For your question if ARR has switched "emotions", you can find out that In Lamahon ke daman mein from JA is a very good example.
On 6/4/08, V S Rawat <[EMAIL PROTECTED]> wrote: > > On 6/3/2008 10:53 PM India Time, _Vinayakam Murugan_ wrote: > > > Vishal Bharadwaj is one of the most original composers in the industry, > > right. > > > right up there with ARR & SEL, who compose for the situation rather > > than impose "item" music. > > could you please elaborate what is "imposing an 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 . > > > > I don't subscribe to this "situation" bit. ARR has also composed songs > which were loud and were good. (examaple? many, his earlier youth songs, > like muqabla) > > VB has also composed songs which were subdued and contemplative (Machis > - Pani Pani re) > > so both MDs are capable of giving both and all types of songs. As such, > Omkara didn't really have a nautanki situation. It was VB who wisely > composed a song having nautanki mahaul so the visuals were made in a > nautanki situation. > > NOw, as for as mayya is concerned, it was exactly the similar situaion > -- a professional girl dancing to public, in which various MDs have > given Jumma Chumma de de which was loud, and Tezab's > ek-do-teen-chaar-paanch-chh which was deafeningly loud. and we all know > how popular these went to become. > > But is was probably the first time when such a subdued, almost at a > whispering level, song was composed for such a public dance situation. > ARR went against the established "norms" and still came out with a gem, > a winner, a piece of art. > > I was just highlighting that in the same year, two songs composed by ARR > and VB show that ARR's creation is miles ahead of VB's creation. > > I didn't say Bidi was bad song. I did mention that Bidi was a good song > and I like that one also a lot. I like VB also, though far-second to ARR. > > OK, to give credit to VB, let me say that even ARR has never given a > song in the genre of VB's Machis - Chhod aaye ham teri galiyaan. That > song was complex in the sense that this single song had three songs > basically -- a chorus mukdha, then solo stanzas, and then there is a > sudden switch to a sad version at Dil Dard Ka Tukda Hai. And the > freshness, the spontaneity conveyed by the song, it was just superb and > ARR has not given any song like this. > -- > > Back to ARR, which are ARR's song in which there is change of emotions > "in between"? Not two different songs or different versions of same song > separately shot in a movie, but a same, single continuous song showing > two or more emotions, like VB's above song, say sadness and happiness, > or anger and calm, or comedy and seriousness? Frankly, I am not able to > come up with any single song of ARR that has switched emotions on-the-fly. > > To clarify, there was the song from movie "Black Mail" MD: KalyanJi > AnandJi, "naina mere rang bhare" which starts with a happy note and in > the middle switches to sad mode at kajra mera kajra. > > another one is Sharabi (one of the rare best of Bappi Lahiri) song > Intehaa ho gayi intzaar ki which starts with a sad, lost-hope note but > when Jayaprada comes it becomes all fun-and-dance at Lo main aa gai. > > So, has ARR given any such song(s) or has he always remained on "single > emotional track"? > > -- > Rawat > > > ------------------------------------ > > 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 > > > >
