dazzle music by ar.rahman in this film
--- On Fri, 7/25/08, Anil Nair <[EMAIL PROTECTED]> wrote:
From: Anil Nair <[EMAIL PROTECTED]>
Subject: Re: [arr] Sakkarkatti review - blogger Qalandar
To: [email protected]
Date: Friday, July 25, 2008, 6:10 PM
Bharath,
For the updated and confirmed listing you can always go to ARR's official site
....
http://arrahman. com/ - check the discography section - these are the ones
where ARR has signed the dotted line.
The site lists these as the forthcoming projects .....
Hindi
Yuvraaj
Ghajini
Dilli 6
Blue
Tamil
Sultan
Chennaiyil Oru Mazhaikalam
Robot
Marmayogi
Telegu
Puli
Apart from these I think the Wikipedia page will list some more projects -
but those are all unconfirmed
http://en.wikipedia .org/wiki/ A_R_Rahman
-A
On Fri, Jul 25, 2008 at 2:53 AM, bharath kumar <bharath_kumar469@ yahoo.com>
wrote:
Hi All,
Can any body please tell the feature projects of guruji....plzzzzzzz zzz
--- On Thu, 7/24/08, Anil Nair <rhythmcalls@ gmail.com> wrote:
From: Anil Nair <rhythmcalls@ gmail.com>
Subject: [arr] Sakkarkatti review - blogger Qalandar
To: arrahmanfans@ yahoogroups. com
Date: Thursday, July 24, 2008, 10:43 PM
I like this person's reviews ....his reviews feature on naachgaana.com as well
....
the last line especially is a gem of a line ....."But why compare, when, like
all good Rahman fans, one ought to have both?"
Music Review: SAKKARAKATTI (Tamil; 2008)
As I arrived home today to find the Sakkarakatti CD waiting in my mailbox, I
was struck by the fact that even thirteen years after I first encountered the
sound of A.R. Rahman, even when the soundtrack in question is not associated
with a Mani Ratnam film, and promises to be, most assuredly, a "minor" work in
the context of Rahman's oeuvre, my excitement when unwrapping the album remains
undimmed. Some of that is obviously because Rahman -- even "lesser" Rahman --
speaks to me in a way no other Hindi or Tamil composer does. But much of that
is also due to the fact that even "minor" Rahman contains gems, the sort of
musical passage that rears up to dazzle the listener when least expected. And
much of the excitement is undoubtedly due to the fact that it is often
precisely in Rahman's "lesser" work that one encounters the nimble sense of
play, the occasional cheekiness, that once made him the most light-footed of
all of Indian popular cinema's titanic
presences.
On that front, Sakkarakatti does not disappoint: it isn't pathbreaking music,
but it is, quite simply (and provisionally, given these are early days for me
where the album is concerned), an immensely enjoyable, even satisfying, album.
That the master should have it in him to compose a soundtrack so high on the
fun quotient just a few months after the ultra-sober (perhaps even staid)
Jodha-Akbar speaks volumes about not just Rahman's versatility, but indeed to
the composer's need for "smaller" projects. These days, these projects might be
among his few opportunities (Shankar's films always excepted) to let his hair
down. [Aamir and Murugadoss, I hope you are paying attention.]
Taxi...Taxi. .. is on the face of it downright silly, a pastiche of neo-hip
hop, ragamuffin, and some desi tapori. But its ponderous percussive beat, in
contrast to the somewhat drunk quality of the vocals here, that is to say its
sheer catchiness, makes it downright irresistible. And there are some moments
of genuine zaniness here: from Viviane's French lyrics (delivered in a voice
that is nothing if not saucy) to the childishly high-pitched
"Mamamamamamamamamam aMAMA" refrain, to the incongruous Middle Eastern strains
littered over the song. This will never be a great song, but its refreshing to
see Rahman hasn't lost the ability to poke some fun at himself.
Marudaani following on the heels of Taxi...Taxi. .. seems to be the sort of
formula that had Munbe Vaa follow the catchy Kummi Aadi on the Sillunu Oru
Kaadal soundtrack. But irritation at creative laziness aside, Marudaani is a
surprisingly enjoyable song. There's certainly nothing new about this
Madhushree (for the most part) solo, and we've heard Rahman croon many many
times before -- and yet I was simply unable to resist this song as much as my
brain felt I needed to. Old wine in a new bottle? Assuredly. But stale? Far
from it: more like one that becomes familiarly mellow with age.
The third song on the album is a rarity in Rahman's recent Tamil work, namely a
relatively quiet, almost reflective nocturnal song -- or at least as reflective
as a song called I Miss You Da can be. For those who found Sillunu Oru Kaadal's
Machakaari too busy, and the same film's Majaa too, well, silly, I Miss You Da
is the perfect antidote: it is far simpler than many of Rahman's nighttime
songs, but nevertheless one takes it seriously, even on a first listen --
perhaps the result of Indai Haza's forlorn "Yevanay" refrain that recurs over
the course of the song; or perhaps because Chinmayi's vocals are recorded at a
louder level than one might expect, almost as if she were insisting in one's
ear.
If handsome could be a song, then surely the dashing Elay would be it: part
tribute to the now-past Urvashi Urvashi era of Rahmania, yet all very much
contemporary Rahman in its lush orchestration and assured instrumentation, Elay
displays whiffs of a younger, more playful Rahman, but for the most part the
urge to experiment is represented here with relative abstraction, reflected in
the composer's easy assimilation of a wide array of influences into a
recognizably Rahman signature, rather than by means of the instinctive energy
of his younger days. There's no reason to complain: the season might be
different, but the clarity of the Master's voice shines through just the same.
Rahman covers a surprising amount of terrain here, from the peppy opening that
brings to mind Roobaroo from Rang De Basanti, but veers off into a more raw
vocal direction, while introducing jazzy riffs and even fiddler strains with
seeming carelessness. Krish and Naresh Iyer's
stolid vocals ground this song, but the music suffusing their words is of a
different mind: it wants to soar.
Last but not least, the album recycles two songs from Meenaxi, Ye Rishta into
Naan Epoudhu and Chinnamma into a Tamil song of the same name. The former is a
straight re-do (even to the point of Reena Bharadwaj's voice), but the latter
is, ah, very far from anything denoted by the term "recycling." For through it
one gets an insight into how the Tamil masala side of Rahman's brain refracts a
tune, a soundscape, he's been living with for quite some time. The result lacks
the poise of the Meenaxi number, but more than makes up for it with greater
energy, and even -- dare one say it, given how good just about everything in
Meenaxi is? -- greater personality. Some of this is undoubtedly the result of
Chinnamma's Tamil avatar being a love duet between the expressive Chinmayee and
Benny Dayal, as opposed to a Sukhwinder Singh soliloquy, but there's more: the
instruments seem more hurried, more assertive, more urban. If the Hindi
Chinnamma was bucolic in tone,
this one sounds a bit more urban -- and all the while exceptionally well
served by the alliterative Tamil lyrics. To this non-Tamil ear, the greater
alliteration permitted by that language suits this tune better than the
Hindustani of Meenaxi's version. But why compare, when, like all good Rahman
fans, one ought to have both?
http://qalandari. blogspot. com/2008/ 07/music- review-sakkaraka tti-tamil-
2008.html
--
-A
http://viewsnmuse. blogspot. com
--
-A
http://viewsnmuse. blogspot. com
