Sharing-IR's music-interviews-BgmClips- in web

I added the following comment there...

Can we term it as a Thaalamaalika ala Raaga maalika. Also it sounds to me a marriage of diverse rhythmic schools - fusion at the level of rhythm - not just at harmony alone. the picturisation that we got to see finally had that element of jerk, jolt , then harmonious joining of a family doing a ring around the rosie with the centre piece being couple holding hands and going around and finally stumbling and jerking their way into reality. I find the song, the melody and rhythm shifts and beat cycle joinings reflecting the context aptly. Truly the hall marks of a genius on his day at the office.. and you too have proven your diligence with this wonderful post .. yet again....

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Originally Posted by NormalMan

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Originally Posted by irir123

there is another absolutely mind-blowing track in SATHYA (kamal, amala) that never made it to the screen - "ingeyum angeyum" - which has all the trademark unorthodox tala structures, twists and turns - special components include a piano motif and a stunning second interlude - in terms of evolution of motifs within a composition, that is under 5 minutes long, this piece is matchless in creativity!

somehow IMHO, IR always reserves such completely unorthodox styled scores for Kamal!

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Any link to this song?

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http://www.thiraipaadal.com/albums/ALBIRR00584.html

:ty: Irir for introducing this song. What a miss :oops:

Fantastic composition indeed :notworthy:

Ingeyum is indeed a v.good song. Thanks irir. And valaiyosai was sung by Latha Manageshar or Asha Bonsley? Thirappadal.com says it is LM :confused2:

I am following Bala today and seconding what he says :D My thanks to irir as well. Lovely song.

ingeyum engeyum was also by Lata Mangeshkar. Even Vazha Osai was sung by her (her 1st song for IR).

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Originally Posted by Bala (Karthik)

:ty: Irir for introducing this song. What a miss :oops:

Fantastic composition indeed :notworthy:

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It is my assumption that Kamal must have shelved the picturisation of this song keeping in mind the length of the film, or, perhaps the commercial appeal for the same, given that the album already had a whopping number 'valai osai' the like of which had not been composed earlier and has not been bettered by the master himself!

if this is the case with someone like Kamal who despite his daring to venture into unchartered areas still had to shelve such an unorthodox composition, it is mind-boggling when I think of how many countless such musical ideas/themes IR must have sacrificed for lesser more stereotyped directors insisting on formulaic songs/compositions from IR, when IR must have had better ideas!

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Originally Posted by irir123

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Originally Posted by Bala (Karthik)

:ty: Irir for introducing this song. What a miss :oops:

Fantastic composition indeed :notworthy:

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It is my assumption that Kamal must have shelved the picturisation of this song keeping in mind the length of the film, or, perhaps the commercial appeal for the same, given that the album already had a whopping number 'valai osai' the like of which had not been composed earlier and has not been bettered by the master himself!

if this is the case with someone like Kamal who despite his daring to venture into unchartered areas still had to shelve such an unorthodox composition, it is mind-boggling when I think of how many countless such musical ideas/themes IR must have sacrificed for lesser more stereotyped directors insisting on formulaic songs/compositions from IR, when IR must have had better ideas!

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I think Kamal has the musical sense to describe the situation in a way that makes sense to Raaja. Ofcourse - If Kamal simply stops saying hero heroine 'seeing' song or something like that, Raaja would have still have given him a gem, but Kamal sells his visualization idea to Raaja like a script writer pitcher his idea to a star actor. I just wonder what he must have explained the 'Unnai naanariven' for Guna - the whole mise en scene (thanks to zero) of it all for Raja to come up with that collage of andhra folk, to hindustani to carnatic tour of the whole area. Now that is an awesome experiment in 'sound scaping' - not what we hear in recent albums thanks to digital technology.

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Originally Posted by irir123

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Originally Posted by Bala (Karthik)

:ty: Irir for introducing this song. What a miss :oops:

Fantastic composition indeed :notworthy:

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It is my assumption that Kamal must have shelved the picturisation of this song keeping in mind the length of the film, or, perhaps the commercial appeal for the same, given that the album already had a whopping number 'valai osai' the like of which had not been composed earlier and has not been bettered by the master himself!

if this is the case with someone like Kamal who despite his daring to venture into unchartered areas still had to shelve such an unorthodox composition, it is mind-boggling when I think of how many countless such musical ideas/themes IR must have sacrificed for lesser more stereotyped directors insisting on formulaic songs/compositions from IR, when IR must have had better ideas!

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The lead guitar bit - portions of it was used (or imporvised upon) in Nothing But Wind.
the waltz in the first interlude was again improvised and used in 'Vetri vizha' Vaanamenna keezhirukku - whose rhythms were also a composite pattern incidentally. The symphonic(with due apologies to Madhan) twirls in the ludes - I hope would have been used in a movie and as usual we all would have missed it.

A very nice reason to revisit Satya and find out what is the relevant situation.

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Originally Posted by jaiganes

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Originally Posted by irir123

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Originally Posted by Bala (Karthik)

:ty: Irir for introducing this song. What a miss :oops:

Fantastic composition indeed :notworthy:

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It is my assumption that Kamal must have shelved the picturisation of this song keeping in mind the length of the film, or, perhaps the commercial appeal for the same, given that the album already had a whopping number 'valai osai' the like of which had not been composed earlier and has not been bettered by the master himself!

if this is the case with someone like Kamal who despite his daring to venture into unchartered areas still had to shelve such an unorthodox composition, it is mind-boggling when I think of how many countless such musical ideas/themes IR must have sacrificed for lesser more stereotyped directors insisting on formulaic songs/compositions from IR, when IR must have had better ideas!

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The lead guitar bit - portions of it was used (or imporvised upon) in Nothing But Wind.
the waltz in the first interlude was again improvised and used in 'Vetri vizha' Vaanamenna keezhirukku - whose rhythms were also a composite pattern incidentally. The symphonic(with due apologies to Madhan) twirls in the ludes - I hope would have been used in a movie and as usual we all would have missed it.

A very nice reason to revisit Satya and find out what is the relevant situation.

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"satya" and "agni natchatiram" were both released Tamil new years day, 1988! between the two, AN was a chartbuster, while in the BGM dept, 'satya' was heads and shoulders over AN - the use of the percussion based on the sound of the (chennai suburuban) rail running on tracks had an amazing impact!

when kamal tries to persuade amala who is inside her house and kamal outside, a brilliant violin piece and then again, when they both reconcile on the beach, a romantic smooth jazz piece!

all this from memory, its been more than a decade since I last saw 'sathya' !