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V_S ..agreed on the orchestration.. must be the lyrics that is misleading us ..even if you think the tune is modern..
Here is an excerpt from Dire Straits' lyrics's - replace trumpet with accordion :-)
"And a crowd of young boys they're fooling around in the corner
Drunk and dressed in their best brown baggies and their platform soles
They don't give a damn about any trumpet playing band
It ain't what they call rock and roll"
Yes I do. I not only reject some songs of most composers; I reject most songs of few composers (I do not even give it a try).Quote:
Originally Posted by V_S
There is nothing wrong in going for the best!! Just because I declare myself an IR fan, I do not have to take everything he has to offer. If I do, there is no difference between me and the followers of political leaders who blindly trust their leaders. This kind of "unquestionable" loyalty will lead to disaster in most cases.
I think you quoted only the portion you want to answer. But the main question lies in what you have not quoted. I am not even talking about his unknown/rare songs. That's why I told even if we skip more than half of the songs, we have enough to enjoy. Still we complain even from his best compositions (chinna thambi, a case here) which was hailed all over, is only possible only for IR and his fans. That's what my point is. I never told you have to blindly follow all that he offers. Even I cannot do that.
kiru,
Here is the lyrics. I am not sure what you found as misleading. The challenging part of the lyrics is you cannot put longer words as the structure of the tune is little uneven and short. The uneven part gives the sweetness in the tune also. You can find this in charanam portion. Given this challenge the lyricist has come out well with rhythmic words with good meaning fitting the sandham perfectly. I sounds well with the tune. The sandham, meter'kku matter, matter'kku meter ellam ellam perfect :smile:. Please let me know what else is contradicting/mis-leading in the lyrics, which you cannot enjoy fully. The interludes again are just fabulous.
கேளடி என் பாவையே
ஆடவன் உன் தேவையே
மோஹம் கொண்ட போதும்
தாகம் வந்த போதும்
ஆண்மை தானே காவல் காக்க வேண்டும்
ஆசையோடு அள்ளி சேர்க்க வேண்டும்
ஆண்மை தானே காவல் காக்க வேண்டும்
ஆசையோடு அள்ளி சேர்க்க வேண்டும்
தன்னை தானே சுற்றி வாழும் பூமி போலே (beautifully written)
என்னை நானும் சுற்றி வந்த வாழ்விலே (beautifully written)
நித்தம் பூமி சுற்றி ஓடும் சூரியன் போல் (beautifully written)
பாவை உன்னை நானும் சுற்றி வந்ததேன்
ஒன்றில் ஒன்று சேர்த்து வைக்கும் சாமிதான் அம்மா
உன்னை என்னை சேர்த்து வைக்க கோபம் ஏனம்மா ஹஹா
ஒன்றில் ஒன்று சேர்த்து வைக்கும் சாமிதான் அம்மா
உன்னை என்னை சேர்த்து வைக்க கோபம் ஏனம்மா
என் சொந்தம் நீ
என் சொர்க்கம் நீ
இணைந்திட வா
கனிந்திடு
கலந்திடு
இன்பம் பொங்கும் என்றுமே
கானம் பாடும் வீணை நாடும் வாடலாமா (beautifully written)
மீட்டும் வேளை ராகம் இன்றி போகுமா (beautifully written)
வானம் பார்த்த பூமி போல ஆகலாமா (beautifully written)
தென்றல் தேடும் பூவை போன்ற பூவையே
சேவல் இன்றி பெட்டை ஒன்று வீணில் வாழுதே
காவல் இன்றி கன்னி இங்கு கானம் பாடுதே
சேவல் இன்றி பெட்டைஒன்று வீணில் வாழுதே
காவல் இன்றி கன்னி இங்கு கானம் பாடுதே
நினைத்தது
நடந்தது
தொடர்ந்தம்மா
சிலிர்த்தது
சிலிர்ந்தத்து (I doubt this word)
இன்னும் இங்கு வெட்கமா
Sorry V_S - I have to disagree about CT. It may be better composition than most Deva songs or all SAR songs, but I have no doubt in saying CT is NOT one of his best!!Quote:
Originally Posted by V_S
Mr Genesis - don't change the goalposts and take the high horse. Neither is V-S a blind worshipper nor are you an englightened music (loving) messiah. You clearly questioned the hit status of Chinna Thambi in your initial posts - not the quality of it. Later you backtracked with the intellectual dishonesty typical of such claimers - and something that annoys me to the core in people. Now you are throwing smokescreens about blind worshipping. Abominable!
illai oru paechukku kaekkaren.. appdi enna disaster nadandhudum? avanavan rasippu avanavanukku.. hubbai dhaan kattam katti kodu kizhichu pirichaache..Quote:
Originally Posted by genesis
1. App - youtube keladi en paavaiye. It is the surprise mumbai song that MS alluded to. Trust us and enjoy the surprise :) 2. I agree with aff_eng - this song is somewhat unIrish. The accordions and arrangement in genral sort of refer Hindi composers that IR normally doesn't do reference of - Viz. Shank-Jai and OP Nayyar. 3. The tune is very weak and lacks melodic attraction, all of which add up to an average song by IR standards, especially when placed next to Kaadhal Kavidhaigal, Thaalattum Poongatru and the under-rated naadham ezhundhadhadi, which app is not going to discuss in this thread :(
Not to mention a riotous Devadhai Pol, which withstood murderous attack from the inside from Mano, Arunmozhi etc.
Never questioned the hit status of CT songs - please do not misquote.Quote:
Originally Posted by Plum
this is my most favourite in this album :neutral:Quote:
Originally Posted by Plum
Genesis - I am sorry I don't misquote. I am not going to let you wriggle out of this with verbal gymnastics. You said "CT songs became popular because the movie became hit.". That they were average is your (and my) opinion. But that they became hits only because of the movie is an implication that the songs weren't hit by themselves. Which is grossly wrong. If anything, the movie was a hit because of the songs as app mentioned. You should atleast stand by what you said - in my book, this is intellectual dishonesty (I.e) manufacturing a diametrically opposite position just to wriggle out of the discomfort caused by lack of solidity of a previous opinion expressed.
RR - edhukku :( ? Riotous songnu dhaane sonnen? Its just that Mano put me off with his portions. I guess I was wrong - Don't think Neps alias Amozhi was in this song. And I am quite happy with the contribution of Bijoy's uncle and Tiruchi Logu's son(can't remember if it was Maha or Thiyaga or Deepan) and Malaysia(was he there in this song?). But Nagoor Babu is intolerable as ever.
Thanks Murali sir :) For some reason, I thought she was the actress in "Guna" !Quote:
Originally Posted by Murali Srinivas
Very well said! SPB improvise this song with his trade mark "Navarasams"! some how it remainds of some 60's hollywood pop like songs!Quote:
Originally Posted by V_S
Yes double barrel gun attack by Mano, Arunmozhi. But thanks to MV one can just hear it once!Quote:
Originally Posted by Plum
Who is Bijoy's ungkil? Yes no Neps there. Its Malaysia/Mano/Voice of Mohan ji/ Son of Logu.Quote:
Originally Posted by Plum
Btw, you have forgotten Priyasagi in your ranking :mrgreen: My top 3 from this album is Naadham/Kaadhal KavithaigaL/Thaalaattum not necessarily in that order. Vanmaiyaana kaNdanam (thanks V_S saar) to kELadi - uLunthukkanji comparison. I am pretty sure accordion is director-ask in that song. Ivlo periya uruvam kuttiyoondu violin-O kiththaar-O thookkittu vandhaa nallaavaa irukkum :-) :-) Like V_Sji said the piano/keyboard(?) punches nallaavE irukkum and SPB of course. My least favorite is priyasagi. Maththa 5-umE all time favorites. But ellaaththukkum mEla the title BGM. Idhayam range.
yOv over ah KadupEtha vEndam :evil: (joking :) ) another nice song mercilessly Murdered by Sothapal Thilagam :banghead: :banghead:Quote:
Originally Posted by Nerd
Yeah I had priyasagi in mind but forgot to add. Probably the last rank in the album. Bijoy's unckil = voice of Mohan :noteeth:
ah Yes, Just remembered "Nadam Ezhunthathadi" by KJY and SJ wonder full song!
Keladi en paaviyE
http://www.youtube.com/watch?v=z_KfY...yer_detailpage
slight digression
//was Alaigal Oivathillai re made in Malayalam as Seethakoka Chiluka ?? See Song below //
http://www.youtube.com/watch?v=prHj7RNVTnQ&feature=player_detailpage
Nerd oh yes the title theme :bow:. I'll go one step further and place it alongside the title theme of idhaya..ththai thirudaadhae
Antha Imasiaya Vera Gnyabaga paduthavEnuma :sigh2:Quote:
Originally Posted by Plum
Yov title themela nagoor babu kedaiyaadhu
vOk :oops:Quote:
Originally Posted by Plum
Hi,
Thought of sharing the title musiic of GV. still I remember this music as I watched this movie 1st day 1st show and the title blown up me like anything...watched the movie just because of IR.
PC sriram (I believe) done good photography work and IR RR for his photography is awesome.
http://www.youtube.com/watch?v=ppNDnGyrw-0
nanRi makkaLE, for your observations & comments!
V_Sji & Nerd,
Sorry for calling the 'kELadi en pAvaiyE' as ordinary...like mentioned, tastes differ :-)
Also, although it's difficult to contain IR within a defined set of specs, each of us can have "my own set of standard expectations in an IR song" and this song is somehow not within that framework :-)
Since Murali sir has mentioned about a "surprise element", I'm skipping the youtube and will wait till I watch the movie (curiosity question - is the "big figure needing accordian" Mohanlal?):-)
App,
Please don't feel sorry, i was just surprised that's all. In fact, I have to feel sorry for those nitpicking.
#343 எங்கிருந்தோ இளங்குயிலின்
(பிரம்மா, 1991)
'engirundhO iLanguyilin' of brahmmA
What a sweet, joyous ride this SPB solo is! Like I mentioned in the case of varudhu varudhu song, this too came through a 'relative-given-disk' and I cannot say for sure how much popular this number was in TN at the time of arrival. However, it did reach me a decade later and I must say this is a very interesting song!
And, this is a surefire IR/SPB special, maintaining all the basic ingradients the combo is well-known for - iLamaiththuLLal, innovative rhythm structure for the pallavi, comfortable tablA accompaniment for the sweet saraNam and lovely interludes! These are complemented by non-irritating lyrics which is sufficient to keep this song among the top selections to listen in any mood! And it does turn a dull mood into a jubilant one like what simple sugary stuff -like donuts- does to a depressed person :-)
Excuse me for the food comparison again, this IR-SPB special shouldn't be branded as a western donut kind. This is something local & special - so I would associate "chillu karuppatti" with this song :-) Those who are from the south TN region (thooththukkudi area) die for this even when they live elsewhere. Every trip to sondha ooru forces them to bring back this item packed in panai Olai boxes - to enjoy one or two each day for months :-)
There are a couple other SPB songs listed under SPB from brahmmA (nadappathu / rAthiri nEram) but I've never heard them before...so skip (A_S may come and say these should be booked under 'app-missed-list')...
App: 'engirundhO iLanguyilin' also had a SJ version and as is typical with IR, had entirely different but equally admirable & unforgettable musical arrangement. And if I remember it right, this song was like a theme music for this movie with the tune getting played at important moments. As I had indicated in my earlier post on IR's outstanding compositions (with SPB getting a major chunk) for SR movies, VVP, Nadigan, Brahma, TP (that you will be covering in 1992 compositions) all had very good songs (mostly sung by SPB & SJ). Most of SR movies (in 1991 & beyond) had two heroines (Brahma had Kusbhu & BP). This movie was directed by Subhash (MR's assistant who had also directed VK-BP movie Chatriyan the previous year) and was a 1991 Deepavali release (that had Dhalapathy, Guna, Thalattu Ketkuttamma and a few other movies). For some reason, this movie was re-made by the same director in Hindi few years later (in 1995 if I remember it right) & not immediately. As always expecting Murali sir to provide accurate details :)
App: Yes there are few other SPB songs from this movie (I could remember one now "Nadapathu Nadakattum" and another SR-BP duet) that can be called hits. Looks like "app-missed_list" is steadily on the rise :)
Kudos to you though for not missing anything on the food front; this CK (definitely not Cheeni Kum) is also one of my favourite :razz: as my native place (Tirunelveli) is also in South TN
I've always wondered why IR switches to tabla in charanams (?)Quote:
Originally Posted by app_engine
BTW, not that fond of Priyasagi.. but the interludes are awesome.. Actually .. the whole album overall should get a awesome rating..
Your karuppatti reference is interesting.. Last time I brought 'panangkaRkandu' back here.
(V_S - I still cannot seem to warm up to the kEladi en paavaiyE song..sum of parts ..does not add up for me, I guess)
ada, ada - enna oru connection :-)Quote:
Originally Posted by A_S
Hubby of my periyammA (who sings like SJ) is from the ambAsamudram area and he intro'd this to me :-)
:mouth waters:
Param,
'seethA kOka chilukA' is the Telugu version of 'alaigal Oyvathillai'. (I believe VJ had sung a few songs in it)
I don't think I'll find time to clear the backlog in the near future :-(
This new project assignment may not allow as much time as the lazy last one...
In any case, this compilation is nearing its end and it doesn't hurt not to rush the posts :wink:
InimEl enna saar surprise? Paarunga paarunga. Sorry about spoiling it :oops:Quote:
Originally Posted by app_engine
Brahma those two well-lefts were definitely hits during that time. The trendy nadappathu nadakkattum has the addictive "ayyA route-u ellaam top-u" phrase. And the matter raaththiri nEram has this addictive phrase - "yemmA yemmA dhooram, ada vaammA vaammA pakkam". SPB/SJ at their best in both the songs. But not much heard these days I guess.
App - The two Bramma songs that you posted are great numbers. Love varudhu varudhu especially for its orchestration. SJ version - Ivaloru also has lovely orchestration, like that one better than the SPB version.
App,
As promised, here is my take on Thalapathi Sundari KaNNaal oru sEidhi song. It has become big as usual, please read it at your leisure. Please feel free to skip too, as it is again a lengthy and boring one.
Sundari KaNNaal oru SEidhi - Thalapathi
Any film released on a Deepavali day is always special. Watching the film in the midst of all the fire-crackers around and also along with the noise of the crowd is something special. Most important thing, watching it first show. Nothing like that. The film too should also deserve to be celebrated on the Deepavali day. A dull film on a deepavali day is not a welcome. It should be a grand one. Whether it has substance or not does not matter as long as it entertains the crowd on that special day is what matters the most. We would hardly hear any dialogues on the first shows. Still that did not cause any displeasure. Moving with the crowd. Remember those days standing in the long queues hours together in that hot sun, a week or two before the release to grab the tickets. No online tickets those times. The satisfaction after we get the tickets is itself like watching the film. Remembering the Mannan scene how Rajini and Annan get the tickets. You can never match that experience. Big cut-outs, grand decorations, ferocious crowd, fire-crackers, lighting camphors, more than the Deepavali festival, the theaters wore a grand festive look. I don't remember if I had gone to temple on that auspicious day, but I do remember that I have watched many films the first show especially on a Deepavali day which also include Thalapathi. Sometimes they release a day before or on a Friday. Also apart from the movies, wearing new dresses with pride, enjoying lunch and sweets at every friends house is all a unique experience. Those days we never get full whatever we eat, so much appetite. :smile: To add more spice, good TV programs all day. Returning back to our homes only during the night. This trend in south is for just one day deepavali affair, but imagine a 5-day diwali (including Lakshmi Puja and Bhaubeej/Bhayya Duj) celebration in north and how would that be. This is the only indian festival which is celebrated across religions and across countries. A festival of lights which happen almost close to new moon day, which lit up the dark sky only to show that today, the heaven is on earth. That craze is surely gone now for me, staying away from home.
The expectation from this film was already sky-high even before its release. Many magazines already posted about the brief story-line with Rajini and Mamooty's stills. Those days there were no audio releases like today, so we were guessing all the time how the songs would be and also excited to watch the film. With that excitement, we watched it on the first day. Definitely it was great film for the first time. As and when we got to see multiple times, the tiredness in the film surely woke us up except for some great acting performances. Starting from Agni Natchathiram, it was obvious to us that Mani has started giving more importance to style rather than substance. Dialogues became shorter and discontinuous, editing became more harsh/abrupt, cluttered/shallow story-telling/script without going deep into the subject, but somehow managed to create controversies in almost every film, which gained the publicity for the film. Most of all, he chose the best composer in his films which worked every time. Three Mani films I liked the most were Mouna Raagam, Nayagan and Alai Paayuthe, to some extent Kannathil Muthamittaal. He is very good in love subjects, but when he combines it with other social elements, that grip is not there, as surely there is a confusion which one to take and which one to leave. Without further delving, let us switch to one of the best song which mesmerized millions. A song which was a rage at that time. Every radio program was airing these songs. Doordharshan was playing these songs every week or so.
She sees a violent event on road when she is traveling by bus. Her lover is cutting another man's hand. Stone-hearted. She is shocked. She is alone and waiting for him. He comes there and says he is like that and cannot change. He assumes that she will not like him because of her brought-up, yet she is madly in love with him. The stone-heart melts. The fear in her whether he will be with her always in her life. The fear in him whether she will marry him or get separated. Fear is the biggest cause of all problems. She dreams that sometimes he is with her, sometimes he is away from her. Which one is true?. Mani has handled the song cleverly except he forces some unwanted war scenes just to make it grand (another case of style vs substance). Maestro will never say No as he has enormous scope for this WCM orchestration skills. Mani leaves the audience to guess whether this is a dream song for Shobana, Rajini or both, as he cuts the scene just before, with Shobana lying in Rajini's lap. That's where the song starts. I am going to take a little different route this time.
Mani decides to go to Italy using a space shuttle which switches him back to 17th century. That's the birth place of many legends and genius composer on the banks of venice, just like our divine kaveri river side. He believes he can get a good score only from Renaissance period composers like Claudio Monteverdi. He knocks the door of Monteverdi and introduces himself. Claudio welcomes him with a warm smile. Mani asks him if he can score a song for his latest film Thalapathi explaining the above situation which he obliges. Mani explains him the situation and also conveys that this is a dream song. She is constantly thinking of him and he is far away. She is fearful if he will marry her or she will be left alone. She is caught in a tension and confusion. She sends her love to him and he responds. Claudio stops him there. After carefully conceiving this situation he invents a new technique called Tremolo just for this situation. Claudio does not know at that time, the concept he invents will be the base for scientists like Marconi in 19th/20th century to invent another wonderful concept in transmitting voice and music signals over radio waves through amplitude modulation (AM). Claudio plays this portion with his orchestra.
Tremolo technique is normally used with varying signal strength, that's why we hear that trembling effect, as the frequency is constant. She is constantly thinking of him (like frequency constant), but he is far away, so the signal strength (signal is constant, only its strength) varies. The information on that signal is vital. If you can hear that sober flute (implying her sober heart) on top of that tremolo, which is the information, she wants to send him through that tremolo. Once the signal reaches him on the same carrier (tremolo), he sends back another signal (I think some wind instrument, not sure, if that is a sax) on the same carrier which reaches her, before he reaches her. Once she sees him, the mood completely changes and both rushing towards each other. The sounds matches the galloping horse when he grabs and takes her into his horse. After this, we would assume the tremolo would end, as they both now united, still Maestro continues the tremolo but you can hear the tremolo in different ranges when the bell sounds come in. The bell sound is an indication of auspicious occasion, that is their marriage. So, when the bell rings they exchange the garlands. Even when they met and they know they are going to unite (again only in dreams), they are still nervous till they are married. So the tremolo sound continues, but taking different ranges, one for her and another for him. Once they exchange the garlands, the nervousness comes down, so tremolo stops there. When he plays with his orchestra, Mani was stunned by that sound. That clearly explained what he was thinking in his mind about the situation and he was surprised to hear that Claudio brought out exactly what he was thinking. That's the trembling effect the heroine experiences since his lover is far away.
Meanwhile Claudio gets a call from church that he is already late and has to perform madrigals, so he feels sorry and leaves in a hurry. Mani now caught in dilemma, switches back his machine to 18th century to get a glimpse of this music scenario, but he somehow lands on the banks of river Kaveri, which he never expected. Saint Thyagaraja was singing
'sundari nee divya roopamanu chooda thanakku dorikenamma,
manda gamana neethu kadaksha balamo, mundhati poojaa balamo tripura'
on the streets in the name of the Goddess Gowri describing her beauty in ever glorious Kalyani raagam. 'Oh Beauty of the three worlds. I am lucky to have seen your pretty form. Oh Goddess, with a pretty walk, this luck of mine is due to your side long glance, or it may be due to the worships I did earlier.' That struck our Mani sir like never before and he decides there that his song should be like this and in this raagam, totally forgetting about what Claudio offered earlier. He even got how the lyrics should sound. Sundari kanaal our sedhi (similar to 'this luck of mine is due to your side long glance' from Thyagaraja).
He could not visualize further, but he could not wait either for that piece to be composed. He assumes that St. Thyagaraja is singing for his situation. With his blessings, he leaves from there. Suddenly remembers Claudio again to go back to Italy, but switches his machine to early 20th century to see how Western classical music has developed only to see the World is torn into pieces because of World wars. He sees the pain suffered back in the family when he fights for his country. This cue struck him and he directly reaches to Giacomo Puccini (a great successor to Verdi, who is known for his famous operas) to compose a opera/oratario piece for the interludes explaining the war situation and how it separates the family.
Starting with the marching drums with high horns creates the tension in the war ground, while the choir which follows it, depicts the family behind, longing for his men. There is both male and female choir. For a split second it appears like a vocal counterpoint, but it is THE BEST and wonderful harmony, clearly showing the hearts of men (male choir) at war and the hearts of women (female choir) back at home, beating a similar pattern, even when they are performing their respective duties one at war and another back at home. After the war is over that day, the loneliness creeps in, when the dusk sets in. That's where the violin ensemble soothes both their hearts. Mani could not believe what he was hearing. Touched Puccini's feet. With that music ringing his ears and with heavy heart, he flies away seeing the atrocities during the World war, back to 14th century, to have solace and love, nothing else.
Amir Khusrau a great poet and scholar of India during medieval times, welcomes him with this beautiful poem.
Do not overlook my misery by blandishing your eyes, and weaving tales; My patience has over-brimmed,
O sweetheart, why do you not take me to your bosom.
Long like curls in the night of separation, short like life on the day of our union;
My dear, how will I pass the dark dungeon night without your face before.
After a good night sleep with these mind-soothing poems and also assuming composer Tansen (of 16th century) singing these songs, he gets up from the bed to see that he was in a big dream the whole night. Back to the future Part IV. :wink: He was shocked to see that he was still at his home and could not believe what he dreamt last night. After freshening up, he immediately rushed to Prasad studio to convey all that he dreamed last night, to Maestro before he forgets. Maestro, just seeing his face and impatience, he got all the telepathy and morse codes from all those above great men Mani met last night in his dream :smile:. He immediately called on Vaali sir, SPB sir, Janaki Amma and the whole orchestra. While Mani was impatiently waiting to tell the situation for that song and how he liked to see that song, Maestro started with the same Tremolo and flute which he heard in his dreams. He thought that was a coincidence, when Vaali sir started his song with 'Sundari' he got reminded of St. Thyagaraja's Sundari Nee kriti in Kalyani raagam. He was astonished to see Maestro coming with same raagam with similar lyrics glorying the lover, just like St. Thyagaraja was glorying Goddess Gowri. Still he was not convinced. That's when Maestro started his war theme in opera style, same what he heard from Puccini, he got stranded. But he was quite sure that Amir Khusrau poetry cannot be replaced here, when SPB was singing
maadhangaLum vaaram aagum naanum neeyum kudinaal
vaarangaLum maadham aagum paadhai maari oadinaal
He immediately recalled 'Long like curis in the night of separation, short like life on the day of our union' from Amir Khusau's poem. He goes and hugs Vaali sir and SPB. Lyrics was again outstanding with both SPB and SJ's voice and singing brimming with soul.
Maestro has still not finished his composition. He still has to do second interlude. While he starts on the same road as he did the first interlude, with the marching drums and trumpets, he takes a different turn when he starts the violin along with trumpet. As and when a head of a soldier is cut or as and when he is wounded, the violin cries which directly transmits that sad signal to their family. The culminating flute with underlying violin tells story of the bereaved family. Mani feels it was way better than what he heard from Puccini last night as this piece directly relates to pain, not just in lovers heart, but the pain for the love itself. He now feels that his dream has come true, rushed to Maestro, hugs and kisses him. Maestro gives him a gentle smile and leaves as if he did nothing.
It is extra-ordinary to think this way as we can see the clouds of ambiguity clears out as we go from century to century when we hear diametrically opposite genres. Where is Renaissance, where is Kalyani, where is opera, and where is the poetry. Where is Monteverdi, where is St. Thyagaraja, where is Amir Khusrau and where is Puccini. If you hear the melody separately and interludes separately, you will never identify these pieces are for the same song. Int that way, it is a very rare composition; that it has no connection between pallavi/charanam and its interlude. Interlude is a separate western classical piece with no connection whatsoever to the melodic structure. Sameway, the melody has no connection to its interlude, yet with the last bar, how he connects both these diametrically opposite pieces seamlessly together is a testimony to this genius. :notworthy: The main highlight of the song is not these separate pieces, but how he brings all those legends of yesteryears in front of us together without we need to go back to their times. Maestro eases our job of listening and also eases the job of directors by bringing these hidden elements of treasure on his own, having studied and appreciated all forms of music thoroughly and seen all faces of music daily. A composition worth more than a billion, by one and only complete musician of our times. Do we deserve it?