master stroke. as Avinash pointed our this is ARRs album for class and mass. lets expect sheer class in JA
On 10/23/07, prani pranesh <[EMAIL PROTECTED]> wrote: > > > > > http://www.indiaglitz.com/channels/tamil/musicreview/8870.html > > > > > *Azhagiya Tamil Magan Music Review* Azhagiya Tamil Magan - Any time music > IndiaGlitz [Tuesday, October 23, 2007] Among the combinations in > Kollywood, Vijay-A R Rahman is rather intriguing as the idioms that define > the duo are totally different, and twain looked unlikely to meet. To be > sure, Rahman had indeed scored music for a Vijay starrer previously. That > was the unsung Udaya, a film that was laid low by many problems. Except the > eponymous title track (and was certainly beguilingly brilliant), none of the > numbers hardly had anything to redeem or remember. Vijay, in the meanwhile, > had become the commercial star and this kind of films demanded 'a' kind of > music, which if it came from Rahman would be disappointing. Rahman's musical > methods are believed to suit a different canvas. > So before settling down to listen to the Azhagiya Tamil Magan songs, the > feeling was rather mixed, and the belief was that something, or rather > someone, had to give. But after a single listen, we are happy to report that > Rahman has packaged Vijay's musical needs in a different flavor. But one > that doubtless will have the Ilaya Thalapathi's fans dancing in the aisles > with gusto. Rahman's genius lies here in the fact that he has not > compromised his core constituency. > The six numbers, including a remixed one, carry that unique Rahman stamp > ---- rhythmic razzmatazz, quaint harmonies and experimental interludes all > creating a symphonic sounds cape. > *1 Ella Puzhal* > The title track in a mass Tamil movie is microcosmic to the overall genre. > It has to have elevating lyrics. It has to have simple but catchy beats. It > has to set the tempo for the scrip to feed on. But Rahman here bucks the > trend. He provides all the necessary rhythms. He has, in a sense, redefined > the 'intro song with a tempo that is reflective without being ponderous. > Rahman's own vocals — in typical nasal high-pitched twang ---- provide a > further newness. The beats are not all-out or in-your-face, but carry > forward Vaali's undoubtedly exalting and ennobling ideas in attractive > packets of snappy strums and bewitching beats. It is not impossible to > imagine what the reaction of Vijay's countless fans whenever the word > 'thalapathi' is uttered in the lyric. > *2 Pon Magal Vandhal* > Rahman, among the music directors, had steadfastly avoided the abhorrence > of remixes. The one time he had to attempt that, Rahman did the honorable > thing of re-tuning it (Thottal Poo Malarum in New), rather than add some > high-octane rhythms to the original and preen to the world as if it is > indeed a 'new original', so to speak. But here settles for the straight > forward remix; the only liberty he takes here is a bizarre rap interlude. > Aslam has sung with his all his energy, and Embar's rap bit also works. But > remixes are not Rahman's. > *3) Nee Marilyn Monroe* > This is Boys song meeting Anniyan. Both in terms of the musical trope as > well in terms of drift of the language. Full of city youth's Esperanto, the > words of Na Muthukumar (almost in bilingual with liberal use of 'Party', > 'Saturday night',' scanning') will have the dancing feet tapping > incessantly. Benny Dayaland Ujjaini sings with that stylized lilt that such > songs are expected to sound. The chorus pattern is interesting and provides > a defining staccato feel. The way 'Nee Marilyn Monroe' is enunciated is > certainly very alluring and provides all the right impact for the song. > *4)Valaiyapatti * > Imagine a rambunctious Tamil folk madly cohabiting. And now, as if for a > lark, throw a bit Carnatic nuggets. What do you get? A song that defies > imagination. It takes musical effrontery to conjure such mix n' match song. > Rahman's brilliance is in pulling this amazing number, on which explanatory > words are ineffective. Naresh Iyer, like a stone waller is being asked to > play the pinch-hitting role in cricket, has been asked to let his curly hair > down and sing with uninhibited effulgence. Naresh does and provides the song > the perfect patchwork. The twist into the by-lanes of Carnatic ragas (like > Bageshwari, Saraswathi and Neelambari) is sheer genius. Ujjaini and > Madhumitha's voices climb the higher octaves with felicitous zeal while > Muthukumar's lyrics again match the mood. One for the album of mind! > *5) Kelammal Kayile* > Saindhavi sounds from just the upper part of the throat. It is a style > that is fraught with risks. But it works to all our amazement. Pray why? The > curious musical arrangement of Rahman and the male vocal of Sriram > Parthasarathy, perhaps the most talented and bankable of young singers > around. The pattern of the number is difficult to grapple immediately. But > as ever, it takes hold of you slowly and before long you are captivated and > traveling inside those lovely musical loops that every Rahman experience > gives us. Thamarai's words carry that love emotion quite effortlessly. > *6) Maduraikku Pogathadee* > Does a mass rhythm song have to be gross and cheesy, and sound soulless? > Need not be. Rahman shows how. This is a folksy number that combines the > resonance of Goanese beats, but is full of robust energy and rhythms that > immediately transports the listeners to, say, rural Madurai. The singers > Benny Dayal, Archith and Darsana voice Pa Vijay's inspired words with an > élan and ease that come to those who want to prove a point. The natural > drift into the rural symphony is a stroke of musical genius. > And Rahman is certainly one. *The audio is available exclusively on > Raaga.com.* <http://www.raaga.com/channels/Tamil/movie/T0001229.html> > > > > > > > > > > > > > > > > > > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > > >
