Maestro Ilaiyaraja New Albums 2011 - Hello Jaihind / Sri Rama Rajyam

[app_engine]

My 2 cents on bias :

-if an IR admirer likes pazhassi rAjA music, it is not bias
-if another IR admirer likes kaNNukkuLLE music, it is ofcourse bias

BTW, if not for the IR tag and the overwhelming comments in this thread, I wouldn't have bothered to even *listen* to P-S, let alone like it

[raj_musing]

-if an IR admirer likes pazhassi rAjA music, it is not bias
-if another IR admirer likes kaNNukkuLLE music, it is ofcourse bias

I think its a human tendency/nature that we expect a superstar to be "consistent throughout his career",irrespective of his accomplishments/legacy/age and for that matter I think its not only ilayaraja,all celebrities from various walks of like have to undergo this.

I can quote Sachin as one example here. Despite all his legacy and accomplishments ;there were times when people criticized him and his techniques. So that’s just a part and parcel of life.

My only thought :-

At this age where he has left behind a rich legacy(which has no takers), he should still carry on and on, compose to his strengths rather than trying to do something totally different, because its human nature that we credit people for what they do NOW rather than what they did in the past.
As I said I would love to see him restricting film music(being very choosy and accept work if its really challenging, in the lines of Naan Kadavul, Pazhassi raja,Hey Ram etc etc)
and concentrate on NON-FILMY ALBUMS, because I believe that his creative cells can do wonderful contributions here.

[thumburu]

Continuing my review of Ponnar Shankar :
Kannai Padithaen - This breezy, caressing melody is sure to please most segment of the crowd
there. Starts off as many observed, in Hamsadhwani and also has Yamuna kalyani in the tune. Surprisingly, even SriRamp has done a decent job. For once, his voice is under control . Yet I have issues with that 50’s
tint in the tune that I am unable to associate Raja with. Also I am not a lover of songs from that period. If I set aside my prejudice, then it makes for a cool listen. Charanam is more alluring than pallavi. Second in my order
Thedi vandha devadhaiye - Laid back Gowrimanohari scale number with an erotic feel which is very much Raja’s home ground . But somehow didn’t work to my favor as much as the Jaganmohini “poothadhu poovu” . Infact the proceeding gets tedious during the middle of the charanam. Second interlude is very unlike Raja. Kunal seems to sing under some influence  . Third in my order.
Malar villilae – Beautiful brindhavana saranga. Usha, this Madhyamavathi’s sister is Raja’s summer gift for you.
Jmahesh is perfectly right in feeling this one resembling “poonkaatre theendathe” due to the Brindhavana saranga connection. The grandeur of the prelude, the pallavi with honey soaked shreya’s vocals and lilting chorus simply take my breath away. Aha how I love this Raja in full form with fantastic “female only” exclusive package for suckers like me. The synth beats in the second interlude is a mild irritant though. Raja could have replaced with mridhangam instead. KV is right about my not having enough of that amazing postlude. Reminds of the jaladharangam postlude in “adi penne” of muLLum malarum” . This song shares the top berth with “bhavani varugiraa”.
The whole album goes to show how choosing the right and the best in the trade singer like Shreya elevates the songs to great heights and lend them a “classic” status. Three songs from Ponnar Shankar [“Bhavani varugira” , “malar villilae” and “kannai padithen”] will find a place in my eternal play list.
V_S has made a good observation that this album is embellished with ornate chorus works

[krish244]

தெலுங்கு'ல ஒரு புது படம்!

http://www.indiaglitz.com/channels/t...cle/65857.html

நன்றி,

கிருஷ்ணன்

P.S: Surprised to know that tamil was default when I started to type, so wrote in தமிழ் itself

[KV]

Raagas“Change is inevitable. Whether the change is good or bad is a subjective issue. But I feel that artists, as time progresses, must put an effort to be little more accomodative in their views about change. I am talking about views, not the artist's ability to adapt to change. thats a different game/topic. I admire R.D.Burman in this aspect. He too has seen some of the best music taking shape in front of his eyes. And he too produced some great music. And when he hit an all-time low, in 80s, due to Bappi Lahiri wave... he was still optimistic. He did not criticize the disco wave. He had every right to, given that he has seen his father - one of the Greatest Composers, do some outstanding music and seeing/interacting with other legends. Despite the disco wave, RD kept encouraging people/instrumentalists to try new things, try synthesizers, push more and get more experimental. I know it is difficult for IR to accept such kind of tolerance levels in his opinions. but just saying.”

Raagas, I’m sorry, but I’m afraid you’ve strayed a bit here. This is the point where discussion moves from music to moral science, which I’m generally very reluctant to speak about.
I don’t see the point in comparing RDB’s demeanor during BL’s dominance to IR’s situation. Strange enough coming from you who is seen as an objective music listener. Now, when you say that each MD’s work is different and one has to approach their work based on its merit, rather than the name, you’ve surely got a point. But cant we also use this same parameter to gauge (why we need to do this I don’t understand in the first place!) the personality of each MD? How (and why) should there be a similarity in the way they are?

Raagas“Just curious: if the same album Ponnar Shankar carried the name "Harris Jayraj" or "ARR" or "GV Prakash"(i know that this album is uniquely IR, but just consider a hypothetical situation) - i bet a lot of IR fans would have pounced on the album (while appreciating some songs at basic level) cribbing about synth overkill, synth violins etc. They would not even consider speculating reasons such as "did composer have budgetary constraints? did the director want exactly this deliberately?" etc. Since it is IR, there is sympathetic guesswork about 'compulsions' etc? if it were other composer, would there be any such considerations? by now, the opinions would have had fireworks in them This is something I find weird. Evaluations are never without labels/biases (not just IR fans, but fans of every composer). There are only optimists(who see justifiable reasons behind flaws) and pessimists(who undermine a music, even if it has interesting stuff, by taking potshots at something or other). I rarely come across realists (just listen and decide, without any bias coming from the name of composer and over-analysis/speculation).”

Bias and prejudices, in some way, define our lives, or at least certain spans of our life. While it could lead into unhealthy spats and things like that, they also do actually spice up our lives!
To me, if a person has no favorite in a certain regard, he is mostly not a ‘follower’ in that aspect. In a conversation, if I prompt a guy to speak about his favorite, be it writer or director or composer, and if I happen to get a ‘I don’t have any particular favorites, I generally like all’, it so happens most of the times that the other isn’t really ‘into’ the thing (rare exceptions apart). I think it is prejudice that keeps us obsessed about some things, and makes us want to know more about it.
Of course, being strongly biased towards a composer, I might miss out on enjoying someone else’s work. But this isn’t an irreversible thing is what I’ve observed thus far. I enjoyed Kannalane and Thee thee many years after it was released, after all the storm about it had settled. The enjoyment is just delayed a bit, not ruled out totally.
Also, some parameters that you hold close to your heart, will make you like a song with these parameters in it, regardless of the composer. Again, just my personal observation.

Like I’ve already mentioned, what you grow up on, sometimes makes it difficult to appreciate something of a different kind, especially when you know that the new stuff is much lesser in quality/creativity.
Akon (some rap dude I guess; the poster looks more like an international ad campaign for Poombugar Baniyans) is touring India and is going to be in Bangalore for a concert. Many of my friends and cousins are going gaga over it! I can only do a
The converse had happened when I was all excited about Megadeth’s and Maiden’s visit some years back!

(Pardon my self plug, but here’s a write-up on prejudices and upbringing that I’d written sometime last year.)

Now, when it can be this way for a lay listener like me, it should be quite obvious for a senior composer like IR to be mad at things like this. (Imagine if YSR was to present ‘Yevan de unna pethan’ over a dinner on an evening, IR would quite surely go )

[SoftSword]

got a chance to listen to bavani varugiraa from PS.
the rhythm instrument in interludes and some parts sound like 'pambai' was fantastic and sounds like it was recorded without IR giving them instructions.
it sounded exactly like how the native pambai musicians play it, i mean not just the sound, the complete flow of rhythm.
that is one instrument which i use to hear and admire every year during our local festival...
thanks ir for bringing it raw and live.

[KV]

V_S, same pinch on the Shreya observation (or should we call it obsession!). This girl is certainly a legend in the making! Like Que mentioned, the debate between you and Raagas made an interesting read.
Thumburu, good review there. I thought only the last bit of Malar villile will pass through your scanner! That’s quite a bit more than what I anticipated!
SS, certainly, certainly! Thaara thappatai kizhijifying wrt the native instruments in this album!

[kiru]

Re: raagas observation about loops and such. I think IR given a choice would definitel go for a full-fledged orchestra. But commerical "compulsions" make him use the synths and loops. Yes, there is some contradiction in his personality here. I usually ignore this because these compromises he makes allows him to stay current or still in the running of commerically viable MDs. Recording orchestras is not easy .. with the recording equipment in chennai.. the sound signature is going to come out like it is an old song. This is the reason to go for the synth.. just the texture and feel. If you want to see IR at his comteporary best and live instruments you should the hindi songs in Balki's movies a listen (even some other latest hindi movie had synths). I also feel that the cost of orchestra is misleading excuse. I dont mean to offend IR or some of his ardent fans here - you get better music out of IR the more you pay him
Some big name director with a big budget production goes and pays him ARR salary then that would be an album to watch for.

Re: bias - KV has some good observations on this. I personally think a favorite MD is like a favorite store or brand. You know you will get a deal or more less all the time there. It is quite possible you will get better stuff elsewhere but you have developed a "trust"...yes that is what is is .. trust. Also, major part of it is style. I like the basslines, counterpoints and strings, which very few other MDs seem to indulge in. BTW, I do know some songs are by IR even if they are bad or I dont like them. There is quite a bit of signatures IR leaves in all his songs.

Re: Ponnar Shankar - I dont share the enthusiasm of other posters here as much. I feel it is too experimental is fusing the WCM with folk.Note, even in Pazhassi Raja IR did not force himself to do more WCM. Anyways, this album I think is very experimental with fusing different genres in a different way, including some electronica sounds in thedi vandha devathaiyE. Probably some bait to younger listeners. The recording equipment (studio) seems to be same/similar to the one in Jaganmohini or azhagar malai and even parts of the tune have similarities.
I dont see that many people find thEdi vandha like it as much as I do. I feel it is pretty organic and the tune/lyrics (interesting)/singing/rhythms all have blended well. In the other songs, there seems to be many different parts fitted together but not making a complete picture. Maybe my music sense is not so advanced to take these transitions I should proabably be listeniing to looped songs like "aaRum adhu aazhamillai"

[V_S]

Thanks KV. About Shreya I certainly feel, she should have born atleast some 30 years earlier, so that she would have got to sing some outstanding compositions, as I am not sure in this current whirlwind her talent will be recognized and exposed fully.
I liked you reply to raagas especially on the bias and prejudice. You put it in a better way where I was struggling for words. I know many will not agree on this, but let me try to put it simply what I wanted to convey. Eventhough we are honest with ourselves while review a music, I am not sure we are honest enough to the music being reviewed, because of the unintentional bias already existing within ourselves. Even the terms 'review' 'analysis', 'my take' are subject to dicussion as they all are totally different.

Sorry for digressing so much, but back to IR new albums.

[Sureshs65]

thumburu,

'kannai padithen' does indeed remind you of 50s Hindi melodies. As Usha had mentioned earlier, the tune seems to be inspired by 'hai apna dil to awara'. I had earlier made an observation that in the recent past Raja has been using such melodies as a base and giving them a different tinge. I find the same with the ASK duet, 'aaro paadunnu' from Katha Thudarunnu. I think this is another of his experimentations.

Yes, I think 'malar villile' should be dedicated to our Usha, for she is a great lover of Raja's 'madhyamavathi / brindavana saranga'. And yes, it is indeed a lovely female solo which can rival what he did in the 80s. Wonderful singing by Shreya.