu aNNA, one phrase of whose singing in Telugu is enough to convince you that he hasnt ever picked up the language.
V_S - with your permission, can I suttufy your posts to Telugu Songs & Lyrics thread?
Audio Memory card releases for Sriramarajyam. Haven't heard of anything like this before..
http://www.sify.com/movies/sri-rama-...zoJ9djedh.html
Hmmmm.... Ennaiya yenyaa paakuraa! I've been playing the songs of SRR in loop day & night that even my wife is doubting whether I became a believer :D Won't happen in this lifetime I know :)Quote:
Originally Posted by Plum
I have a god which can not be replaced and thy name is 'Ilaiyaraaja', thats the closest I can get to being a theist. Apart from that Iam immensely enjoying the lyrical/language beauty of telugu (though I understand very little) and the rich music with which its has been adorned by Raaja. Oh yeah... the Mythology Ramayana does move me due to the way it has been presented by these stalwarts!
chinna vayasula kambar kazhagam programme edhaachum DD la paaththadhundaa neenga?Quote:
Originally Posted by rajasaranam
Kamba rasam appdinnuvaanga. character detailingla king kambar - avarukku coach valmiki..
...'Mounam kooda madhuram'
Romba Boring'nnu appellam Paarkrathu illai! Now that Iam reading about the literary beauty of Kamba Ramayanam here & there, from hubbers like PR and others, Iam inclined to go for a full read anytime soon :-)Quote:
Originally Posted by jaiganes
Thanks Plum. Yes as you mentioned, these three songs are the most difficult to compose. As Jai mentioned, These are the kind of songs and films which makes us remember those greatest legends like Vaalmiki, Kambar and everyone and even gets us back to reading those epics. We should make these kind of movies frequently.
"To take that template, and give 3 songs like this that tell the story, linger over emotions, ever too briefly, but still manage to attract a listener like me, now that's the Maestro's talent."
Exactly! Very well said Plum and an excellent post.
There are some excellent lines penned by Jonnavithula and equally appreciated (gives the tune for the lyrics which stands up) by Maestro as the ones you described.
Regarding Shreya no doubt about her talent or diction. Already conveyed she is the legend in the making. Just that those three lines in Sriramanayamu song could have been little serious (strictly IMHO). But the same three lines she sang at the end, no complaints there.
It's a great pleasure and honor to me to transfer my post to telugu songs and lyrics thread. :D
Also If I may ask you/Sureshs65/raagas to translate the evadunnadu song for me in that thread. SPB's 'ganeer' voice and depth and precision in his singing, takes that song to everest.
Writeface, your wish might come true, afterall. Mohan Babu is producing Ramayana to be directed by Raghavendra Rao : )
irir123,
Yes. I too found the similarity between 'mada vilakke' and 'nela ningi' song. I think it due to two things. The raga being similar and both of them are sad songs but employ a very vibrant beat in the background.
V_S,
Wonderful posts about those three. Just got back after a hectic trip to Tirupati. Will try and translate it tomorrow. On the bus and my walk up to Tirmumala and coming back by bus, it was SRR all the way. Well, I should take back my earlier words that Jonnavithula's lyrics were not great. He has done a terrific job by giving us simple but effective lyrics. Nothing high flown here but they have immediate impact on the listeners. (Ofcourse I would still have loved to see what Veturi would have done here. )
I agree with your assessment about Chitra and Shreya's singing. I think irir123 also made this comment. And it is exactly those places that you mentioned that I too felt the difference. And yes, I would have loved if Chitra had a solo. But all said and done, this film probably has the best singer selection of all Raja films of late :) No controversy at all.
In Tirupati I heard these songs being played in a couple of CD shops.
Sureshji!
Thanks and What a perfect time to walk to Thirumala with SRR audio just getting released. I am really jealous of you. :D: It should be a tremendous moment. It's been more than 10 years since I walked (even visited) to Thirumala. :sad: Good to hear the shops playing SRR. I believe this is the first time an IR soundtrack getting more prominence after in 80s/90s. This is a mighty one!
Should agree. I disliked most of the new voices he has been using recently.Quote:
Originally Posted by Sureshs65
But we still have Sriram Parthasarthy in this album. I just don't get why Raja uses him.
Here's the link to lyrics. Will try translating Sri Rama Lera this evening
http://www.lyricsintelugu.com/search...0Rama%20Rajyam
Just realised this - it is Mohan Babu producing the Raghavendra Rao Ramayanam. Who would be the MD? His friend IR or Rao staple Keeravani? Or big-budget spl Rahman?
Raghavendra Rao staple was IR during the 1980s-1990s! donno why switched over to Keeravani since then !Quote:
Originally Posted by Plum
my gut feeling is Mohan Babu (given his amazing rapport with IR) and Raghavendra Rao (given his earlier thick association with IR), especially after the grand success of SRR music, might seriously consider IR !
irir123,
One of my friends on twitter stated that Raghavendra Rao may not use Raja because of some reasons. Saying that there were some reasons why Raghavendra Rao was not using Raja. He didn't elaborate on it. But in the 'Om Shanthi' CD release function they appeared to be in good terms. I am not very hopeful. I think Raghavendra Rao would go with Keeravani.
I have also heard some arasal purasal involving Rao and IR. Dont know the exact story. thalaivar EdhAvadhu re-recording bOdhu comment adichuruppAr. Rao mAdhiri commercially succesful directorsku correctA ego-la adhu dhAn adikkum. I personally theorise that KS Ravikumar might also be a similar case in his antipathy towards IR.