iyappa song was done by praveen mani... also i dont want AR to do prayer songs like that seriously...
or do you want him to use the tune and arrangements of 'Dochey' for a prayer song?? On Sun, Jul 18, 2010 at 6:32 PM, kishore parayath < [email protected]> wrote: > > > EVERYONE forgot ARR's Ayyappa deviotional from BOYS! It was in totally > different. > > > On Sat, Jul 17, 2010 at 11:30 PM, jemsheed <[email protected]> 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 <[email protected]>* wrote: >> >> >> From: AJ <[email protected]> >> 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 <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]<http://mc/compose?to=arrahmanfans%40yahoogroups.com> >> > >> > Date: Thursday, 15 July, 2010, 4:24 AM >> > >> > >> > >> > >> > >> > >> > >> > >> > >> > >> > >> > >> > >> > >> > >> > >> > >> > 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. >> > >> >> >> > >
