his = Mustafa Kutoane On 8 May 2010 10:48, Prabhu Rajagopal <[email protected]> wrote:
> From the googling I did, I found his name mentioned in a review of Jiya Se > Jiya (http://chennai365.com/news/a-r-rahmans-connections/) .. So looks > like he was part of the cool drummers in that video/song from Connections > > > > On 8 May 2010 08:26, ARRvind <[email protected]> wrote: > >> >> >> A very inspiring write up...AJ!!! You simply rock!!! >> >> However..you say..u ve never heard that type of rendition by Mustafa...has >> he sung before for AR or anybody, by the way? >> >> If you are mistaking him with Aslam Mustafa of "Ponmagal Vandaal" (ATM) >> fame...then he is NOT the same person..! Mustafa Kutaone is altogether a new >> name in the AR's dynasty of singers!!! >> >> --- On *Thu, 5/6/10, AJ <[email protected]>* wrote: >> >> >> From: AJ <[email protected]> >> Subject: [arr] My song by song review of Raavan/Raavanan >> To: [email protected] >> Date: Thursday, May 6, 2010, 7:37 PM >> >> >> 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/vibraphon e 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. >> >> >> >> > >
