Neethane En Ponvasantham | Yeto Vellipoyindhi Manasu | Assi Nabbe Poorey Sau

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Originally Posted by app_engine

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"neenga nenaikkiRa mAthiri music kodukka nAn enna podippayalA" - apdeengRAr :clap:

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you are right.. I think he wanted to surprise GVM .. and he surprised us all ..do you think you and me can code at 70 ? :-)

Instead of SPB for ennodu vava, I'd go for SPB Charan, for that "youth" angle, though SPBC's singing can be dangerously close to his dad's (how many can successfully dissect that Dhanush song?).

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Originally Posted by groucho070

Instead of SPB for ennodu vava, I'd go for SPB Charan, for that "youth" angle, though SPBC's singing can be dangerously close to his dad's

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Hmm.. this is a new perspective and i kind of agree with you! SP Charan would have been an interesting choice - IF his voice is still as it was in Kaadhal Sadugug in ARR's Alai Payuthey (digression: I so love that composition by ARR and felt Charan was such an apt choice for that song)

SatRu munbu song is so adorable... genius composition! :thumbsup! Loving it!

Ramya has sung well too.

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Originally Posted by brigs

SatRu munbu song is so adorable... genius composition! :thumbsup! Loving it!

Ramya has sung well too.

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From WCM perspective, it is THE BEST composition in that album (for me).

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Originally Posted by aakarsh

From WCM perspective, it is THE BEST composition in that album (for me).

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aakarsh - what is WCM?

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Originally Posted by V_S

Hulkster,
Idha vida clear'a express paNNa mudiyaathu. Thank you. :clap: We can develop a beautiful story behind his orchestration and every lude. He goes away beyond the tune (main melody) during the interludes taking our imagination beyond this world only to come back in time for the charanams. There are more twists, turns and surprise at every interlude and in every line of the melody (both in terms of tune and orchestration). The dense layer of orchestration in his interludes each can lead to a different story altogether which we can hardly see these capabilities in others.

Even in bringing new sounds and new instruments he is the pioneer. The beauty when he brings new sound is out of his own thoughts. Integrating (and playing) two or more contradicting instruments together brings a new sound. I have written about this many times in Raja Duets thread. I can happily say that the new sounds he is accomplishing is indigenously built by him rather than borrowed. We can see the pain and hardwork in every note he creates. If anyone is talking about instruments (especially live instruments), it can never be other than Maestro. In NEPV, he brought back the lost instruments of Middle ages, Renaissance up to the current new age instruments starting from the forgotten bagpipes, oboe, oboe'damor, bassoon, harp to the classical piano, guitar, violins, cellos, flutes to new age beautiful synths. The highlight of NEPV is how he integrates all these instruments of various periods in one composition and yet feel friendliness among each instruments and also bringing in contemporariness and appeal to every listener of today. If this is not path-breaking, yes I agree, the path is not breaking, instead Maestro expands our path beyond our imagination.

That's why when I say his music is pure, it is pure not just in terms of genres or novelty, it is 100% pure and original from his brain to our ears and souls, no adulteration in between. It takes decades to understand Maestro's music, let's leave them alone who are always stuck with new sounds and instruments when it is right in front of them to identify, when they don't want to see this deliberately.

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:exactly: There is this aspect of his song, that no matter how he composes, it always reflects the emotion of the situation very strongly, like as if the song itself is the soul of the situation. Sometimes when i try to extract the voice out from the songs and listen just to the backgrounds, i can feel the emotional impact so strongly that i sometimes purposely avoid all his melancholic songs because i know i would be depressed that instant.

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Originally Posted by brigs

aakarsh - what is WCM?

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Western Classical Music

http://www.angloindianmusic.com/NEWS(2789933).htm

'ennOdu vA vA enRu' on loop in the car...I even had a parking lot listen this morning :oops:

pAttu nallA shOkkA keedhubA :-)

OK, now all those of you who can sing all the interludes in all the songs of NEPV please raise your hands !!! Ah, as expected most of you have raised your hands.

Well, this is one album where the supporting music has embedded itself so easily into our ears as the main melody. I mean there are so many songs whose interludes we all know and cannot sing the song without singing those interludes but in this movie, it is happening to me for _every_ song. Whether it be the minimalistic 'Pengal Enral' or the power packed, 'mudhal murai' or the grand second interlude of 'saindhu saindhu' or the synth of 'ennodu vaa'. Not to mention the WCM beauties of 'satru munbu' and 'vaanam mella' and the jazz treat of 'katrai konjam'.

The second interlude of 'saindhu saindhu' especially is a lovely. Even while I am driving the car and my mind has shifted from the music to the road, this interlude draws me back into the music immediately. I _have_ to sing along. It is a complex piece of orchestration but it is now so familiar that I sing it as if I composed it !! Then there is 'satru munbu'. The multi layered and complex interludes are now child's play. When you listen to orchestration you understand how much melody Raja has built into the work that inspite of the multiple layers and the very complex interaction between the instruments, you are still able to sing the whole interlude without missing a single note. For me it happens that when I am singing the main melody loud, my 'mind voice' is singing the backing orchestration!!! That's how we have become now. Especially when you come to the 'thottu thottu' part towards the end, we get confused as to whether we should sing the main melody or we should sing the chorus that happens in the background!!!

For this reason, I think NEPV is an unique album. Every note of every song in the album is now memorized. And the beauty is that we did not even try to memorize it!!

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Originally Posted by Sureshs65

OK, now all those of you who can sing all the interludes in all the songs of NEPV please raise your hands !!! Ah, as expected most of you have raised your hands.

Well, this is one album where the supporting music has embedded itself so easily into our ears as the main melody. I mean there are so many songs whose interludes we all know and cannot sing the song without singing those interludes but in this movie, it is happening to me for _every_ song. Whether it be the minimalistic 'Pengal Enral' or the power packed, 'mudhal murai' or the grand second interlude of 'saindhu saindhu' or the synth of 'ennodu vaa'. Not to mention the WCM beauties of 'satru munbu' and 'vaanam mella' and the jazz treat of 'katrai konjam'.

The second interlude of 'saindhu saindhu' especially is a lovely. Even while I am driving the car and my mind has shifted from the music to the road, this interlude draws me back into the music immediately. I _have_ to sing along. It is a complex piece of orchestration but it is now so familiar that I sing it as if I composed it !! Then there is 'satru munbu'. The multi layered and complex interludes are now child's play. When you listen to orchestration you understand how much melody Raja has built into the work that inspite of the multiple layers and the very complex interaction between the instruments, you are still able to sing the whole interlude without missing a single note. For me it happens that when I am singing the main melody loud, my 'mind voice' is singing the backing orchestration!!! That's how we have become now. Especially when you come to the 'thottu thottu' part towards the end, we get confused as to whether we should sing the main melody or we should sing the chorus that happens in the background!!!

For this reason, I think NEPV is an unique album. Every note of every song in the album is now memorized. And the beauty is that we did not every try to memorize it!!

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+ 1000 for every line. :bow:
so +infinity

Thanks CSR.

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Originally Posted by Sureshs65

OK, now all those of you who can sing all the interludes in all the songs of NEPV please raise your hands !!! Ah, as expected most of you have raised your hands.

Well, this is one album where the supporting music has embedded itself so easily into our ears as the main melody. I mean there are so many songs whose interludes we all know and cannot sing the song without singing those interludes but in this movie, it is happening to me for _every_ song. Whether it be the minimalistic 'Pengal Enral' or the power packed, 'mudhal murai' or the grand second interlude of 'saindhu saindhu' or the synth of 'ennodu vaa'. Not to mention the WCM beauties of 'satru munbu' and 'vaanam mella' and the jazz treat of 'katrai konjam'.

The second interlude of 'saindhu saindhu' especially is a lovely. Even while I am driving the car and my mind has shifted from the music to the road, this interlude draws me back into the music immediately. I _have_ to sing along. It is a complex piece of orchestration but it is now so familiar that I sing it as if I composed it !! Then there is 'satru munbu'. The multi layered and complex interludes are now child's play. When you listen to orchestration you understand how much melody Raja has built into the work that inspite of the multiple layers and the very complex interaction between the instruments, you are still able to sing the whole interlude without missing a single note. For me it happens that when I am singing the main melody loud, my 'mind voice' is singing the backing orchestration!!! That's how we have become now. Especially when you come to the 'thottu thottu' part towards the end, we get confused as to whether we should sing the main melody or we should sing the chorus that happens in the background!!!

For this reason, I think NEPV is an unique album. Every note of every song in the album is now memorized. And the beauty is that we did not every try to memorize it!!

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Not just this album, I usually have the habit of singing everything - main melody + instruments (the result is a great comedy show for my wife). Even main melody, i sing gibberish lyrics, a mix of tamil and whatever my mouth can fit in at that point of time. As for this album, the comedy quotient in my attempts have increased tremendously and my wife laughs like crazy listening to what all I sing. Examples like... I sing "Thalli Thalli PonaalumDaaaaaaaaaaaaaaaaooooooooon... Paadhamarku thoolaalumDaaaaoooon...Thangamaadupendraalum Paaradeeee". the Daaaooooon there are cello portions :-D

Even Sattru Munba, I sing the closing line of Pallavi as "Ellaame poidella solllaadhaaaaa.., Borororoyroy(cello portions)" :-) Or my Mudhal Murai rendition goes as "Mudhal Murai paarka paadalumDarararraaa.. Mudha etha podi ponalumDarararara... idhayathil enoooorrrdhadhadhadhadha.dha dha dha dha DHA.." the last word of pallavi "Baaram" never comes in my rendition :-D

Ok tamil fans, dont blast me for spoiling tamil there. I admit I sing gibberish..

I can even sing Composer's breath from Nothing But Wind, in Gibberish :-)

aakarsh,

Don't worry. Tamil fans will think you are singing stylishly :D Afterall they have been weaned on Udit Narayan, Sonu Nigam and co :)

Sureshji, :exactly:, seriya sonninga.

aakarsh, :rotfl2:
I'd be guilty of doing the same with some of the telugu songs, especially the fast-paced/dance numbers. (jagada jagada can be a laugh riot! :oops:)

Sureshs65,

I protest : the songs Sonu Nigam has sung for thalaivar have been faultless as far as diction is concerned : "pU Puththadhu" in Mumbai Express, "enna pAttu vENum unakku" in that Fazil film come to mind readily.

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Originally Posted by Sureshs65

aakarsh,

Don't worry. Tamil fans will think you are singing stylishly :D Afterall they have been weaned on Udit Narayan, Sonu Nigam and co :)

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hahahah! :-D but wife, who is the lone audience, doesn't think that i am singing stylishly and bursts laughing :-D

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Originally Posted by KV

Sureshji, :exactly:, seriya sonninga.

aakarsh, :rotfl2:
I'd be guilty of doing the same with some of the telugu songs, especially the fast-paced/dance numbers. (jagada jagada can be a laugh riot! :oops:)

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Dont worry, with the kind of lyrics some songs have, among those fast paced ones (exlcude Jagada Jagada), I think your gibberish can be more ear-friendly than the actual Telugu words there :-) Suresh too will agree with this :-)

rajabhaktan,

While I do get your point, honestly in both those songs I am not too happy with Sonu's diction. I agree he is far better than Udit, who ofcourse is unbeatable in this regard in any south indian language.

aakarsh,

Ofcourse, gibberish is any day better than lot of nonsense lyrics we hear in some of the fast paced Telugu film songs :D

Suresh,

Lyrics are the main reason why I cannot dare to play some of the fast paced Raaja songs (for some Chiranjeevi, Nagarjuna, Balakrishna films) at home and confine them to my ear-phone listening only :-) Imagine - if I play "Seethakoka chiluka" from "Stuartupuram Police Station" at home, I will be kicked out of my house by the end of Pallavi :-D

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Originally Posted by Sureshs65

It is a complex piece of orchestration but it is now so familiar that I sing it as if I composed it !! Then there is 'satru munbu'. The multi layered and complex interludes are now child's play. When you listen to orchestration you understand how much melody Raja has built into the work that inspite of the multiple layers and the very complex interaction between the instruments, you are still able to sing the whole interlude without missing a single note. For me it happens that when I am singing the main melody loud, my 'mind voice' is singing the backing orchestration!!! That's how we have become now. Especially when you come to the 'thottu thottu' part towards the end, we get confused as to whether we should sing the main melody or we should sing the chorus that happens in the background!!!

For this reason, I think NEPV is an unique album. Every note of every song in the album is now memorized. And the beauty is that we did not even try to memorize it!!

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Thats exactly what i thought today.It is as if we know these songs already. Particularly Sattru munbu, it is the modern classic climax song like say sangeetha jathi mullai for yester years ..You know how the tune is flowing..how the orchestrations are..you clearly know how he is going to build the crescendo for the grand finish. Cannot beleive that these songs are just born for him.

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Originally Posted by aakarsh

hahahah! :-D but wife, who is the lone audience, doesn't think that i am singing stylishly and bursts laughing :-D

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Haha, aakarsh, do you have to spell it out in here, officela enna oru mathiri pArkirAngga, me trying to stiffle my laughter. I do the same thing with the interludes that I can remember. Wife escape, but the torture is on my son. Not all songs, but the ones I remember. Back when we were younger, my brother and I used to do that. I usually take care of the percussion part, he'd do the rest (Poove Semboove and Tenmozhi enthan tenmozhi especially, so you can imagine when this happened).

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Originally Posted by Sureshs65

OK, now all those of you who can sing all the interludes in all the songs of NEPV please raise your hands !!! Ah, as expected most of you have raised your hands.

Well, this is one album where the supporting music has embedded itself so easily into our ears as the main melody. I mean there are so many songs whose interludes we all know and cannot sing the song without singing those interludes but in this movie, it is happening to me for _every_ song. Whether it be the minimalistic 'Pengal Enral' or the power packed, 'mudhal murai' or the grand second interlude of 'saindhu saindhu' or the synth of 'ennodu vaa'. Not to mention the WCM beauties of 'satru munbu' and 'vaanam mella' and the jazz treat of 'katrai konjam'.

The second interlude of 'saindhu saindhu' especially is a lovely. Even while I am driving the car and my mind has shifted from the music to the road, this interlude draws me back into the music immediately. I _have_ to sing along. It is a complex piece of orchestration but it is now so familiar that I sing it as if I composed it !! Then there is 'satru munbu'. The multi layered and complex interludes are now child's play. When you listen to orchestration you understand how much melody Raja has built into the work that inspite of the multiple layers and the very complex interaction between the instruments, you are still able to sing the whole interlude without missing a single note. For me it happens that when I am singing the main melody loud, my 'mind voice' is singing the backing orchestration!!! That's how we have become now. Especially when you come to the 'thottu thottu' part towards the end, we get confused as to whether we should sing the main melody or we should sing the chorus that happens in the background!!!

For this reason, I think NEPV is an unique album. Every note of every song in the album is now memorized. And the beauty is that we did not even try to memorize it!!

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+10e+10
this has been my hobby for the past 20 years and keeps me moving (to sing along the interludes).....though it is multilayered it is so well defined that it becomes registered easily...this is what "written" music is all about...it will be so easy to listen and enjoy but is very difficult to create...This is also the reason why compositions of great masters are even now being played and enjoyed...they are so well defined and structured...

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Originally Posted by irir123

one of my students who also sings in local choir has asked for some time to give his feedback abt NEPV - he is a bit baffled by the music - he called it 'weird, odd, hard to put a finger on - the quality is definitely top-notch, but i need time to give a proper review of the same' !!

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irir

any feedback from the musicians to whom you gave for review?

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Originally Posted by kiru

Right reaction..you dont want to hear "interesting", "great" from american folks ..for sure..

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any reason for this??

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Originally Posted by MelHarmony

any reason for this??

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if an american professional says "interesting" - it means its bad!

professional musicians wud never say "great" - especially something they are hearing for the first time! americans are not used to hyperbole, their comments would be understated - i have heard them call Niagara falls 'impressive' while most of us would go bonkers calling it 'amazing, spectacular' etc etc!

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Originally Posted by irir123

if an american professional says "interesting" - it means its bad!

professional musicians wud never say "great" - especially something they are hearing for the first time! americans are not used to hyperbole, their comments would be understated - i have heard them call Niagara falls 'impressive' while most of us would go bonkers calling it 'amazing, spectacular' etc etc!

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Interesting ;-)

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Originally Posted by groucho070

Haha, aakarsh, do you have to spell it out in here, officela enna oru mathiri pArkirAngga, me trying to stiffle my laughter. I do the same thing with the interludes that I can remember. Wife escape, but the torture is on my son. Not all songs, but the ones I remember. Back when we were younger, my brother and I used to do that. I usually take care of the percussion part, he'd do the rest (Poove Semboove and Tenmozhi enthan tenmozhi especially, so you can imagine when this happened).

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Interesting [and i MEAN IN OUR iNDIAN WAY] confessions :)

For me its always kaatrai konjam , the easiest target to hum the instruments in between the song and I do it like a typical SJ humming of the 80's.
My fav are the first 2 charanam opening lines that I often break into .
Sample these : charanam opening lines :
Ooril vEru peNNe illai neril undu ErAlam - PABA PABA BA PABA PABA PABA PABA BA PABA PA....[Imagine SJ's PA BA BA BA of "uravenum pudhiya vaanil"]
Next line would be also gibberish Tamil worded with the same tune as above or even the same words as above repeat
- And this time follwed by turu ru roo ru thooroo roo roo ..... [manasukkuLa SJ's famous "thu ru thu thu thu thu" of metti oli" humming paadaradhaa oru nenappu] .

Esp in "kaatrai konjam", the oboe, strings all seem to be vying with Karthik and finally emerge triumphant ha ha...

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Originally Posted by thumburu

Esp in "kaatrai konjam", the oboe, strings all seem to be vying with Karthik and finally emerge triumphant ha ha...

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I listen to the song in my mind as 'karoke', filtering out the male voice...it's so lovable that way!

I can't wait to get the karoke version released!

Find myself looping (one of my least favorites earlier) peNgaL enRaal more often than the others these days, mentally removing Yuvar's voice of course. Regret that I excluded it while voting in this thread.

What a wildly imaginative song, coming from a 70 year old. I don't know if I will be able to do normal day to day stuff when I am 70 but look at him, coming up with such creative landmark albums, writing each note at this age. Wonder what else is left in store.

"Rum" on loop in the car!

True to the tag, it has the kudhirai effect and I tend to turn into very aggressive driver :oops: Car-ai motor bike mAthiri Ottittu irukkEn :shock:

Easily miles ahead of others in the album - absolutely no blemish (except that the length is too short) and I continue to wonder how Gautam will picturize this new millennium's 'azhagu malarAda'!

The drummer really excelled in this number and is in tough competition with the strings players & Sunithi for the top spot! adhilum andha hi-hat vachchu viLaiyAdal in the interlude - wow!

This song is a real challenge by IR to all the current composers in India - enga, mAtch paNNunga pAppOm! (And, the song is in pure IR-genre!)

Also, this number is a "true-continuation" of the original ninaivellAm nithyA songs, IMHO. The interlude can easily fit into a third interlude to the original 'nee thAnE en pon vasantham' song (or 'pani vizhum malarvanam')! And the song's innovation levels are in that range as well. Plus, it gives me a personal "high" feeling in the same way I got when NN came out during college days!

It feels like IR got the adrenaline levels of 1980 or something like that!

Suggestion to irir123 - a copy of the CD with a tip to listen to muthal murai, saRRu munbu should reach the hands of Sarah Brighthman or her agents. I can help in mailing it out etc but need your help in the template/contacts etc.

Per the link posted by senthilv.com in the titbits thread, the french bakery special cake for IR will feature pic from NEPV as well :-)

This ~1000 kg ~1000 photo cake (with the proceeds @ Rs 1500/kg going to charity) must have got triggered from the recently rekindled IR-mania, largely due to the NEPV album / launch concert...

appA < $20K car
paiyan > $60K car :-)

idhukkuppEr thAn "munnERRam":
http://www.youtube.com/watch?v=5uDk3...eature=related

Jiva'vukku nEram :
(somebody did a mugamoodi youtube with kARRaikkonjam niRkachchonnEn)

http://www.youtube.com/watch?v=qDapz...eature=related

thumburu,

LOL at the description. I do the same.

app,

Yes, 'mudhal murai' is just out of the world in every sense of the word. Each instrument in it vying with the voice for the top spot. What energy levels the song has. Have to sing the song along completely even when I drive hitting the steering wheel when 'mazhaiya veyila' starts.

Nerd,

True. Pengal endral is an excellent song with some superb twists in the tune, which is very logical according to me. I wrote about it in my blog earlier.

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Originally Posted by Nerd

Find myself looping (one of my least favorites earlier) peNgaL enRaal more often than the others these days, mentally removing Yuvar's voice of course.

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My thoughts exactly! I still wonder why the choice of Yuvan there (upon repeated listenings, i feel he is not a perfect choice) when Raaja already roped in Suraj Jagan - who is extremely popular for rock songs - for pudikele maamu! I hear NEPV everyday but i still cannot get over this sore thumb called Yuvan in this album - be it saindhu or this song. Infact, I have compiled a cd for car that has all songs of NEPV with saindhu saindhu replaced by telugu version. Unfortunately, pengal endraal in telugu has yuvan only :-(