I actually don't particularly disagree with IR's views on the usage of computer technology in IFM. But just saying that the 80s IR probably wouldn't have given a shit about what the other composers were doing. With Shamitabh, there are indications that he may be getting back to that frame of mind. But it may be a one off and I could be wrong, let's see.
You guys have to check Santosh Narayanan (orchestra/intruments/etc.). With my limited knowledge, but still I conclude that after IR I see only him using the Bells efficiently. He is just fabulous in both the production and setup. For me a wait was terminated by his arrival and I often seem to pick several new arrangements and recording techniques in his work.
Could you suggest specific tracks? I was checking out a few of his compositions and cannot say I found the arrangements particularly complex but maybe I didn't hear the right ones.
Quote:
Originally Posted by mappi
In terms of quality of melody, Santosh Narayanan is heads and shoulders above many, including ARR - and perhaps even IR wrto to some of IR's recent compositions.
SN complements his basic melody with excellent orchestration, that is more in whole/holistic than any from his generation.
Crimson King,
I recomend songs from the movie Cuckoo. The songs are basically an extended hangover with IR songs through Santosh Narayanan. I found the rythms quite complex (eventhough my knowledge on the metrics and formulas is close to none). I found the meters quite complex viz à viz the presentation of the songs. For instance (just a few) :
'Potta Pulla', the flute quite syncing in with the varying rythms.
'Agasatha', with Sean Roland vocals and the keys interrupting the violins.
'Manasula Soora Kathey', again a charming flute included with computer music which you don't get to notice atall.
'Yenda Mapla', Santosh is the only person who uses Gana Bala intelligently (Listen to the Dhinakutha from Pizza). I like folk songs, and this one was unique with unconventional rhythm and suprisingly the use of jazzy keys inbetween. Ofcoarse bringing in an auto tune will be quite obvious that permits anyone to see the difference.
'Kodaiyile Mazha Pole' with amazing vocals and the tune changing within itself.
'Kalyana Kalyanam', I liked Anthony Dassan vocals, the heavy beat and the nadaswaram - a mixture that asks for attention.
I was suprised with this album coming out from nowhere having all the qualities of IR. With limitations of vocabularies, I cannot efficiently express more about this quality product. But I feel Santosh Narayanan does peak my interest a lot, only next to IR.
I have heard Cuckoo songs and frankly they didn't hold my interest much. But I am willing to try again, sometime soon. Let's see. Likewise, while I thought the music of Thegidi was nice, I wasn't overwhelmed again. The melodies are nice, maybe, but harmonically not very interesting.
OK, heard Potta Pulla through to Manasula. Good stuff, but as was my initial impression also, no real surprises for me. I don't listen to IR's music so much for just melody but also his ability and willingness to throw off the listener with unexpected changes.
If this was an IR album, it would have been labelled dated, stuck in the 80s, etc etc. Unfortunately, Raja's capacity to keep churning out great music like a machine is taken for granted by now and perhaps that's bound to happen with anybody who composes for a 1000 films. However, yes, I am happy to hear another composer trying to emulate IR's style with some original input and not blind imitation.
Quote:
Originally Posted by crimson king
Its not that there are complaints abt IR being dated.
its more to do with the fact that SN is proving himself to be a refreshing change amongst the current generation of composers (besides Ghibran and to some extent, YSR).
SN's focus on the production quality irrespective of the genre he is handling, makes every track very nice on the ears.
We need a director who will stand his ground in demanding some eclectic stuff from IR that is also brand new - along with top notch production quality.
The next time a director approaches IR and instead of adamantly insisting on something new and creative, is either content with whatever IR gives, or requests for a repeat of an earlier tune, that director should be sent to Mars as a test subject - with a collection of Justin Bieber CDs - as punishment, ahead of future Mars human missions.
I am not making those comments specific to anything said on this thread but a general observation on how listeners seem to react to IR's music. It was said even of NEPV that it was just 80s IR dressed up in modern production. And yet Kumki was widely hailed as the album of the year, even though Aiyayo evokes 80s IR more blatantly than any track on NEPV. Perplexing to say the least. I think people need to step back and ponder whether it is really all the accumulated baggage of memories of past IR classics, more than anything, that gets in the way of appreciating what he does these days. Sure, production may at times be an issue as also the singer selection but I don't seem to remember either of these getting in the way of hailing a composition like En Vaaniley or Deiviga Raagam, any number of Jency tracks really. Malaysia is hailed as 'unique' or 'inimitable' instead of simply calling it like it is but hey, it's the 80s factor at work again. People may rave about a track like Thendral Vanthu Theendum Pothu now but the reception it received at the time of its release was far more mixed. History repeats.
Synths, computers, loops, etc. are just tools that can either be used well or used poorly, depending on who is using them. They're not magic boxes that automatically produce great music. In the hands of capable composers and programmers, electronics are capable of producing some evocative sounds and soundscapes not possible with acoustic instruments.
I didn't grow up listening to a ton of 80s IR music, so I am still discovering a lot of those gems, but there are some 80s albums that I have recently heard for the first time and listened to over and over as if they were brand new albums. Perhaps I have the baggage of liking the overall 80s IR sound, even if don't have the baggage of those specific albums.Quote:
Originally Posted by crimson king
Which is part of the problem and I don't know that either the listener or Ilayaraja can do much about that. People are indeed attached to the 80s IR sound and (a) they find it difficult to accept anything else from him and (b) at the same time, don't want to be reminded of his old compositions when they listen to the new ones. It's a battle he can't win!
my retake on Shamitabh:
sha sha mi mi - interludes are class!
I wish a director with a good taste for music in Bollywood works with IR and demands fresh music and not like Balki requesting rehashes.
:exactly:Quote:
Originally Posted by Dragun
Last week downloaded from Itunes...Uravadam Nenjam- Oru Naal unnodu oru Naal :omg: getting mad after countless listening and sound look like digitalised ? :think: can somebody confirm this :?
k_vanan,
Digital came only during the 90's. Cassettes during the 60s and vinyl records during the 30s.
Uravadam Nenjam belongs to 1976. The format would be a wide cassete release with huge vinly record production. Both would have been available in the retail market. If you are hearing it on your computer or any other digital equipement, rest assured that its been digitalised.
Digitalisation is a process of converting any format and making it available as digital format. The hardware consits of the intial format's player, in this case a vinyl record or cassete player, a port that allows a standard player to pass its signal/output, a receiver, in most cases a laptop using USB ports. Once all are plugged in, a software is launched in the digital equipement which extracts the necessary output from the record player and stores it in a format readable by digital equipements. For more hi-tech outpout, computer audio interfaces are used between the hardwares and specific connections are made to get leveled outputs.
But how enhanced it is depends on the person who digitalises it. The input is more important than the output as it becomes a base material. Corrections can be done without tampering the master sounds and it can also be enhanced through channeling to bring out a larger hearing experience. It needs enourmous passion and devotion to do it, which is not the case now, they just do an extraction, bundle it and upload it. Many of IR works are getting tampered.
Myself, would wish to setup a large production unit (and an IR library) which extracts the sounds and assemble it to suit the digital format through which the sound production of IR does not become artificial but capture exactly what he wished to record in the tapes. Immense talent is needed to understand, decipher and channalise the sounds, tunes, rythms, beats, etc., IR has produced. Its not only a costly, but a tedious process.
If iTune proposes a song, I am confident that they have done justice in digitalising it, as I have listened to couple of songs on iPod - (not my favourite, mine is still vinyl records with all the customary noises which itself become an awesome sound) - and was awed by its clarity.
And Oru Naal Unnodu from Uravadam Nenjam is a fantastic song.
Thanks mappi :)
Look like digitalised with original sound. Try to find out 70's & 80's songs with same quality but couldn't get :(
Here is a site shared by K sometime back : honeybeemusicstudio.com
You have to call them and find out how they are proposing their product (CD or MP3 or ...), catalog & shipment.
EDIT : Their office is at Coimbatore. Click 'contact' to get more informations. And check the comments here : http://honeybeemusicstudio.com/blog.html
Stereophonic Sannata picturisation:
http://www.filmsofindia.com/news/491...from-shamitabh
Need to see the movie to understand why it is picturised on Dhanush (Akshara appears only in the end)! This video does not not have the second interlude (i especially liked the guitar part). Even the first interlude is a little cut here and there!
thanks,
Krishnan
Shamitabh audio launch program on Vijay TV on 1st Feb at 3pm
http://timesofindia.indiatimes.com/t...w/46074657.cms
thanks,
Krishnan
anything on Shamitabh's background score now that its released in India?
I will be watching it on Sunday. Limited release here (1st show was yesterday and the next on Sunday.)
https://fbcdn-sphotos-a-a.akamaihd.n...a5480fdb16d938
Background score is outstanding (for lack of better word). The main melody is played during the beginning and end credits but the arrangements are very different, underscoring the mood of the film at that time (Can't reveal further). What a theme! Goosebumps!
Subash K Jha says something abt the score in the film here - http://www.thehansindia.com/posts/in...-rating-130000
ஒரு ராஜாதிராஜாவும் மூன்று தளபதிகளும்!
ம.கா.செந்தில்குமார் ஆனந்த விகடன் 04 Feb, 2015
'ஷமிதாப்’ படத்தை சாக்காக வைத்து இளையராஜாவைக் கொண்டாடிவிட்டார் அமிதாப். மும்பையில் நடந்தது என்னவோ இளையராஜா இசையமைத்த 'ஷமிதாப்’ பட இசை வெளியீடுதான். ஆனால், அதை ராஜாவை ஆராதிக்கும் திருவிழாவாக மாற்றிவிட்டனர். ரஜினி, கமல், ஸ்ரீதேவி என அத்தனை பிரபலங்களும் அன்று செம ஃபார்ம்!
அமிதாப் தானே பேசிப் பதிவுசெய்த வீடியோதான் அழைப்பிதழ். அந்த வீடியோ பதிவை ரஜினி, கமல் உள்ளிட்ட பிரபலங்களுக்கு தன் மொபைல் மூலமே பெர்சனலாக அனுப்பி, விழாவுக்கு அழைத்திருந்தார். இதில் இன்னோர் ஆச்சர்யம்... இந்த விழாவுக்கு ரஜினி, கமல் இருவரும் வருவது இளையராஜாவுக்கு இறுதி நிமிடம் வரை தெரியாதாம். அரங்கத்தில் இருவரையும் பார்த்தது ராஜாவுக்கே இன்ப அதிர்ச்சி.
கமல், ஸ்ருதி ஹாசனுடன் வர... சரிகா, அக்ஷரா ஹாசனுடன் வந்திருந்தார். ரஜினி, தனுஷ், ஐஸ்வர்யா ஒரு பக்கம்... அமிதாப், அபிஷேக், ஐஸ்வர்யா மறுபக்கம்... போனி கபூருடன் ஸ்ரீதேவி என விழா... திருவிழாதான்.
'சீனிகம்’ படத்துக்காக ராஜா இசையமைத்த பாடலை ஸ்ரேயா கோஷல் தமிழ் - இந்தியில் கலந்து பாடி நிகழ்ச்சியைத் தொடங்க, வரவேற்புரை நிகழ்த்தியது அமிதாப்பின் குரல்.
'ராஜாவின் பாடல்கள், மக்கள் மனதில் தாலாட்டாக, நிம்மதியாக, சோகமாக... எனப் பலவிதங்களில் பயணிக்கின்றன. பொள்ளாச்சி அருகே உடுமலைப்பேட்டையில் உள்ள தியேட்டரில் ராஜா இசையமைத்த படம் வெளியானது. அந்தப் படம் ஓடிக்கொண்டிருந்த வரை தினமும் ஒரு யானை அங்கு வரும். தியேட்டருக்கு வெளியில் பாடல்களை ரசித்துக் கேட்பதுபோல நின்றுகொண்டிருக்கும். படம் முடிந்ததும் கிளம்பிவிடும். தியேட்டரில் இருந்து அந்தப் படம் எடுக்கப்பட்டதும் அந்த யானை வருவது நின்றுவிட்டது. அப்படி ஒரு யானையையே தன் இசையால் கட்டிப்போட்ட வசீகர இசையமைப்பாளர்’ எனச் சொல்லிக்கொண்டே மேடையில் தோன்றினார் அமிதாப். அரங்கம் முழுக்க ஆர்ப்பரிப்பு!
தொடர்ந்து இளையராஜா, கமல், ரஜினி, ஸ்ரீதேவி... என '16 வயதினிலே’ டீம் மேடை ஏறினர்.
'நீங்கள், ராஜா இருவருமே ஆன்மிகத் தேடல் உள்ளவர்கள். இருவருக்கும் என்ன வித்தியாசம்?’ - ரஜினியிடம் கேட்டார் அமிதாப்.
'ஹி இஸ் வெரி நாட்டி’ எனத் தொடங்கிய ரஜினி, 'இப்ப இருக்கிற இளையராஜா கிடையாது அப்ப. நானும் அவரும் விடியுறவரைக்கும் எல்லாம் குடிச்சிருக்கோம்’ என எந்தத் தயக்கமும் இல்லாமல் ரஜினி பேச, கீழே அமர்ந்திருந்த ராஜா, 'ஏய்... அதையெல்லாம் சொல்லாதே’ என்பதுபோல் செல்ல அதட்டலாக ரஜினிக்கு சிக்னல் கொடுத்தார். சிரித்துக்கொண்டே தொடர்ந்தார் ரஜினி. 'திடீர்னு ஒரு மாறுதல். ஆன்மிகத்துல அவருக்கு நாட்டம். போகப்போக சாமியாராவே மாறிட்டார். ஆரம்பத்துல 'இளையராஜா சார்’னுதான் கூப்பிடுவேன். அந்த மாற்றத்துக்குப் பிறகு 'சாமி’னு கூப்பிடுறேன்’ என்றவர், ராஜாவைப் பார்த்து 'சரிதானே?’ என்பதுபோல் தலையாட்ட, 'ஆமாம்’ எனத் தலையாட்டி ஆமோதித்தார் ராஜா.
'ராஜா உடனான பயணத்தில் மறக்க முடியாதது எது?’ இந்தக் கேள்வி கமலுக்கு.
'ஆரம்பத்துல 'ஹேராம்’ படத்துக்கு வேற ஒரு இசையமைப்பாளர்தான் மியூசிக் பண்ணியிருந்தார். அவர் போட்டுக்கொடுத்த டியூன்ல ஷூட்டிங்கும் முடிச்சுட்டு வந்துட்டேன். அப்புறம் என்னமோ அந்த இசையில் எனக்குத் திருப்தி இல்லை. அப்ப இளையராஜா சார்கிட்ட வந்தேன். 'திரும்ப ஷூட் பண்ணினால் எவ்வளவு செலவாகும்?’னு கேட்டார். 'அது ஆகும்...
20 கோடிக்கு மேல’னு சொன்னேன். 'சரி... நான் பார்த்துக்கிறேன்’னு சொன்னார். சவுண்டு இல்லாம பாடல்களை ப்ளே பண்ணி, நடிகர்களின் உதட்டு அசைவுகளுக்கு ஏற்ப பாட்டு எழுதச் சொல்லி அதுக்கு டியூன் போட்டுக்கொடுத்தார். அப்படி மியூசிக் பண்ண எல்லா பாடல்களுமே ஹிட். அதுதான் ராஜா!’
'அவர் டியூன்ல கரெக்ஷன்ஸ் சொல்லியிருக்கீங்களா... ஆர்க்யூ பண்ணுவீங்களா?’ இருவருக்குமான கேள்வி.
'அந்த மாதிரி எல்லாம் நான் கேட்டதே இல்லை. அது என் துறையும் கிடையாது’ என்ற ரஜினியிடம், 'அவர் இசையில் நீங்க பாடியிருக்கீங்களே?’ என எடுத்துக்கொடுத்தார் அமிதாப். 'அட... அதை ஏன் கேக்குறீங்க? 'மன்னன்’ படத்துல நாலு வரி பாடினேன். அதுக்கே எனக்கு எட்டு மணி நேரம் ஆச்சு’ என வெட்கத்துடன் சிரித்தார் ரஜினி.
கமல் பதில் இது: 'நான் அவர்கிட்ட நிறைய ஆர்க்யூ பண்ணுவேன். அப்ப அவர் சொல்ற பதில்ல இருந்து நிறையக் கத்துக்கலாம் பாருங்க... அதுக்காக! ஆனா, என்ன சண்டை போட்டாலும் கடைசியா எனக்கு என்ன தேவையோ, அதைக் கொடுத்துடுவார்.
http://www.vikatan.com/av/2015/02/zmqmfj/images/p8c.jpg'தேவர் மகன்’ பட கம்போஸிங். ஒரு இந்திப் பாட்டைச் சொல்லி, 'இந்த மாதிரி வேணும்’னு சொன்னேன். 'நீங்க சிச்சுவேஷன் சொல்லுங்க. பாட்டெல்லாம் சொல்லாதீங்க’னு சொன்னார். 'இல்லல்ல... எனக்கு அந்த மாதிரிதான் வேணும்’னு நான் பிடிவாதமாச் சொன்னேன். 'அட... நீங்க முதல்ல சிச்சுவேஷனைச் சொல்லுங்க. மத்ததெல்லாம் அப்புறம்’னு அவரும் பிடிவாதமா இருந்தார். சிச்சுவேஷன் சொன்னேன். 'இஞ்சி இடுப்பழகி...’ கொடுத்தார்’ என சிலாகித்தார் கமல்.
தனுஷ§ம் 'ஷமிதாப்’ இயக்குநர் பால்கியும் மேடைக்கு வந்தனர். 'படத்துக்கு ராஜா போட்டுக்கொடுத்த பாட்டை எங்கே பிளே பண்ணாலும் தனுஷ் ஆடுவார். ஆனா, ராஜா சார் இருக்கிறதால ஆடத் தயங்குறார். அதனால படத்துக்காக அவர் ஆடின பாட்டைப் பார்க்கலாம்’ என்றார் இயக்குநர் பால்கி.
'ஜானி’ படத்தில் இடம்பெற்ற 'ஆசையக் காத்துல தூதுவிட்டு...’ பாட்டுக்கு மேற்கத்திய பாணியில் ராஜா இசையமைத்திருக்க, பாடலுக்கு ஸ்ருதி குரல் கொடுத்திருந்தார். அதற்கு தனுஷின் டான்ஸ் அத்தனை ரகளை. ஒளிபரப்பு முடிந்ததும், 'தனுஷ், இப்போது ராஜா சார் வாய்ஸில் பாடுவார்’ என்றார் பால்கி சிரித்துக்கொண்டே. 'ஆட மட்டும் இல்லை... பாடவும் பதற்றமா இருக்கு’ எனச் சொல்லிய தனுஷ், பிறகு பாடத் தொடங்கினார். 'நான் தேடும் செவ்வந்திப் பூவிது...’, 'தென்பாண்டிச் சீமையிலே...’ பாடல்களை இளையராஜா குரலில் பாடினார் தனுஷ்.
'தனுஷ் பாடினது எப்படி இருக்கு?’ என ராஜாவிடம் பால்கி கேட்க, 'என் குரலைவிட தனுஷ் குரல் நல்லாவே இருக்கு’ என்றார் ராஜா.
'நான் இவரோட பாடல்களைக் கேட்டுத்தான் சினிமாவுக்கே வந்தேன்; வளர்ந்தேன். ராஜா சார் மியூசிக், எனக்குள்ள எந்த எமோஷனையும் உண்டாக்கிரும்’ என நெகிழ்ந்தார் தனுஷ்.
அடுத்து மேடை ஏறினார்கள் கமலும் அக்ஷராவும். படத்தின் டீஸர், டிரெய்லர்கள் திரையிடப்பட, 'நான் எப்படி நடிச்சிருக்கேன்?’ என, கமலிடம் கேட்டார் அக்ஷரா. 'என் பார்வையில் ஆயிரம் விமர்சனங்கள் சொல்வேன். நீ நல்லா பண்ணியிருக்கேனு நான் சொல்லணும்னு அவசியம் இல்லை. பால்கி இருக்கார். அவர் உன்னை நல்லவிதமாத்தான் வழிநடத்தியிருப்பார்னு எனக்குத் தெரியும். முழுப் படமும் பார்த்துட்டு என் விமர்சனம் சொல்றேன்’ என்ற கமல், மேடையில் இருந்து இறங்கிச் செல்லும் வழியில், சரிகாவுக்குச் சின்னப் புன்னகை, ஒரு கைகுலுக்கலை அளித்தார்.
'ஷமிதாப்’ படப் பாடல்களை ஜெயா பச்சன் வெளியிட, குல்சார் பெற்றுக்கொண்டார். அபிஷேக் பச்சன், ஐஸ்வர்யா ராய் பச்சன் இருவரும் ஒவ்வொரு மேஜையாகச் சென்று விருந்தினர்களை நலம் விசாரித்தனர். அப்போது ரஜினிக்கு அருகில் அமர்ந்திருந்த தனுஷை எழுப்பிவிட்டு அங்கு அமர்ந்த ஐஸ்வர்யா, ரஜினியுடன் சில நிமிடங்கள் தீவிரமாகப் பேசிக்கொண்டிருந்தார். பார்வையாளர்கள் வரிசையில் இருந்து, 'ரோபோ-2 எப்போ?’ எனக் குரல்கள் எழ, இருவர் முகத்திலும் புன்னகை.
'எல்லாரும் இளையராஜா சார் இசையமைத்த ஆயிரமாவது படம் 'ஷமிதாப்’னு நினைச்சுட்டு இருக்காங்க. ஆனா, பாலா இயக்கும் 'தாரை
தப்பட்டை’ படம்தான் ராஜாவுக்கு ஆயிரமாவது படம். 'ஷமிதாப்’ 1,001-வது படம். 'ஆயிரம்http://www.vikatan.com/av/2015/02/zmqmfj/images/p8d.jpg படங்களைக் கடந்துவிட்டார் ராஜா. அதுக்காக ஒரு விழா நடத்திக்கிறோம்’னு பாலாகிட்ட சொன்னதும் இந்தப் பாராட்டு விழாவை விட்டுக்கொடுத்தார் பாலா. ரொம்ப நன்றி பாலா’ என்ற பால்கி, 'பாலா மிகப் பெரிய கிரியேட்டர். அவர் பண்ணதுல பாதிகூட நான் பண்ணலை’ எனக் கூறியபோது, பாலா முகத்தில் எந்தச் சலனமும் இல்லை.
அமிதாப், பால்கி, தனுஷ், அக்ஷரா என ஒட்டுமொத்த 'ஷமிதாப்’ டீமும் மேடை ஏறியபோது, 'நாங்கள்லாம் 'ஷமிதாப்’ல
50 பெர்சன்ட்தான். மீதி 50 பெர்சன்ட் இவர்தான்’ எனச் சொல்லி அவர்கள் அறிமுகப்படுத்திய நபர்... ஒளிப்பதிவாளர் பி.சி.ஸ்ரீராம்.
ராஜாவைக் கொண்டாடுவதில் தமிழ் சினிமாவை முந்திக்கொண்டது பாலிவுட்!
ஷமிதாப்... 'நேற்று இல்லை நாளை இல்லை.. எப்பவும் (இளைய)ராஜா!’
http://tamil.filmibeat.com/cinemaakk...bh-033122.html
Firstly, please do not consider this as a review or recomendation. I allow you to choose to watch the film or not. Balki does not make films to my taste and I always found his work wandering a lot envelopped inside something artificially realistic. So I do not want to influence anyone, maybe some of you may fall in love with this film.
The BGM is spit into 2 parts - pure instrumentaion (mostly string - violins) & the second trying to cope up with mordernity (keys and auto tunes).
IR plays the voice of Danish (enacted by Danush) until IR gets replaced by Amitab (as himself). At this point, IR shifts as a measurement of distance between these two characters - Shamitab. Finally he settles down to his previous role, but this time becoming the voice of Amitab. All these 3 parts are well executed by IR, an immense understanding on the logos (as in philosophy & psychology) of the standing characters. I always adress IR not as a composer, but a Music Director. Shamitab proves myself right once again.
The problem that is spotted is with the modern music sounds. It does not blend well during such moments where the artists seem to be using more body than expressions. After a while this is what they actually do, move their legs and shoulders in each and every scene, where IR tries to jump in to save it from getting more ugly. I am aware that people are going to praise their performence - well remove IR there you will simply notice it, thank IR later.
The OST is cut miserably, another 'nth' film where IR songs are nothing but bits - a huge disappointment awaits you there. But all the opening of the songs and its placements were fabulous. IR again shines there and to an extent Balki too.
There are few BGM which were out standing :
- Danish as a kid performing a death scene before his teacher
- Danish various unsucessful attempts
- Amitab meeting and expression of Danish
- Shamitab
- Toilet sequence
- Drunken Amitab
- Love Danish
- Car episode (no instruments, just a chaos delivered as a progressive melody - while you watch it you will come to know)
- Final Amitab
And
There could be much more, I got to get the DVD to pick them one by one. The above are just the indicators that made me keep watching the film. For IR's caliber I don't think its challenging, nevertheless he addressed it prefectly - neither too high nor too low. Overall an impressive delivery (as usual) by IR. Asking an applaud from the 'general' audience is difficult - you watch the film and there is a particular scene which holds the answer.Quote:
Originally Posted by teja
Shamitab BGM - Seraphic
About the movie, its loosely based on :
Those who are seers of the truth have concluded that of the nonexistent [the material body] there is no endurance and of the eternal [the soul] there is no change. This they have concluded by studying the nature of both. - Gita 2.16
I allow you to explore it while or after you have watched the film.
Mappi - yet to see the film - but the tracks themselves leave me with the feeling that another opportunity to extract something phenomenal from IR has been wasted by Balki.
no matter how the BGM is or nor, the film is essentially a vehicle for showcasing AB's baritone and IRs music may not garner the kind of awe it so richly deserves
There is a sense of sadness as the great stars of the aging (aged) generation talks about Raja's genius. The sadness is that the current generation may not have recognized Raja's genius yet. For them, these kind of audio launches would be one among the 1000s of such events that happen over a year.
I completely agree with you sudhakarg as time is such a curse . We are painfully aware that the legends Rajini, Kamal or even Sridevi, for that matter are never gonna combine with the genius RAja yet another time for movies. alas !Quote:
Originally Posted by sudhakarg
Even these stars don't know IR's intrinsic worth - they just happen to be stars - KH is an exception since he never misses an opportunity to speak about IR in his interviews.
Look at the way the music of Shamitabh is mentioned in the films review - things like 'with the legendary Ilaiyaraja providing soothing music' - EKSI! many of our hubbers are 100 times more knowledgeable and discerning than these online & print media reviewers.
Imagine IR doing a 'maharajanodu' or 'santhana kaatrey' in a Hindi film - will they be received in the manner they ought to be?
one reviewer who praised the music of 'dilwale dulhaniya..' has trashed Shamitabh's music!
http://accessbollywood.net/2015/02/0...hamitabh-2015/
"....More distracting than any of these flaws is the movie’s music. The songs are horrible, but the incidental music is downright clownish. Any emotional moment is punctuated with garish musical cues so amateurish that it’s hard to believe that this is Balki’s third film...."
Author might know musiq, not musicQuote:
Originally Posted by irir123
Well...need to post this as well on reviewers opinion on music..
Teja
February 11, 2015 at 10:41 am
Shocked to see your comments on music. Sorry to say, I found them very juvenile. Best thing about Shamitabh is it’s music. Not sure what kind of music you’re exposed to. The bollywood sounds you hear to these days can not be termed as “music”. Golden era of bollywood music is long gone, and this movie’s music brings back those memories. Tunes are very refreshing and background score adds a new dimension to the film. Almost every review out there has a positive feedback on music, and it’s composed by a man who has done musical score for a 1000 films, besides a few symphonies. You might want to give it another try, with an open mind, as this music is not in regular bollywood masala format.
Reply ↓
Kathy Post author
February 11, 2015 at 11:19 am
Musical taste is a matter of opinion, Teja. That I don’t share yours doesn’t make my opinion “juvenile.” If Balki’s intent was to evoke a time in cinematic history when every emotional reaction was cued by garish fanfare, then perhaps he succeeded. I found the music a major distraction. We agree to disagree.
Fliflo - the same critic has gone gaga over Dilwale Dulhaniyan le jayenge music! nothing wrong with that - the critic is more used to uncomplicated simple stuff from bollywood.
having said that we have to admit Shamitabh is a bit odd for an IR album - will be watching this weekend for the score
Quote:
Originally Posted by irir123
I can understand why you do feel odd. In fact it applies to many fans who are used to thalaivar's live orchestra output and his recent output in many songs. To me it does not feel odd because i always see him as someone who can bend any music form or instrument to his unique inimitable style. How his output is derived is based on the kind of movie situation he receives. A simple example would be neethaaney en pon vasantham. If the situation requires bubble pop/rock/indian classical/blues etc he will derive it accordingly, but not before tuning them to his genre. What amazes me is that he has churned out all compositions in the same duration as he does for most of his film soundtracks. It is like whatever music form that exists, is nothing but the same 7 notes to him.
Unless one has a strong background or qualification in music, direction etc - it isn't quite right to comment on technicalities, which the reviewer in accessbollywood took it for granted.
As a lay person, one can comment on whether they like it or not and not more than that. Speaking of that, sometimes I have crossed the line stating that IR may composed in a hurry or so. Who am I to say that? Hence sometimes, I am guilty too.
This reviewer wrote clowny etc on IR's music. Those are adjectives best used for actions and not sure how it fits in a music composition. Weird choice of words.
Secondly, the review itself is not much in technicalities, but just a lay person's review - which any of the forum members can write.
Thirdly, I posted a comment in her blog questioning - but it did not get posted and comments got closed within few hours.
That shows how much value the review is.
Since it is from a western world, I don't think we have to give that much importance to it.
On related note, I think we may have increased some revenue via google ads, amazon adwords etc for the author of that site, which may be a true intention. Because it is easy to attract billions of Indians than millions of americans to make some profit. If one sees the source of the webpage, you can see the javascripts related to advertising and such.
Exactly. Whether it is tharai thappatai or keyboard or orchestra that rhythm patter and emotion out of it when seen in picture and numerous variations to patterns is intact, irrespective of what form of instrument used. The touring talkies trailer in youtube which starts with SAC singing and there comes tune with traditional drum instruments playing opposite and then same is repeated with piano or keyboard i guess..never realized the drum pattern and piano/keyboard patter is same..goosebumps..:smile2:Quote:
Originally Posted by Hulkster
I don't think say Piddly or Sha Sha Mi Mi are any less orchestral than songs like Naan Kadhalin Pudu Padagan which he did at his commercial peak. So it's a misnomer that orchestra defines IR, which surprisingly even IR has encouraged through his discourses/rants in public over the last few years. What people who yearn for that 80s like feeling are missing in the new albums is the more heightened energy levels and sharp dynamic shifts in the 80s songs. I remember once I heard Kurangu Kaiyil Maalai and Thodatha Taalam back to back and was surprised at how much more vigorous the latter track was. But that is a function of how music is produced these days. Even very pedestrian Hindi soundtracks from that time were recorded in a more organic way than today. IR has moved on and adapted to the music culture of the day, but the fans cling to the past. Also, if you heard Karthik sing some IR classics in the NEPV launch, that should tell you that most of today's playback singers simply cannot execute his material with the conviction and energy that SPB or Yesudas brought to the table. The singers played a greater role in breathing life into IR's songs than perhaps he, the fans or critics have acknowledged over the years. Even a composer as great as IR needs a great set of pipes to truly make a song.
Quote:
Originally Posted by crimson king
few things to backup your very legitimate and relevant points:
1. IR's music was just explosive - it changed right after Nayagan - in fact oldtime TFM hubbers used to divide IR's music as pre and post Nayagan years when even the sound of the tabala became less organic.
2. NEPV is the most 'complete' album in recent times - in terms of complete interludes (even there i didnt like the second interlude of "yennodu vaa vaa"), novel tunes and all IR related elements it was complete -Megha comes closest to NEPV - the interludes at some points in 'mughilo megamo' are filled with cues that instead of carrying the main melody kindof stalls the song - very unlike IR - i think its coz its an intrusive cue IR is forcing into the song, without even his own liking!
3. Shamitabh sounds like Balki having either forced IR into making compromises or hurriedly getting the tunes and the recordings done - in his hero-worship of IR, am not sure if he is very skilled in getting what he wants from IR - be it 'ishq phillum' or 'sha sha mi mi' the base rhythm is so monotonous its shocking by IR standards whose trademark is polyphony and constant surprises - the programmed loops of the 90s were still better (even if they paled with his pre-Nayagan output) - and the orchestration was top-notch - why dont we get to hear the percussion styles as in "ilavattam" from my dear marthandan - that was acoustic organic drum, so was 'oru naal' from devadhai ? compare these with "ishq phillum" - it does sound hollow and plastic
Very interesting bifurcation as pre and post Nayagan. It is true that around this time, the synth influence began to creep up in his music. Here he was actually catching up with world trends, as pop too got more robotic from the mid 80s. Even earlier but from mid 80s it was all over the place. But it was during this synth oriented phase that IR introduced interesting and unusual rhythm patterns like Vana Kuyile. From 2000s he has gone back to simpler patterns but still with drum machines instead of live drums. However I do still hear baroque harmony in Ishq and Sha Sha, it's just less noticeable since superficially the music sounds different.
crimson king - am copy pasting my posting from another thread, since we are discussing the change in IR's style post Nayagan
some IR's telugu songs from 1990 onwards
they are just out of this world stuff!
only make sure you shut your eyes while listening.
try these:
https://www.youtube.com/watch?v=fGPM9ClJnzU (year 1991-92 - the bass line is badass and the second interlude frenzy is something he has not done anytime before or after)
https://www.youtube.com/watch?v=FiOBP7J8afI (valai osai redux - the interludes particularly the second interlude is goosebumps)
https://www.youtube.com/watch?v=eRjClCc3u9c ('yemma andhi mayakkamaa's richer and lusher cousin with BADASS guitar riffs and an outrageously creative version of some ragam!)
https://www.youtube.com/watch?v=B7yqdc5hMRI - Songs 4 and 6 are outright masterpieces - 6 is Dharmavathy, and song 1 is still a great one despite sounding similar to 'priyasakhi' from Gopura Vasaliley, no.5 has some brilliant violin motifs.
https://www.youtube.com/watch?v=RJB6Oy5Jzwo - 'chamakku' and 'kolo kolamma' are marana mass maya mayagowlas which shot Chiranjeevi to heights even he wouldn't have imagined of! 'shubhalekha' is a riot with a percussion for a horse ride song, and the interludes are therichufying bombs and again the second interlude -OMG!