its the same tune ? what have you been listening to buddy ? On Thu, Jul 15, 2010 at 7:55 PM, jemsheed <[email protected]> wrote:
> > > Straight qn to ARR? > Should there be only one tune, when a lady is praying to the God? Why does > Rahman repeat the same tune be it in Lagaan, Swades, Jodha Akbar > (interestingly all Ashutosh Gowarikar films), Connections and now in Komram > Puli? > > --- On *Thu, 15/7/10, Gopal Srinivasan <[email protected]>* wrote: > > > From: Gopal Srinivasan <[email protected]> > Subject: [arr] Blog review of Puli > To: "arrahmanfans" <[email protected]> > Date: Thursday, 15 July, 2010, 4:24 AM > > > > http://life- n-coda.blogspot. com/2010/ 07/komaram- > puli.html<http://life-n-coda.blogspot.com/2010/07/komaram-puli.html> > > It’s been a long time since Rahman played to the gallery. He tried it in > Blue and other recent ventures of his only to be caught between > experimentation and cacophony. With S.J. Suryah, Rahman did get back to the > balance that he used to maintain in his hay days of commercial cinema where > the songs regardless of the experimentation were always foot tapping and > catchy, pleasing everyone. Though the audacity of the director to don the > grease pant was frustrating, it was sheer pleasure to witness them on silver > screen with all the gloss and not the mellowed down situational ones where > the songs were pushed to the background. But with Komaram Puli we will get > to see Pawan Kalyan so the visual segment of the song will surely be > entertaining. And the songs? Lets get to them one at a time. > > Power star (Vijay Prakash, Tanvi Shah) > > Techno songs are always not easy on ears. With Rahman at fore we know with > the kind of experimentation (ring tones, car crash et all) it is bound to be > bizarre. It starts with the drums beating to the well known police theme in > Arabic influence fused with synthesized sounds creating and eery feel > whispering ‘power star’. It’s a cocktail of sorts after that, when the ream > of lyrics patronizing the ‘Yuva star’ moves from the electronic feel to > folkish style, backed by the genre trademark ‘organ’. Any hero worship song > from Rahman is not complete with the “hai hai” sound and here it is combined > with “blue blue” cry, reminiscing us of the blue theme. The beauty of this > cocktail is that after getting the grasp and when the familiarity sinks in, > the peppy adulating lyrics and the intricate modulations especially whenever > Vijay intensifies the mood as he acclimates to the top scale, grabs our > attention. > > Amma thale (Naresh Iyer, Swetha Mohan) > > There is the celerity and then the melody. It seems to be repeating in > loops. So what is this song? Doesn’t it sound like it was poorly tacked > together? If you stop right there, then you are going to miss something > special. As we take that notion away, the celerity becomes a breathless > travel into the nooks in whips, pacing our heart only to be soothed by the > melody. But the melody now doesn’t remain only that; it becomes more of a > funny retaliation to the rambling antecedent and the fun increases with the > curt notes of the violin & trumpet. So what if the celerity is borrowed by > “thee kurugiya” song from Kangalal Kaithu Sei with heavy accent from > “markandeya” of New; when each complete note of that saranam layered using > different instruments, attention turns to the variation that Swetha brings > to the note joined later by Naresh. Though Naresh intensifies the tune to a > great level, the “na nana na” hampers the flow, only to be saved by the > faithful trumpet with which Naresh swiftly transforms the song into a > classical one at the coda. > > Maaralante (A.R.Rahman & KMMC Choir) > > Maaralante is a double treat in that it will become the anthem of > Andhravalas and as a song that will become the identity of Power star for > the rest of his life. What is with Rahman and patriotic songs? When he sings > them, even the average tune raises goosebumps and with lyrics which > highlight the importance of change, the impact is even higher acclimating to > greater heights when he touches the top note for rendering “maa telugu > thali” backed by the cherubic choir; reminding us the “mannipaya” of VTV > effect. Rahman takes the song to the next level when he increases the > tension using carefully arranged instrument in the other half of the song, > which when we thought was the best it could get to, knocks us out with the > superb placement of Chandrabose’s punch line as the finale. > > Maham Mahamaye (Javed Ali, Suchitra) > > Sometimes we just have to hand it over to the guys behind the microphone > and let them enthrall us. Even though Maham Mahamaye seems to be Shankar > Mahadevanish, Javed Ali gets into the groove and comes up with a rendering > that is packed with passion and gusto. The consistently flat Suchitra is > beautified with disciplined singing that falls between zeal and childish > joy. The alternation between staccato and the melodic note of the pallavi > that the singers perform in the later part of the saranams, the majestic > symphony in violin and the confluence of these two towards the finale ends > the song in a content note. > > Dochy (Shreya Ghoshal, Lady Kash 'N' Krissy) > > Gangster blues seems to have become police blues for this club number. The > rustic & erotic mood initiated by Krissy carries over to Shreya Goshal which > she blends well with the wiggling setup of the notes leaving us in trance. > The way she renders lowering notes of “aashalatho anveshanatho aapai aapai > adigai” and then climbs higher only to touch down safely into our heart, > makes us forget that this is just an item number. The Arabic orchestration > with organ sneaking in between at equal intervals under the aegis of > synthesizers takes us to an elevated state; not to mention the firing sounds > and the prickling guitar that fills the entirety of the song. > > Namakame (Chitra, Madhushree, Harini) > > Should there be only one tune, when a lady is praying to the God? Why does > Rahman repeat the same tune be it in Lagaan, Swades, Jodha Akbar > (interestingly all Ashutosh Gowarikar films), Connections and now in Komram > Puli? Lack of novelty apart, the choice of different voice whenever there > is a change in the notes and different combinations of them makes the age > old song intriguing and when Chitra takes over with an alaap backed by mouth > organ like sounding trumpet we are sent back to the Duet days. > > > > -- www.gomzyphotography.com
