sorry for such an absurd question but can anyone give me the name of the movie of this song.....coz i didnt/couldnt listen to ALL the Rahman sir's compositions in Tamil...especially the 90s...so please oblige...thanks!
Jai Ho! Long LIve ARR!! --- In [email protected], "taimur.nadeem" <taimur.nad...@...> wrote: > > Hi everyone, > Now i present the review( its done by SWAPS) of the most > beautiful and the most sweetest song of A R RAHMAN. this song gives me a > feel which i just cant communicate.this song is a pinnacle of a r rahmans > musical wizardry.its a timeless classic. a song that is heard once in a life > time . The review completely narrates the song and tells how splendiferous it > is. Music itself would be stunned that how beautiful it could be, thanks to A > R RAHMAN . NOW Here we go > > > Ennuir thozhiye (Unnimenon, Chinmayi; lyric by Pa.Vijay): > > If I go over the board praising this song, I mean it in every sense & with > full confidence. This song deserves every bit of praise. The Rahman magic > works wonderfully here. After listening to the song, I was assured that all > those who requested ARR to compose like his vintage days, will stop > complaining. This song has the 'Roja' sound- the freshness of Roja, the > experimental nature of Thiruda thiruda, the uniqueness of Bombay & the > simplicity of Pudhiya Mugam. I've rarely heard such a beautiful & sweet song > in my entire life. Each line of the song is like a honey-drop. > > The song opens with ARR's solo piano. The sound of the piano is > scintillating. ARR attempts a jazz like treatment while sticking to the roots > of the main melody. The song is based on the pentonic Raga Durga (Shuddha > Saveri- Sa Re Ma Pa Dha Sa), which is premierly used by Rahman. The strings > (cellos & violins) support the piano. The piece goes on for about 30 secs & u > already crave for more. Its like an alaap any singer starts before performimg > a raga in a classical concert. He sets the mood of the song with his magical > fingers. The rhythm is set by the heavy bass guitar accompanied by the > accoustic guitars. > Unnimenon sings the lines 'Ennuir thozhiye'. Unnimenon's real genius comes > out in this song. He comes out of the Yesudas mould to deliver an original. > The bass guitar used towards the end of the lines reminds me of the title > song of Enswasa Katre. Suddenly, the melody shifts to build a musical > crescendo. The piano glides over the notes with the cymbals to create a > western symphonic sound, employing totally different notes (Ni Re Ga Ma Ga, > Re Ma Ga, Re Ma Ga, Re Sa Sa Pa Pa Re, the underlining denotes the notes of > the lower octave). The percussion arrangement is also of a western nature. > Unni returns to sing the pallavi in Raga Durga. The composition is very > smooth. It explores the essence of the raga. After 2 lines, the song changes > (as the previous music changed). The lines r 'Ineeyavale...' which r sung in > a higher pitch. > The 1st interlude is very unique. For once u feel, how beautiful the violin > sounds! But no, its not the violin, its vocals. Chinmayi humms the taanams > flawlessly. Its done so beautifully. The piano follows her, when at times > just glides from the upper notes to the lower ones as if a river is flowing. > The 1st charanam belongs to Chinmayi. She does a fantastic job. Her voice > seems so fresh & calm! The opening lines of the charanam 'Ottrai jadayil..' r > very catchy. The beauty lies in the way it has been composed. Listen to the > 2nd line 'enathu kalla sirippazhagil...'. It beautifully drops from an upper > note to a lower one. Immediately, the very next line picks up from Sa Re, Re > Dha, Dha Re` (Kattidithe thangam imay paarthathundaa...sign ` denotes the > notes of the higher octave) with the strings. This really pours in the > tenderness & subtleness in the song. After the lines 'Oru nanjam undu...' u > can hear the violin plucks (another favourite ARR style). Lastly, the > charanam ends with a rather cross-treatment of notes like > Sa`-Pa-Dha-Ma-Dha-Pa-Ma-Re-Sa (Poo-Poo-en-aasai-theernthathu). Unni returns > to the pallavi. > The 2nd interlude starts with a moorsing-like sound & then pan-flutes enter > (both reproduced electronocally). The pan-flute piece resembles a lot like > the 1st interlude of 'Thengizhakku cheemayile' from Kizhakku cheemayile. > These types of interludes remind u of golden ARR days. The pan-flutes were a > common feature then. There's this percussion with heavy bass (dont know the > name) which appears in the 2nd interlude & continues till the end. Its played > after every 4 counts. Its the kind of percussion used in 'Chinna chinna > aasai' from Roja. Coming back, The 2nd charanam is identically same, only > difference is that both the singers distribute their lines. The string > arrangement is more evident here. Interestingly, when Chinmayi sings the > lines 'Endhan seviyil sinungukiraay', u can hear the pan-flute in the > background which does not follow the Durga pattern; instead it uses a shuddha > gandhar. U'll have to hear it very carefully. > In the end, both the singers sing their parts of the pallavi. Unni wraps up > the song by extending the word 'enna enna' in a typical classical finale > fashion, i.e. in alaap. This song is an absolute treat to listen. It caught > my interest from day 1. It can be listed in ARR's best composed romantic sons > ever! Singers+Composition+Arrangement+Emotions+Appeal= Full Marks! > Rating: ***** (Can I over-rate it???) > > do write your comments > > regards, > > taimur, > karachi, > Pakistan. >
