A very inspiring write up...AJ!!! You simply rock!!! However..you say..u ve never heard that type of rendition by Mustafa...has he sung before for AR or anybody, by the way? If you are mistaking him with Aslam Mustafa of "Ponmagal Vandaal" (ATM) fame...then he is NOT the same person..! Mustafa Kutaone is altogether a new name in the AR's dynasty of singers!!!
--- On Thu, 5/6/10, AJ <[email protected]> wrote: From: AJ <[email protected]> Subject: [arr] My song by song review of Raavan/Raavanan To: [email protected] Date: Thursday, May 6, 2010, 7:37 PM A while back, I posted a review of Raavan from a very broad perspective and angle, highlighting what I thought were strengths and weaknesses in the album and trying to put the album within the context of ARR's musical career. I feel I have now heard the songs enough times to generate a more detailed review/analyais of each track, including the Tamil version. I apologize for the length in advance, as this is pretty long. 1) Beera/Veera This character based track oozes with spirit and spunk. I love the African/Tribal sonic theme of this track, hearkening to our primitive and ancient roots as the main character's pride and pomp is showcased here in a very colorful and entertaining manner. Beautiful percussive rhythms sustained in a groove that is extremely infectious and riveting. The tamil version features a brighter and louder ghugru track in the beginning with increased bass volume during the ARR sung "Uh Ee Ee Ee Oh" part. The Tamil version also features a funky bass line that is muted in volume in the Hindi version. Similarly, I noticed a warm pad sound chordal sequence that is higher in volume during the first chorus in the Tamil version, whereas it is almost muted in the Hindi version. The xylophone/vibraphon e based music interlude sparks the imagination of a jungle/forrest backdrop full of frolic and freedom in both versions, while the Tamil version has an extra counter melodic upper bass pattern that is not heard in the Hindi version during the same interlude. The animal sounds only add to the fun spiritedness and truly enable one to visualize the cinematic backdrop. Keerthi Sagathia's injection during the Antara only adds sweetness and depth to the "dhana dhan tan" parts. The chord sequences during the choral sections are very pleasing, accentuated by some beautiful, bright guitar strumming, adding a shiny overture to an already sparkling oeuvre. The singing is extremely well executed by Vijay Prakash and company, including Mustafa, who is singing an entirely different style that we have heard before from him. I bet they had a lot of fun recording this number. A bit too short in length this track, but boy does it pack tremendous energy and groove. An amazingly feel good, peppy, energetic, fully exotic, colorful number that will also be popular with children. 2)Behene De/Usure Pogudhey Karthik deserve to win best male playback singer award for both versions in my opinion, and the year is still young. Superb, passionate execution on his part and one can really feel the emotions that Rahman wanted to convey through his smoothly textured voice. This track to me is like a hybrid with Hollywood background score meeting Bollywood Sufi film song. Emotionally high in intrigue, mystery, and longingness with a touch of anger, accentuated by the distorted electric guitars which are never overdone, this track is the album's heavyweight champion based on raagas Bhairavi and Basant Mukhari loosely. The first minute of the track sets the tone with an amazingly haunting prelude full of beautiful string chordal sequences and bright, crystal clear bells with a vibraphone/drum backdrop loop, once again, emphasizing the primal/raw/earthy consistency of this soundtrack. The string interlude is equally impressive with complex, negative emotions being communicated and having an abstract fee akin to a hollywood background score for an epic film. Notice the brooding short, but powerfully noticeable low octave string rhythm that comes in and out from right to left in the stanza following the first music interlude. Towards the end, what a culmination of synth, strings, percussion, electric guitars as the song evolves into a climax. Notice the sprawling synth sequence before the outro that only electrifies an already intensifying and passionate plea, further enhanced by a low, edgy bass synth section and a sinister electric guitar track. The ending choral sequence is in pure epic form with a chord formation that is both haunting and tragic in mood and feel. Yes, the word "tragedy" came to mind when hearing this outro explosion and what an amazing impact it had on my senses and spirit both, totally capturing me in its process. It's goose-pimples all the way for me from the very first note to the very last in this track, which to me, is one of ARR's finest tracks ever. The Tamil version (Usure Pogudhey) I feel expresses the feelings a bit more powerfully than the Hindi version, but overall, both tracks stand equally tall in my esteem. What a punch, what an impact, what a groove, what a monster of a track! 3) Thok De Killi/Kodu Poatta Style and attitude come to mind in this very punchy track that's on a mission. The emotions conveyed speak of some inner conflict while searching for direction, a mission that needs execution. Love the loopy/punchy distorted electric guitars in this one throughout this highly percussive dominated number. Yes, it's the multi-layered percussion that stands high and tall in this number with amazing sonic quality and crispness that is once again highly energizing and groove oriented. Notice the "tong tong" sound effects that bounce left and right between speakers every now and then amidst a host of other beautifully crafted, earthy, ornate sounds and stereo and echo effects during the main stanzas. Also notice the short flute octave interjection by Naveen at times, only adding to the haunting, once again, mysterious/intrigue feel. The first musical interlude is amazing in its tonal shift, using major chords for a change along with a Kerwa Taal rhythm change and utilizing a Shehenai melody that is very pleasing and folksy. Love the string synchronization in unison with the main melody during both the Antaras once again, like its predecessor, based on raagas Bhairavi and Basant Mukhari, two of my favorite raagas. The pomp/folksy brass announcement during the second interlude followed by a Middle Eastern tinged string rhythm section along the lines of "Spirit of Rangeela" are just beautifully executed, followed by a no less impressive haunting, but short duduk based interlude, once again, haunting and mysterious. The outro has this beautiful shift to double the time signature allowing for a frenzied finish to a very intense, trancy, passionate, stylish, punchy, edgy, folksy, mission oriented track that is equally impressive in both versions. As pointed out in another post, the Tamil version of this song is 24 seconds shorter due to one stanza being omitted. 4) Ranjha Ranjha/Kattu Sirukk Old world charm melody enters the foray in this very catchy and once again, folksy number with a sonically modern feel. The things that stands out most for me in this track are the beautifully layered soundscape textures and chordal sequences utilizing various string mods and synth based pads. Each chordal sequence is so fluidly executed to squeeze out every drop of emotion intended for this song, with a beautifully sampled, carefully inserted stereophonic loop of Rekha Bharadwaj's voice in mildly distorted form only adding to the tonal and sonic architecture. Driven by a pretty neat techno synth rhythm section along with drops and punches of various sound effects, this track is very haunting and very concentrated emotionally. Notice the bass line that sets in comfortably just prior to the first music interlude adding another layer of depth and nicely rounding the high treble/high range emphasis of this highly textured track. The use of Shehenai and Santoor are craftily used during both interludes with Anuradha Sriram's voice being displayed like another sonically textured instrumental track during the second interlude. The first interlude sounded a bit discordant at first, but I'm not used to it as ARR has used a very unusual harmonic sequence there. Also, notice the rhythmic/strumming acoustic guitars in the second interlude as well, adding style to substance. Both versions are equally impressive musically, although I preferred Rekha's singing to Anuradha's, though I didn't mind Anuradha's rendition as much as some have expressed. I though Anuradha sang in a very distinct Carnatic style that is regionally suited. Both Shakar Mahadeven and Javed ali are impressive in their singing with Shankar taking more liberties to add gamaks and other semi classical variations to the main melody. The contrast between the high pitch female voices and string/pad sections and the low pitched bass and male voices creates a well rounded aural experience. If Karthik deserved the award for best male playback earlier on, then it's Rekha who deserves to win, once again, best female playback for Ranjha. 5) Khili Re/Kalvare These type of songs from ARR totally melt me........totally make me weak in the knees and only make me bow further down to the musical Maestro. Old world melody, soothing, sweet, delicate.... Both versions showcase one of the most beautiful melodies I have heard in an Indian film album in a long time. The melodic contours are extremely fluid and lilting, nothing jarring, nothing at all out of place. The smoothness of the melody progresses so beautifully throughout the song, like going down a slow and serene winding river amidst a beautiful landscape. AR starts out the song with this beautiful, earthy, delicate rhythmic loop filled with sprinkles of high hat drum sounds, ghungrus, and an oud sounding base sequence. Naveen compliments the melody so beautifully throughout the track with his flute insertions that only add sweetness and depth to the song. The only musical interlude features a mindblowing Kathak based semi classical rhythmic section accentuated by an old world based choral arrangement that is simply charming and reminds me of the music of Naushad...classy and evergreen. Oh, and who can forget the beautifully inserted Erhu piece towards the end that adds such a distinct harmonic effect to the existing melodic line? What a classy touch to add this Chinese based instrument, which is an aural delight if noticed. Rahman's use of various raagas to capture the feelings is just outstanding and I love it when he inserts some Komal swaras, a couple of times during the antara, and twice near the end to only add depth and mild variety to the melody sequence. This song should have had another antara, but alas, we must not complain too much and just be happy with what we're given. Rahman, only you have the touch to compose a song as delicately as this one and with an old world charm melody that in my mind, would make Naushad proud. You are truly the old world melodic torch bearer. Both versions are equally impressive to me and Shreya and Reena sang extremely well, though Shreya may have communicated a bit more emotionally with higher tonal weight. 6) Kata Kata/Keda Kari What a way to finish this album with a flourish of folk and rusticity highlighting a marriage celebration with of course the teasing and taunting of the groom! Beautifully crafted and unconventional in structure, this track in both versions are uniquely appealing to their respective regions and it's amazing how AR modified both tracks to suit the local tastes. While Kata boasts of a Rajasthani folk based main melody along with Shehenai during the interludes and backdrops, Keda Kari uses a unique Carnatic style of choral singing along with the complimentary Nadaswaram instrument. Earthy, raw, jubilant, colorful, energetic, and full of frolic, both versions are such unique compositions and only someone as versatile and open minded as ARR could compose a track with 2 versions that uniquely suit local folk cultures. I found Kata to be a bit more melodic in flavor, while Keda Kari had more energy and fun spiritedness, in relative comparison. All singers in both versions deserve applause. I love how the songs just build up gradually, adding layers and layers of percussion culminated by a beautifully infectious and captivating rhythmic Oud performance. The outro with the jubilation, celebration, folic and frenzy sounds with increased tempo and intensity is only icing on an already rich, colorfully rustic track. So, there is my quite long review and I appreciate you having read it. Raavan is a short, but sweet masterpiece that displays music we don't normally hear in bollywood these days, which comes as a refesher and stimulates my love for all things earthy and folksy. We can't expect to hear a bunch of lovey-dovey smooth, feel good, easly listening numbers for a movie like Raavan and remember, ARR is not doing private albums....it' s music for films and the music has to match the film's mood/theme/plot. Rustic India is the true India in my mind and this album, both versions, capture that essence beautifully. Yet, the sound is very international in scope and range, bringing unusual fusion combinations that may not be universally appealing... which is fine by me. Not every ARR album has to satisfy everyone and I'm so glad ARR experiments like this........ further pushing the envelope and broadening his musical resume. In the process, he is encouraging us to be open minded about music in general, to try and appreciate music of different cultures and regions and to help expand the definition of acceptable and likeable music in India. Remember, Rahman once said, "I don't give music that people want, but what they need." Yes, this will be met with resistance, as we can see from the comments on the net. But, it behooves us to look at this album from a larger perspective of Rahman's career, that despite its unconventional and edgy nature, which is required for a film of this style and mode, Rahman's music still continues to amaze, surprise, impress, and expand. It's the music like we hear in Raavan that has enabled ARR to achieve Oscars and Grammies, for if he stuck with a tried and tested formula over the years that was safe and 90s sounding, his legacy would have been diminished and he would not be internationally recognized as he is today.
