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

[app_engine]

San_K, WOW!

This is probably one rare album with such a variety / energy / novelty / repeatability!

எட்டு லட்டு!

Gautam!

[V_S]

Thank you gokul, App, senthilv, San_K, rajkumarc for your compliments.
San_K, Beautifully written. Great to see NEPV made you write. Please do so often.
senthilv, waiting for your post eagerly.

[irir123]

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) ??

[V_S]

Very good question irir123. 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.

[marnsZet]

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) ??

A
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.

[jaiganes]

I felt the same way. Keep hearing K.B. SundarambaL when I hum on my own. But LRE could be great too!

Excellent write-up V_S. Inspiring for me to throw my 2 notes in there. May be soon!

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 in
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!!

[V_S]

Thank you so much Ji for your heart-felt kind words. Good to know that Sunidhi is already a different singer in North. I didn't know that. Great information.

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

Very well said Jai. Absolutely!

[sakaLAKALAKAlaa Vallavar]

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) ??

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.

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 ) 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 added to that the other respects he did( )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 avarum youth thaaneyaa!!

[sakaLAKALAKAlaa Vallavar]

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

[venkkiram]

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.)