Kangalal Kaidhu Sei by Bharathiraja
On Tue, Aug 11, 2009 at 10:23 PM, snlavanya <[email protected]> wrote: > > > sorry for such an absurd question but can anyone give me the name of the > movie of this song.....coz i didnt/couldnt listen to ALL the Rahman sir's > compositions in Tamil...especially the 90s...so please oblige...thanks! > > Jai Ho! > Long LIve ARR!! > > --- In [email protected] <arrahmanfans%40yahoogroups.com>, > "taimur.nadeem" <taimur.nad...@...> wrote: > > > > Hi everyone, > > Now i present the review( its done by SWAPS) of the most beautiful and > the most sweetest song of A R RAHMAN. this song gives me a feel which i just > cant communicate.this song is a pinnacle of a r rahmans musical wizardry.its > a timeless classic. a song that is heard once in a life time . The review > completely narrates the song and tells how splendiferous it is. Music itself > would be stunned that how beautiful it could be, thanks to A R RAHMAN . NOW > Here we go > > > > > > Ennuir thozhiye (Unnimenon, Chinmayi; lyric by Pa.Vijay): > > > > If I go over the board praising this song, I mean it in every sense & > with full confidence. This song deserves every bit of praise. The Rahman > magic works wonderfully here. After listening to the song, I was assured > that all those who requested ARR to compose like his vintage days, will stop > complaining. This song has the 'Roja' sound- the freshness of Roja, the > experimental nature of Thiruda thiruda, the uniqueness of Bombay & the > simplicity of Pudhiya Mugam. I've rarely heard such a beautiful & sweet song > in my entire life. Each line of the song is like a honey-drop. > > > > The song opens with ARR's solo piano. The sound of the piano is > scintillating. ARR attempts a jazz like treatment while sticking to the > roots of the main melody. The song is based on the pentonic Raga Durga > (Shuddha Saveri- Sa Re Ma Pa Dha Sa), which is premierly used by Rahman. The > strings (cellos & violins) support the piano. The piece goes on for about 30 > secs & u already crave for more. Its like an alaap any singer starts before > performimg a raga in a classical concert. He sets the mood of the song with > his magical fingers. The rhythm is set by the heavy bass guitar accompanied > by the accoustic guitars. > > Unnimenon sings the lines 'Ennuir thozhiye'. Unnimenon's real genius > comes out in this song. He comes out of the Yesudas mould to deliver an > original. The bass guitar used towards the end of the lines reminds me of > the title song of Enswasa Katre. Suddenly, the melody shifts to build a > musical crescendo. The piano glides over the notes with the cymbals to > create a western symphonic sound, employing totally different notes (Ni Re > Ga Ma Ga, Re Ma Ga, Re Ma Ga, Re Sa Sa Pa Pa Re, the underlining denotes the > notes of the lower octave). The percussion arrangement is also of a western > nature. Unni returns to sing the pallavi in Raga Durga. The composition is > very smooth. It explores the essence of the raga. After 2 lines, the song > changes (as the previous music changed). The lines r 'Ineeyavale...' which r > sung in a higher pitch. > > The 1st interlude is very unique. For once u feel, how beautiful the > violin sounds! But no, its not the violin, its vocals. Chinmayi humms the > taanams flawlessly. Its done so beautifully. The piano follows her, when at > times just glides from the upper notes to the lower ones as if a river is > flowing. > > The 1st charanam belongs to Chinmayi. She does a fantastic job. Her voice > seems so fresh & calm! The opening lines of the charanam 'Ottrai jadayil..' > r very catchy. The beauty lies in the way it has been composed. Listen to > the 2nd line 'enathu kalla sirippazhagil...'. It beautifully drops from an > upper note to a lower one. Immediately, the very next line picks up from Sa > Re, Re Dha, Dha Re` (Kattidithe thangam imay paarthathundaa...sign ` denotes > the notes of the higher octave) with the strings. This really pours in the > tenderness & subtleness in the song. After the lines 'Oru nanjam undu...' u > can hear the violin plucks (another favourite ARR style). Lastly, the > charanam ends with a rather cross-treatment of notes like > Sa`-Pa-Dha-Ma-Dha-Pa-Ma-Re-Sa (Poo-Poo-en-aasai-theernthathu). Unni returns > to the pallavi. > > The 2nd interlude starts with a moorsing-like sound & then pan-flutes > enter (both reproduced electronocally). The pan-flute piece resembles a lot > like the 1st interlude of 'Thengizhakku cheemayile' from Kizhakku > cheemayile. These types of interludes remind u of golden ARR days. The > pan-flutes were a common feature then. There's this percussion with heavy > bass (dont know the name) which appears in the 2nd interlude & continues > till the end. Its played after every 4 counts. Its the kind of percussion > used in 'Chinna chinna aasai' from Roja. Coming back, The 2nd charanam is > identically same, only difference is that both the singers distribute their > lines. The string arrangement is more evident here. Interestingly, when > Chinmayi sings the lines 'Endhan seviyil sinungukiraay', u can hear the > pan-flute in the background which does not follow the Durga pattern; instead > it uses a shuddha gandhar. U'll have to hear it very carefully. > > In the end, both the singers sing their parts of the pallavi. Unni wraps > up the song by extending the word 'enna enna' in a typical classical finale > fashion, i.e. in alaap. This song is an absolute treat to listen. It caught > my interest from day 1. It can be listed in ARR's best composed romantic > sons ever! Singers+Composition+Arrangement+Emotions+Appeal= Full Marks! > > Rating: ***** (Can I over-rate it???) > > > > do write your comments > > > > regards, > > > > taimur, > > karachi, > > Pakistan. > > > > >
