AJ good stuff man. You are one guy who seems to be able to verbalize and write in this review what I feel, and which I am unable to express so I am completely with you. Thanks for being there !
Case in point; it is now known that we both admire thok de killi...one of the first things I noticed while listening to the song is what you call "tong tong". Isn't it awesome ? I did not know how to express it ! Now, my guess is that the sound is the tabla, and that too the smaller one. Sorry musicians in this group, I dont know what it is called. Please confirm if it is true. If that is indeed the tabla, I would say that is the most clever way of using a tabla ever in such a random fashion in the middle of a song. Ohh man, the small nuances of AR's music ! If anyone can educate me on this, that will be great... Cheers mates ! Ram On Thu, May 6, 2010 at 2:37 PM, AJ <[email protected]> wrote: > > > A while back, I posted a review of Raavan from a very broad perspective and > angle, highlighting what I thought were strengths and weaknesses in the > album and trying to put the album within the context of ARR's musical > career. I feel I have now heard the songs enough times to generate a more > detailed review/analyais of each track, including the Tamil version. I > apologize for the length in advance, as this is pretty long. > > 1) Beera/Veera > This character based track oozes with spirit and spunk. I love the > African/Tribal sonic theme of this track, hearkening to our primitive and > ancient roots as the main character's pride and pomp is showcased here in a > very colorful and entertaining manner. Beautiful percussive rhythms > sustained in a groove that is extremely infectious and riveting. The tamil > version features a brighter and louder ghugru track in the beginning with > increased bass volume during the ARR sung "Uh Ee Ee Ee Oh" part. The Tamil > version also features a funky bass line that is muted in volume in the Hindi > version. Similarly, I noticed a warm pad sound chordal sequence that is > higher in volume during the first chorus in the Tamil version, whereas it is > almost muted in the Hindi version. The xylophone/vibraphone based music > interlude sparks the imagination of a jungle/forrest backdrop full of frolic > and freedom in both versions, while the Tamil version has an extra counter > melodic upper bass pattern that is not heard in the Hindi version during the > same interlude. The animal sounds only add to the fun spiritedness and truly > enable one to visualize the cinematic backdrop. Keerthi Sagathia's injection > during the Antara only adds sweetness and depth to the "dhana dhan tan" > parts. The chord sequences during the choral sections are very pleasing, > accentuated by some beautiful, bright guitar strumming, adding a shiny > overture to an already sparkling oeuvre. The singing is extremely well > executed by Vijay Prakash and company, including Mustafa, who is singing an > entirely different style that we have heard before from him. I bet they had > a lot of fun recording this number. A bit too short in length this track, > but boy does it pack tremendous energy and groove. An amazingly feel good, > peppy, energetic, fully exotic, colorful number that will also be popular > with children. > > 2)Behene De/Usure Pogudhey > Karthik deserve to win best male playback singer award for both versions in > my opinion, and the year is still young. Superb, passionate execution on his > part and one can really feel the emotions that Rahman wanted to convey > through his smoothly textured voice. This track to me is like a hybrid with > Hollywood background score meeting Bollywood Sufi film song. Emotionally > high in intrigue, mystery, and longingness with a touch of anger, > accentuated by the distorted electric guitars which are never overdone, this > track is the album's heavyweight champion based on raagas Bhairavi and > Basant Mukhari loosely. The first minute of the track sets the tone with an > amazingly haunting prelude full of beautiful string chordal sequences and > bright, crystal clear bells with a vibraphone/drum backdrop loop, once > again, emphasizing the primal/raw/earthy consistency of this soundtrack. The > string interlude is equally impressive with complex, negative emotions being > communicated and having an abstract fee akin to a hollywood background score > for an epic film. Notice the brooding short, but powerfully noticeable low > octave string rhythm that comes in and out from right to left in the stanza > following the first music interlude. Towards the end, what a culmination of > synth, strings, percussion, electric guitars as the song evolves into a > climax. Notice the sprawling synth sequence before the outro that only > electrifies an already intensifying and passionate plea, further enhanced by > a low, edgy bass synth section and a sinister electric guitar track. The > ending choral sequence is in pure epic form with a chord formation that is > both haunting and tragic in mood and feel. Yes, the word "tragedy" came to > mind when hearing this outro explosion and what an amazing impact it had on > my senses and spirit both, totally capturing me in its process. It's > goose-pimples all the way for me from the very first note to the very last > in this track, which to me, is one of ARR's finest tracks ever. The Tamil > version (Usure Pogudhey) I feel expresses the feelings a bit more powerfully > than the Hindi version, but overall, both tracks stand equally tall in my > esteem. What a punch, what an impact, what a groove, what a monster of a > track! > > 3) Thok De Killi/Kodu Poatta > Style and attitude come to mind in this very punchy track that's on a > mission. The emotions conveyed speak of some inner conflict while searching > for direction, a mission that needs execution. Love the loopy/punchy > distorted electric guitars in this one throughout this highly percussive > dominated number. Yes, it's the multi-layered percussion that stands high > and tall in this number with amazing sonic quality and crispness that is > once again highly energizing and groove oriented. Notice the "tong tong" > sound effects that bounce left and right between speakers every now and then > amidst a host of other beautifully crafted, earthy, ornate sounds and stereo > and echo effects during the main stanzas. Also notice the short flute octave > interjection by Naveen at times, only adding to the haunting, once again, > mysterious/intrigue feel. The first musical interlude is amazing in its > tonal shift, using major chords for a change along with a Kerwa Taal rhythm > change and utilizing a Shehenai melody that is very pleasing and folksy. > Love the string synchronization in unison with the main melody during both > the Antaras once again, like its predecessor, based on raagas Bhairavi and > Basant Mukhari, two of my favorite raagas. The pomp/folksy brass > announcement during the second interlude followed by a Middle Eastern tinged > string rhythm section along the lines of "Spirit of Rangeela" are just > beautifully executed, followed by a no less impressive haunting, but short > duduk based interlude, once again, haunting and mysterious. The outro has > this beautiful shift to double the time signature allowing for a frenzied > finish to a very intense, trancy, passionate, stylish, punchy, edgy, folksy, > mission oriented track that is equally impressive in both versions. As > pointed out in another post, the Tamil version of this song is 24 seconds > shorter due to one stanza being omitted. > > 4) Ranjha Ranjha/Kattu Sirukk > Old world charm melody enters the foray in this very catchy and once again, > folksy number with a sonically modern feel. The things that stands out most > for me in this track are the beautifully layered soundscape textures and > chordal sequences utilizing various string mods and synth based pads. Each > chordal sequence is so fluidly executed to squeeze out every drop of emotion > intended for this song, with a beautifully sampled, carefully inserted > stereophonic loop of Rekha Bharadwaj's voice in mildly distorted form only > adding to the tonal and sonic architecture. Driven by a pretty neat techno > synth rhythm section along with drops and punches of various sound effects, > this track is very haunting and very concentrated emotionally. Notice the > bass line that sets in comfortably just prior to the first music interlude > adding another layer of depth and nicely rounding the high treble/high range > emphasis of this highly textured track. The use of Shehenai and Santoor are > craftily used during both interludes with Anuradha Sriram's voice being > displayed like another sonically textured instrumental track during the > second interlude. The first interlude sounded a bit discordant at first, but > I'm not used to it as ARR has used a very unusual harmonic sequence there. > Also, notice the rhythmic/strumming acoustic guitars in the second interlude > as well, adding style to substance. Both versions are equally impressive > musically, although I preferred Rekha's singing to Anuradha's, though I > didn't mind Anuradha's rendition as much as some have expressed. I though > Anuradha sang in a very distinct Carnatic style that is regionally suited. > Both Shakar Mahadeven and Javed ali are impressive in their singing with > Shankar taking more liberties to add gamaks and other semi classical > variations to the main melody. The contrast between the high pitch female > voices and string/pad sections and the low pitched bass and male voices > creates a well rounded aural experience. If Karthik deserved the award for > best male playback earlier on, then it's Rekha who deserves to win, once > again, best female playback for Ranjha. > > 5) Khili Re/Kalvare > These type of songs from ARR totally melt me........totally make me weak in > the knees and only make me bow further down to the musical Maestro. Old > world melody, soothing, sweet, delicate.... Both versions showcase one of > the most beautiful melodies I have heard in an Indian film album in a long > time. The melodic contours are extremely fluid and lilting, nothing jarring, > nothing at all out of place. The smoothness of the melody progresses so > beautifully throughout the song, like going down a slow and serene winding > river amidst a beautiful landscape. AR starts out the song with this > beautiful, earthy, delicate rhythmic loop filled with sprinkles of high hat > drum sounds, ghungrus, and an oud sounding base sequence. Naveen compliments > the melody so beautifully throughout the track with his flute insertions > that only add sweetness and depth to the song. The only musical interlude > features a mindblowing Kathak based semi classical rhythmic section > accentuated by an old world based choral arrangement that is simply charming > and reminds me of the music of Naushad...classy and evergreen. Oh, and who > can forget the beautifully inserted Erhu piece towards the end that adds > such a distinct harmonic effect to the existing melodic line? What a classy > touch to add this Chinese based instrument, which is an aural delight if > noticed. Rahman's use of various raagas to capture the feelings is just > outstanding and I love it when he inserts some Komal swaras, a couple of > times during the antara, and twice near the end to only add depth and mild > variety to the melody sequence. This song should have had another antara, > but alas, we must not complain too much and just be happy with what we're > given. Rahman, only you have the touch to compose a song as delicately as > this one and with an old world charm melody that in my mind, would make > Naushad proud. You are truly the old world melodic torch bearer. Both > versions are equally impressive to me and Shreya and Reena sang extremely > well, though Shreya may have communicated a bit more emotionally with higher > tonal weight. > > 6) Kata Kata/Keda Kari > What a way to finish this album with a flourish of folk and rusticity > highlighting a marriage celebration with of course the teasing and taunting > of the groom! Beautifully crafted and unconventional in structure, this > track in both versions are uniquely appealing to their respective regions > and it's amazing how AR modified both tracks to suit the local tastes. While > Kata boasts of a Rajasthani folk based main melody along with Shehenai > during the interludes and backdrops, Keda Kari uses a unique Carnatic style > of choral singing along with the complimentary Nadaswaram instrument. > Earthy, raw, jubilant, colorful, energetic, and full of frolic, both > versions are such unique compositions and only someone as versatile and open > minded as ARR could compose a track with 2 versions that uniquely suit local > folk cultures. I found Kata to be a bit more melodic in flavor, while Keda > Kari had more energy and fun spiritedness, in relative comparison. All > singers in both versions deserve applause. I love how the songs just build > up gradually, adding layers and layers of percussion culminated by a > beautifully infectious and captivating rhythmic Oud performance. The outro > with the jubilation, celebration, folic and frenzy sounds with increased > tempo and intensity is only icing on an already rich, colorfully rustic > track. > > So, there is my quite long review and I appreciate you having read it. > Raavan is a short, but sweet masterpiece that displays music we don't > normally hear in bollywood these days, which comes as a refesher and > stimulates my love for all things earthy and folksy. We can't expect to hear > a bunch of lovey-dovey smooth, feel good, easly listening numbers for a > movie like Raavan and remember, ARR is not doing private albums....it's > music for films and the music has to match the film's mood/theme/plot. > Rustic India is the true India in my mind and this album, both versions, > capture that essence beautifully. Yet, the sound is very international in > scope and range, bringing unusual fusion combinations that may not be > universally appealing...which is fine by me. Not every ARR album has to > satisfy everyone and I'm so glad ARR experiments like this........further > pushing the envelope and broadening his musical resume. In the process, he > is encouraging us to be open minded about music in general, to try and > appreciate music of different cultures and regions and to help expand the > definition of acceptable and likeable music in India. Remember, Rahman once > said, "I don't give music that people want, but what they need." Yes, this > will be met with resistance, as we can see from the comments on the net. > But, it behooves us to look at this album from a larger perspective of > Rahman's career, that despite its unconventional and edgy nature, which is > required for a film of this style and mode, Rahman's music still continues > to amaze, surprise, impress, and expand. It's the music like we hear in > Raavan that has enabled ARR to achieve Oscars and Grammies, for if he stuck > with a tried and tested formula over the years that was safe and 90s > sounding, his legacy would have been diminished and he would not be > internationally recognized as he is today. > > >
