Ayaapa was done by Praveen mani.
--- In [email protected], kishore parayath <kishore.paray...@...>
wrote:
>
> EVERYONE forgot ARR's Ayyappa deviotional from BOYS! It was in totally
> different.
>
> On Sat, Jul 17, 2010 at 11:30 PM, jemsheed <jemshee...@...> wrote:
>
> >
> >
> > All these prayer songs 'sounds' simlar.. very easy find.. dont know
> > whasts the prblm in accepting it.. the fans only explains ARR is ready to
> > accept criticism..
> > Using same raga and creating same mood for a same situation creates a
> > repetitive environement.then whats the creativity here... hope next time ARR
> > come up with a different 'type' of prayer song..
> > btb puli is enjoyable, massy, here and there flashes of AR's genius but his
> > repetitions kills the mood.yep,puli for one or two months..
> >
> >
> > --- On *Sat, 17/7/10, AJ <purev...@...>* wrote:
> >
> >
> > From: AJ <purev...@...>
> > Subject: Re: [arr] Blog review of Puli - Qn to ARR?
> > To: [email protected]
> > Date: Saturday, 17 July, 2010, 6:56 AM
> >
> >
> >
> > 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]<http://mc/compose?to=arrahmanfans%40yahoogroups.com>,
> > jemsheed <jemsheed_k@> 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 <catchgops@> wrote:
> > >
> > > From: Gopal Srinivasan <catchgops@>
> > > Subject: [arr] Blog review of Puli
> > > To: "arrahmanfans"
> > > <[email protected]<http://mc/compose?to=arrahmanfans%40yahoogroups.com>
> > >
> > > Date: Thursday, 15 July, 2010, 4:24 AM
> > >
> > >
> > >
> > >
> > >
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> > >
> > >
> > >
> > >
> > >
> > >
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> > >
> > >
> > >
> > > 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.
> > >
> >
> >
> >
> >
>
