They are not the same tune, but similar raagas and similar moods. All these devotional songs do not share the same tune.
--- In [email protected], jemsheed <jemshee...@...> 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 <catchg...@...> wrote: > > From: Gopal Srinivasan <catchg...@...> > 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 > > > > Itâs 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 âpower starâ. Itâs a cocktail of sorts after that, when the > ream of lyrics patronizing the âYuva starâ moves from the electronic feel > to folkish style, backed by the genre trademark âorganâ. Any hero worship > song from Rahman is not complete with the âhai haiâ sound and here it is > combined with âblue blueâ 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? Doesnât 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 doesnât 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 âthee kurugiyaâ song from Kangalal Kaithu Sei > with heavy accent from âmarkandeyaâ 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 âna nana naâ > 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 âmaa telugu thaliâ backed by the > cherubic choir; reminding us the âmannipayaâ 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 > Chandraboseâs 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 âaashalatho anveshanatho aapai aapai > adigaiâ 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. >
