Hey Goodbye Nanba/Hey Khuda Hafis from Ayitha Ezhuthu/Yuva switched
from mellow to fast.  O Re Chori from Lagaan switched between Indian
folk and Western classical.

--- In [email protected], Gomzy <[EMAIL PROTECTED]> wrote:
>
> 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
> >
> >
> > ------------------------------------
> >
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> > <b>
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