Being a fan of AR Rahman. I have the same honor to Vishal Bharadwaaj as much as I do for AR Sir. The orchestration, Programming and mixing of Omkaara was one of the finest and according to me it doesnt fail in any ways. VB is a man who uses minimal instrument and orchestration usually and Omkaara was a bit different than his usual but with complete justice. Beedi Jalaile's Bass needs a special mention and however loud be the volume it doesnt create the disturbance. May be our lord is much ahead and had tried long ago. VB does less releases but every album by him is worth collecting as much as we collect our Boss's. I feel worth to mention that few songs of Omkaara was also mixed/ engineered at AM Studio. I however was not pleased with Ay hairate from Guru when the Hariharan tries to go high the string portion makes me feel noisy and a bit disturbing. I don't wish to contemplate or convince with our Boss mentioning about Pritam but when asked by media he has to praise. Keeping aside the copying he is now the one with more releases and the songs are climbing the charts. So it makes a person like ARR to be informed to show he is aware of the current trend. Only then does he release an album like JTYJN which will be a path breaker. Remember he did the same thing while it was Himesh Era with Rang De Basanti. One album of that kind is enough to make others restless who wud be dreaming they are unbeatable. And thats wht I always usually say while i discuss abt music "A R RAHMAN PUNCH"
--- In [email protected], "Vinayakam Murugan" <[EMAIL PROTECTED]> wrote: > > Vishal Bharadwaj is one of the most original composers in the industry , > right up there with ARR & SEL , who compose for the situation rather than > impose "item" music. Mayya Mayya and Bidi were composed for two totally > different situations . Bidi suited the situation in the film to the T. One > would expect a nautanki number to be loud . > > On Mon, Jun 2, 2008 at 11:48 AM, V S Rawat <[EMAIL PROTECTED]> wrote: > > > hmm. > > > > Thinking about it, I find "Mayya Mayya" carrying the same mood as "Bidi > > Jalaye Le" by the other Vishal (Bhardwaj) (or is Vishal Bhardwaj the > > Vishal of Vishal-Shekhar? such identical names.) > > > > Of course, I am not saying copying etc. but the mood of the song. both > > are such Jolly, freak out, naughty, teaser, tempting, provocative, > > tantalizing songs, and visuals of both also uphold the same mood. Both > > songs became quite popular also. > > > > And there is the beauty of our man. I find Mayya Mayya one of the most > > complex songs of our man -- so many instruments, arrangement, non-indian > > feel, chorus background, strange lyrics, uncommon voice -- and yet, I > > feel that it was intentionally kept somewhat subdued, controlled voices > > giving the indication of inner bliss, contemplating whereas Bidi Jalaye > > Le was comparitively loud, -- that, in front of Mayya Mayya, Bhardwaj's > > Bidi Jalaye Le sounds to be a poem being rendered by Kindergarten Kids > > in some school stage play, (but I maintain that it also is good song). > > > > If Bhardwaj ever compared the two songs, he would have understood that > > he has to go miles, rather light years, to even touch ARR's shadow. > > > > -- > > Rawat > > > > On 6/2/2008 12:31 AM India Time, _Jahanzeb Farooq_ wrote: > > > > >> And couldn't Rahman's Mayya mayya from Guru be seen as a furtive > > > escapee from the Vishal-Shekhar camp? > > > > > > Mayya Mayya by VS?? No way. > > > > > > > > > --- In [email protected], Vithur <vithurm@> wrote: > > >> *A ditty to make aditi smile* > > >> Saturday May 31 2008 17:57 IST > > >> > > >> *Baradwaj Rangan* > > >> > > >> As if to prove his detractors wrong, as if to silence those > > > criticisms that > > >> his music cannot be got until you listen to it over and over like > > >> imposition, filling that blackboard in your mind with grimly > > > repeated > > >> resolves of "The next time around, I will like this song better" > > > A R > > >> Rahman has composed... Wait, that's not the word, for 'composed' > > > gives the > > >> impression of a certain rigidity of structure, of a schema, of > > > following a > > >> premeditated thought to its predetermined conclusion, whereas the > > > instantly > > >> fall-in-lovable Kabhi kabhi Aditi (from Jaane Tu Ya Jaane Na) > > > sounds like > > >> Rahman did nothing more than cup his ear to the chest of a college- > > > goer in > > >> love and translate those heartbeats into notes. > > >> > > >> After a succession of stately, senior-citizen scores, how > > > delightful it is > > >> to see Rahman strutting about in jeans again, an iPod stuffed in > > > the back > > >> pocket. When I heard that this notoriously non-prolific composer > > > had two > > >> soundtracks due to hit stores at the same time and after a quick > > > glance > > >> westwards to assure myself that the sun wasn't about to rise > > > there I > > >> thought, this week, I'd record my thoughts about Ada and Jaane Tu > > > Ya Jaane > > >> Na in this column. But that's not going to be possible, because > > > the endless > > >> listens to Kabhi kabhi Aditi have left me with barely any time to > > > get to the > > >> other tracks. > > >> > > >> How do I love this song? Let me count the ways. I love the way the > > > rhythm > > >> kicks in like an afterthought, well into the second line, > > > changing in an > > >> instant the texture of the number that you thought was going to > > > be > > >> coloured primarily by whiny pickings on an acoustic guitar. I love > > > the > > >> gradual buildup and explosion in the stanzas, as the > > >> everything's-gonna-be-okay shrug from earlier is fleshed out into > > > doggerel > > >> universalities that the bleakness of night will once again give > > > way to the > > >> light of day, that the flowers will bloom once more. (The actor- > > > playwright > > >> Noël Coward once expressed his astonishment at "how potent cheap > > > music is." > > >> When you're a certain age, I guess the same could be said of dime- > > > store > > >> philosophising.) And I love the repeated pleas to Aditi to please, > > > please, > > >> please get out of her blue funk and crack a smile: Hey Aditi, has > > > de, has > > >> de, has de, has de, has de, has de tu zara / Nahin to bas thoda, > > > thoda, > > >> thoda, thoda, thoda, thoda muskura. > > >> > > >> Yet, there was the nagging realisation as the song came to a close > > > that had > > >> it been played for me in a guessing game and had I been asked to > > > figure out > > >> the composer, I would have dithered between AR Rahman and Shankar- > > > Ehsaan-Loy > > >> and Vishal-Shekhar. Does it appear to anyone else that the lines > > > between the > > >> troika at the top are increasingly beginning to blur? When the > > > compositional > > >> style is 'Indian,' I find I'm able to instantly pick out Khwaja > > > mere Khwaja > > >> as a Rahman creation (no other composer can whip up such a > > > spiritual > > >> fervour), or Goonji si hai as a number by Shankar-Ehsaan-Loy > > > (their melody > > >> lines have the smoothest edges in the business). > > >> > > >> But it becomes murkier when we're talking pop-style compositions > > > like > > >> Kabhi kabhi Aditi, or Kahin to hogi (from the same album). If the > > > composer's > > >> names were scratched out from the inlay cover of the Taare Zameen > > > Par CD, > > >> would you settle on Shankar-Ehsaan-Loy as the brains behind Kholo > > > kholo and > > >> Jame raho? Or, for that matter, even with Vishal-Shekhar's very > > >> Indian-sounding Main agar kahoon and Jag soona soona laage from Om > > > Shanti > > >> Om, don't they make you think of Shankar-Ehsaan-Loy? And couldn't > > > Rahman's > > >> Mayya mayya from Guru be seen as a furtive escapee from the Vishal- > > > Shekhar > > >> camp? > > >> > > >> I wish I knew where I'm going with this based on the above, > > > there seems to > > >> be some overarching summation to be made about modern-day > > > composers, doesn't > > >> it? but the only conclusion (if it can even be called that) is > > > that > > >> compositional styles overlap a lot more than they used to. > > >> > > >> I was listening, recently, to Dil sajan jalta hai from Mukti, and > > > even if I > > >> hadn't already known the name of the composer, the stanzas would > > > have left > > >> me with little doubt. It's all a smooth rise-and-fall of melody, > > > till we get > > >> to the phrases shabnam ke girne se, early in the second stanza, > > > where the > > >> luscious curves flatten abruptly to straight lines, as if, for > > > those few > > >> seconds, something had caused the scale to sputter and choke to > > > near-death. > > >> That something is the unmistakable R D Burman signature. Now, why > > > didn't we > > >> find this in anyone else's music of that time? I'll leave you to > > > chew over > > >> that while I head back to clear my head with that ditty about > > > Aditi. > > >> *Film critic, > > >> The New Indian Express. > > >> Feedback to this article > > >> can be sent to > > >> [EMAIL PROTECTED] > > >> ** > > >> http://www.newindpress.com/sunday/sundayitems.asp? > > > id=SEF20080531083111&eTitle=Cinema&rLink=0 > > >> > > >> -- > > >> regards, > > >> Vithur > > > > > > > > ------------------------------------ > > > > Are you searching for a reason, to be kind? > > <b> > > Explore, Experience, Enjoy A.R.Rahman - The Man, The Music, The Magic. > > Only at arrahmanfans.com - The definitive A.R.Rahman e-community. > > > > Homepage: http://www.arrahmanfans.com > > Admin: [EMAIL PROTECTED] > > To Subscribe: [EMAIL PROTECTED] > > To Unsubscribe: [EMAIL PROTECTED] Groups > > Links > > > > > > > > > > > -- > Warm Regards > ~~~~~~~~~~~~~~~ > Vinayak > http://theregoesanotherday.blogspot.com/ > > -------------------------------------------------------------------------------- > > "The father who does not teach his son his duties is equally guilty with the > son who neglects them." > > Confucius > --------------------------------------------------------------------------------- >
