Shamitabh | Maestro | Amitabh | Dhanush | Balki | P. C. Sreeram

[venkkiram]

http://bollyboxofficereview.com/wp-content/uploads/2014/12/shamitabh-review-3.jpg


1. "Ishq E Phillum" Swanand Kirkire Suraj Jagan 04:30
2. "Sha Sha Sha Mi Mi Mi" Kausar Munir Caralisa Monteiro 05:20
3. "Piddly Si Baatein" Swanand Kirkire Amitabh Bachchan 05:09
4. "Stereophonic Sannata" Swanand Kirkire Shruti Haasan 04:59
5. "Thappad" Swanand Kirkire Suraj Jagan & Earl D'Souza 04:07
6. "Lifebuoy" Swanand Kirkire Suraj Jagan 01:54


Reviews posted on IR New Albums thread

[venkkiram]

Piddly Official Full Song Video | Shamitabh | Amitabh Bachchan

https://www.youtube.com/watch?v=ag5ZP6r5i5s

[venkkiram]

SHAMITABH Official Video Trailer

https://www.youtube.com/watch?v=CzJfGRrHlxY

[venkkiram]

1. "Ishq E Phillum" Swanand Kirkire Suraj Jagan 04:30
2. "Sha Sha Sha Mi Mi Mi" Kausar Munir Caralisa Monteiro 05:20
3. "Piddly Si Baatein" Swanand Kirkire Amitabh Bachchan 05:09
4. "Stereophonic Sannata" Swanand Kirkire Shruti Haasan 04:59
5. "Thappad" Swanand Kirkire Suraj Jagan & Earl D'Souza 04:07
6. "Lifebuoy" Swanand Kirkire Suraj Jagan 01:54

https://www.youtube.com/watch?v=bB8zxsHFUm0

[venkkiram]

Amitabh Bachchan will honor Ilaiyaraaja at Mumbai : Balki | Shamitabh Press Meet | Songs

https://www.youtube.com/watch?v=IZqfThDZ98w

[krish244]

Thanks for the youtube link Venkiram.

Songs in youtube link are in mono (bitrate sounds decent though...not sure what bitrate it is). Not sure why they upload songs in mono. I think they can upload samples in good bitrate in stereo instead of mono full song. That would do more justice to clarity and would help in appreciating (especially when the music is layered) the music better.

http://gaana.com/song/sannata

You can listen to the songs in stereo in gaana website. Not sure what is the bitrate though.

On first listening, the album sounds amazing. Lots of surprises. Quick review is that I liked Sha Sha, piddly, thappad, ishe e phillum and more probably. This man (IR) is unbelievable for the quality and innovativeness he gives in his music even at this age. A real inspiration!

Will write more on this album later...

thanks,

Krishnan

[thumburu]

Shamitabh album from gaana.com link provided by Krish244. Thank you Krish.

Stereophonic Sannata - Was aghast initially when Raja himself mauled his own baby. But this ultra modern rework has sure grown on me after few times.
Well. I can admit the same feeling i had , about Raja's audacity in the entire Shamitabh album.
My top 3 in that order goes like 1, sha sha sha - Love the way every stanza ends with that sweet, surprising melodic drawl. Also the second interlude is so rich that one wished if it were with real ensemble of instruments.
2. Thappad - Incredible energy in the interludes that defy Raja's age , is all I can say.
3, piddly - By now it seems all over in TV channels and had the time to grow. Smooth and suave which is easy on the ears.
Particularly do note that delightful guitar bit that follows the first two lines in the stanzas.
For me, Shamitabh > Paa > Cheenikum

[venkkiram]

"நான் எப்படியெல்லாம் இசையமைப்பேன் என எனக்கே தெரியாத நிலையில் மற்றவர்களுக்கு எப்படி அது தெரியும்?" - என கொஞ்ச மாதங்களுக்கு முன்பு ராஜா ஒரு பேட்டியில் சொல்லியிருந்தார். அதைத்தான் ஷமிதாப்பில் பார்க்கிறேன்.

Piddly Si Baatein :
Look at the way he just makes the ongoing catchy rhythm freeze and brings one heavenly feel second interlude! Typical Maestro! இந்த ஆல்பத்தில் உச்சமாக நான் கருதும் பாடல் இது. எளிதான மெட்டு போல தெரிந்தாலும்.. ஆரம்ப இசை முதல் கடைசிவரை ராஜா அதற்கு அமைத்திருக்கும் பின்னணி இசை.. அவரால் மட்டுமே முடியும் என சொல்லக் கூடிய ஒன்று. மேலும், அமிதாப்பின் குரல்வளம் இப்பாடலை எங்கேயோ கொண்டு போய் நிறுத்துகிறது.

Thappad
தப்பட் தப்பட் Making பார்க்கணும். அதன் வேகமான தாளக்கட்டிற்கு வேஷ்டியில் ராஜாவின் உடல் அசைவை கண்டு ரசிக்கணும். ஒரு "கொம்புல பூவசுத்தி" போல. "தும் ஆ தும் ஆ தும் தப்பட் தப்பட்"! இப்படியா ஆச்சர்யத்தில் ஆழ்த்துவது! ராஜாவின் லீலைகளில் இதுவும் ஒன்று!

Stereophonic Sannata
What a prelude Raja came up for this song! The mixing of voices forming the rythm is simply genius effort! உச்சத்திலும் சுருதியின் குரல் எவ்வளவு கம்பீரமா நடைபோடுது.. உச்சரிப்பின் தொனி அருமை. தனித்துவமான குரல் வடிவம்!

Sha Sha Sha Mi Mi Mi
Caralisa Monteiro தேர்வை பாராட்டனும். இங்கேயும் இரண்டாவது இடையிசை அதகளம். முழுப்பாடலும் ஐஸ்கிரீம் போல கரைகிறது. நேரம் போவதே தெரியல.

"இந்தக்கால இளைஞர் போடும் ஆட்டத்திற்கு இளையராஜா எந்தன் பாட்டிருக்கு" - ன்னு ராஜாவே பாடுற மாதிரி இருக்கு

Shamitabh. தெரிமாஸ். பொடிமாஸ்.

:notworthy:

[venkkiram]

Shamitabh : Unveiling of an Anarchist

https://onlyraja.wordpress.com/2015/01/19/shamitabh-unveiling-of-an-anarchist/

Well written review.

[irir123]

adikka varadheenga!

this album is not a patch on 'Neethane en pon vasantham', but more along the lines of 'om shanthi om' (telugu). NEPV (like Pazhassi raaja, Nan kadavul etc) was/is a landmark album with had drum patterns with live instruments (the second interlude of 'ennodu vaa vaa' being an exception) - this album no 'organic' feel with live instruments.

impressive (for me) at the outset were the interludes: 2nd interludes of 'sha sha mi mi', 'piddly' (almost half way to the height achieved by 'saaindhu' NEPV second interlude).

'sha sha mi mi' sounds/feels like a cross between a modern version of some Nazia Hassan song from the 1980s and a Shankar Mahadevan song - the rendition, singers' voice et al give the same feel - its the arrangements that have the IR feel.

IR's strings and the brass sections in the interlude make it standout.

Bappi da might have done something like this in his heydey, but the strings, brass and bass sections are definitely IR territory.

'piddly' is vintage IR strings ensemble - AB does some justice with some effort to this cousin of "konjam theera" (oru naal oru kanavu).

'ishq phillum' is a different version of 'katrai konjam' from NEPV!

'sannata' - Shruthi's voice def adds value to this rehash - the synth prelude motif is a counterpoint melody to the 'aasaiya katthula' tune and Balki could have insisted that counterpoint itself as a separate melody - IR evvalavu thadavai sonnaalum, ivinga pechha kekkaama, pazhaiya pattaayey thiruppi venumnu ketta yenna artham?

all the melodies sound truncated - maybe to suit a different audience spectrum

IMHO, after listening to Ghibran and Santosh Narayanan's output in recent years, IR's recording still sounds outdated - not on par with those of other younger guys around - maybe its coz the others dont have such intricate/complex strings arrangement as IR does in his compositions, so theirs are easier to mix - am not an audio engineer.

Santosh can give a 'aasai oru pulveli' or 'mogathirai' or Ghibran can give 'vaagai sooda vaa' with the sounds crystal clear, why doesnt IR's albums have the same production quality ?

[dochu]

My ranking of Shamitabh songs
1. Sha sha mi mi... what a voice and orchestration!
2. Stereophonic sannata ....(if I take the fact out that it has been rehashed).
3. Piddly ..... (Amitabh has sung very well....especially the way he pronounces raadthey etc)

Sannata will appeal to North Indians as they haven't heard the tamil version.

As usual sound recording is horrible. Unable to make out the different instruments in many places.

[K]

https://www.youtube.com/watch?v=Z3slAVqVESI&feature=youtu.be

[K]

https://www.youtube.com/watch?v=529sYDq6gXQ

[krish244]

https://www.youtube.com/watch?v=TgaNSKv6k2M

Dhanush sings four lines of "Naan Thedum" and "Thenpandi". May not be perfect, but did not mess up

Looking at Kamal, Sridevi and Rajini together was a sight!


https://www.youtube.com/watch?v=SLEO2HKSXgY

Chat between Rajini, Kamal and Amitabh.

https://www.youtube.com/watch?v=R8nRsmebLwE

Introduction by Amitabh and mini performances by Shreya (Jaane do na...total surprise she ended with Tamil version) and at the end it has a little of video of "Stereophonic Sannaata" song

I am not sure if IR spoke anything in this celebration (apart from giving feedback about performances)

https://www.youtube.com/watch?v=V3sSZ6c0UlY

Initial crowd gathering video. I was wondering if KR had accompanied IR and he did.

and some more videos...

https://www.youtube.com/channel/UCknVIVm8mspptFcD1CVKUZA

thanks,

Krishnan

[SVN]

Trust Kamal to come up with gems like, " I knew that he would do his 1000th film and I am glad that his 786th film was with me."

One of the many tactics for ensuring his alignment to a particular community, now that Vishwaroopam 2 needs to make money?

[irir123]

SVN - explain pls ?! what was IR's 786th film, what is with which community and what has that got to do with VR-2 ?

[krish244]

Amitabh Bachchan's Live Performanve - Piddly Song…: http://youtu.be/E26zahX6gwg

Amitabh on stage for piddly song. I think he lip synched

SHAMITABH Title Track Full Song LIVE | Amitabh Ba…: http://youtu.be/lIA_pT_bPlQ

Caralisa for title song and it is not lip synched and almost nicely reproduced

thanks,

Krishnan

[buggle]

Looks like SJ, Lata ji all missing....

[SVN]

Irir123, That number has a significance. Please look up. Bollywood actors have often exploited it over and over again to appeal to a community, especially in the Subcontinent (examples: Amitabh's amulet number in Deewar and many other films like Coolie, Shah Rukh's jail inmate number in Veer Zaara! Akshay Kumar's movie titled Khiladi 786, car number plates of heroes etc.)

[JamesDap]

Caralisa for title song and it is not lip synched and almost nicely reproduced


I guess almost is the key word here. :D In the first iteration of the pallavi, she could barely execute that Aaaaa vocalise. Her next attempts were better but still nowhere near the smoothness of the studio recording. Benefit of doubt: maybe she didn't get enough time to rehearse and/or there were problems with the equipment set up. Be that as it may, just going by this performance, NEPV launch performances seem to have been a much better advertisement of the album.

[svaisn]

I guess almost is the key word here. :D In the first iteration of the pallavi, she could barely execute that Aaaaa vocalise. Her next attempts were better but still nowhere near the smoothness of the studio recording. Benefit of doubt: maybe she didn't get enough time to rehearse and/or there were problems with the equipment set up. Be that as it may, just going by this performance, NEPV launch performances seem to have been a much better advertisement of the album.

What was the point in doing a grand audio release... and not using his music wise in the movie..Hope Balki doesn't disappoint in the way the music is utilized...
Anyday a super hit movie with the music would be better than the Audio-Gala celebration...

[JamesDap]

What was the point in doing a grand audio release... and not using his music wise in the movie..Hope Balki doesn't disappoint in the way the music is utilized...
Anyday a super hit movie with the music would be better than the Audio-Gala celebration...

I don't disagree with that. Just saying that if the music launch was supposed to help create interest in the music and, consequently, the film, I am not sure that purpose is served with such shoddy performances. And Monteiro has done some great live jazz singing, which I am listening to as I write, so it is safe to say that not enough preparation went into the launch and it may well have been a last minute mess up. I hope Balki understands that musical performances, unlike ad events, cannot be put together impromptu without the risk of reputation loss.

[JamesDap]

IMHO, after listening to Ghibran and Santosh Narayanan's output in recent years, IR's recording still sounds outdated - not on par with those of other younger guys around - maybe its coz the others dont have such intricate/complex strings arrangement as IR does in his compositions, so theirs are easier to mix - am not an audio engineer.




Actually, it sounds just fine on CD. A somebody else said, maybe the youtube mix was mono and that can't do justice to IR's intricate compositions. Gaana.com mix may have been low bitrate, idk. NEPV also sounded dense on youtube samples but was fine on CD. Also, it's a larger 'music philosophical' question whether one wants the music to sound dynamic and alive or whether one just wants clear, well separated sounds. IR usually gets the former right, which most other composers today don't seem to attach much importance to. Personally, I also would like the music to be recorded such that the varying intensity draws me in and throws me back in turns. I don't usually get that quality anymore in film music because it's so robotic in its finish but IR almost always seems to evoke that reaction.

[irir123]

Balki is being very very silly - he is just not articulate or knowledgeable enough to speak about IR's genius.

the Shamitabh audio release function was an absolute damp squib - that was not how IR's genius ought to have been showcased to the mumbai film industry.

I expected the Mumbai orchestra guys who played IR's many intricate compositions (Sadma, Thoongathey thambi thoongadhey, thalapathy) to have been invited, and given the chance to share their experiences.

Instead Bappida, Anu Malik - EKSI.

neither Amitabh (despite his very dignified presence) nor Rajini seemed to have even remotely grasped what IR has done in their own films - Kamal repeated the Hey Ram story ad nauseam!

[JamesDap]

Balki is being very very silly - he is just not articulate or knowledgeable enough to speak about IR's genius.

the Shamitabh audio release function was an absolute damp squib - that was not how IR's genius ought to have been showcased to the mumbai film industry.

I expected the Mumbai orchestra guys who played IR's many intricate compositions (Sadma, Thoongathey thambi thoongadhey, thalapathy) to have been invited, and given the chance to share their experiences.

Instead Bappida, Anu Malik - EKSI.

neither Amitabh (despite his very dignified presence) nor Rajini seemed to have even remotely grasped what IR has done in their own films - Kamal repeated the Hey Ram story ad nauseam!

In fact, I find other than the musicians (like Prabhakar, Napoleon) and SPB, most of them don't have anything interesting to say. AB repeated the same story in his interview about how IR resonates purity, etc.

[sivasub]

Looks like SJ, Lata ji all missing....

Some reason why Lata did not participate...

http://www.bollywoodhungama.com/news/4249940/When-Amitabh-Bachchan-personally-called-up-every-guest-for-Ilayaraja%27s-function

[irir123]

Some reason why Lata did not participate...

http://www.bollywoodhungama.com/news/4249940/When-Amitabh-Bachchan-personally-called-up-every-guest-for-Ilayaraja%27s-function



very generous of AB to do this despite not having worked extensively with IR.

there ought to have been a function in Chennai to commemorate the occasion - not just some stale praise but something musical like a workshop - I guess India is far from doing such things and IR himself is eccentric enough for ppl to be scared of suggesting something like this to him!

[JamesDap]

There was sort of a workshop like arrangement in the behind the scenes chat between IR and the musicians for the Malaysia show. Some of the insights were fantastic...like IR's rather anti climactic revelation that the charanam of Poove Ilaya poove was based on a thalaatu his mother used to sing for him and not a conscious effort at Western-Carnatic fusion. But you'd need musicians of a certain stature to hold that discussion without IR wanting to throw them out out of irritation at their question (he was pretty close to that stage when Anita asked if SJ improvised the Nila Kayudhu vocalise of her own :D).

[irir123]

nila kayuthu, ponmeni uruguthey, meendum meendum vaa - all of them had some vivagaaramaana SJ sounds - I don't see whats wrong in asking IR abt them - though its fairly obvious those sounds could not have been SJ's own additions!

[JamesDap]

Just that he seems to be bewildered at the very thought that it was not he who told SJ how and what to sing. It may be a reasonable question to pose to a normal person but we can safely say he is not. It's not just IR, usually such workshop type discussions with genius artists don't work unless they are conversing with other artists of a certain wavelength. And then, how much appeal to the public at large would such a convo hold. I think it was probably VH1 that did a "making of" series for classic albums. Stevie Wonder didn't have much to say about Songs in the Key of Life whereas the more calculating and workman-like Donald Fagen and Walter Becker shared a lot more about Aja. IR doesn't sweat the mundane stuff and his answers may perhaps make his methods appear too facile to whet the appetite that the audience has for myth making. He said about Ammavai Azhaikaadha that P Vasu wanted a song similar to Janani Janani for the film and he got it. From the media's point of view, a phoney answer about IR recollecting his mom and shedding copious tears would work better but he doesn't come across as someone with the patience for that game.

[rajaramsgi]

the Shamitabh audio release function was an absolute damp squib - that was not how IR's genius ought to have been showcased to the mumbai film industry.

neither Amitabh (despite his very dignified presence) nor Rajini seemed to have even remotely grasped what IR has done in their own films - Kamal repeated the Hey Ram story ad nauseam!

I was not impressed either. Though Amitabh had less working experience with Raja sir, he spoke better in a nice accent compared to the USELESS inputs given by Rajini and Kamal. Did you guys see Dhoni, Ulavacharu Briyani and Sri Ramajeyam audio releases? Telugu film industry never misses any opportunity to honor our man.

[JamesDap]

Having briefly topped the I Tunes album charts, Shamitabh is still at no.4 and Piddly is at no.8 on the songs chart. Can't say I expected this, notwithstanding the success of the NEPV and Megha albums, given that this is a Bollywood album.

https://www.apple.com/in/itunes/charts/songs/

https://www.apple.com/in/itunes/charts/albums/

[irir123]

rajaramsgi - even those functions were singing eulogies of IR without going in-depth about why and how IR's music is special.

It is IR's strange situation that his music defies the generic 'aahaa oho' appreciation and deserves a more deeper scope in its need for exploration - which the Indian film industry is incapable of doing IMHO

[SVN]

irir123,
Agree. We either eulogize en masse or don't say anything relevant at all.

There's a real dearth of personalities who can express any deep appreciation for an MD's musical output. After Balu Mahendra, perhaps the last man standing is Mahendran, who can express their appreciation of the nuances.

Ironically, the actors in Indian film industry are one of the worst when it comes to communication skills/ public speaking. Even the so-called intelligent actors like Kamal seem to come with zero preparation when they are invited to events. Have you watched George Clooney in some events where he is giving an impromptu speech?

Even on TV/ reality shows, hardly any one is able to talk beyond simple expressions like, 'Super music', 'touching music', 'semma beattu', 'ayyo, chaance illai'..

[Hulkster]

Long time no see everybody! Ignoring the audio function, the songs have evoked different type of responses from many fans.

I was listening to the songs on youtube and when i looked at the comment box, you can see some fans berate thalaivar for composing using synth, techno etc and some who believe he is only composing such songs to reach to the younger generation and normally never deals with such "music". It is quite interesting as thalaivar is one of very few and rare composers who have fans catered to different sides of his output such as one group who purely prefer his simple and soulful melodies, one that loves his use of western classical music especially strings, one that loves the way he experiments with raagams in his songs and many more.

Personally i love the way he composes where regardless of what kind of instrument or genre he uses, they always sound like they are brought up in the thalaivar way. To quote, just listen to the single interlude that comes in the Lifebuoy song. The rhythm and the beats are far from the usual mish-mash of sounds most composers use for such electric/techno genres and thalaivar highlights a simple and addictive melodic rhythm interlaced by techno beats before the techno beats change into a more vibrant mixture of rapid drum beats. This can be easily replaced by a celtic violin, tabla and conga drum yet none of us will notice the difference because they are all members of the thalaivar genre.

Thalaivar has basically shown the past, present and future music composers that it does not matter whether he is using thavil, synthesizer, electric guitar, veenai or sound samples. All forms and instruments of music will adapt to the thalaivar genre as long as they can play seven notes. If his critics had any doubts about his style of composition or his adaptation to various genres of music, this is one big middle finger to all of them. Best still, he composed this hugely complicated album in 45 minutes. Goodness gracious me. They should just ban him from composing music since he is making the english and tamil dictionary run out of superlatives to describe him.

Oh and my favourite song from this album is Lifebuoy. Short but stunning :D

[irir123]

irir123,
Agree. We either eulogize en masse or don't say anything relevant at all.

There's a real dearth of personalities who can express any deep appreciation for an MD's musical output. After Balu Mahendra, perhaps the last man standing is Mahendran, who can express their appreciation of the nuances.

Ironically, the actors in Indian film industry are one of the worst when it comes to communication skills/ public speaking. Even the so-called intelligent actors like Kamal seem to come with zero preparation when they are invited to events. Have you watched George Clooney in some events where he is giving an impromptu speech?

Even on TV/ reality shows, hardly any one is able to talk beyond simple expressions like, 'Super music', 'touching music', 'semma beattu', 'ayyo, chaance illai'..



I have a sneaking suspicion bordering on conviction that Kamal is very much capable of articulating about IR much better than what he is doing now - but is restraining himself for reasons only known to him. Gautam Menon, Mysskin & Bala (to some extent) come across as the other directors who are capable of speaking about IR's music much better than most others.

As for the others, even Bharathiraja is incapable of speaking abt IR's music the way it deserves to be spoken about; Mani Rathnam is all 'vazha vazhaa kozha kozhaa' - I or any other decent IRfan can speak much better abt IR's music impact in Geethanjali or Nayagan, than MR can.

[JamesDap]

Long time no see everybody! Ignoring the audio function, the songs have evoked different type of responses from many fans.

I was listening to the songs on youtube and when i looked at the comment box, you can see some fans berate thalaivar for composing using synth, techno etc and some who believe he is only composing such songs to reach to the younger generation and normally never deals with such "music". It is quite interesting as thalaivar is one of very few and rare composers who have fans catered to different sides of his output such as one group who purely prefer his simple and soulful melodies, one that loves his use of western classical music especially strings, one that loves the way he experiments with raagams in his songs and many more.

Personally i love the way he composes where regardless of what kind of instrument or genre he uses, they always sound like they are brought up in the thalaivar way. To quote, just listen to the single interlude that comes in the Lifebuoy song. The rhythm and the beats are far from the usual mish-mash of sounds most composers use for such electric/techno genres and thalaivar highlights a simple and addictive melodic rhythm interlaced by techno beats before the techno beats change into a more vibrant mixture of rapid drum beats. This can be easily replaced by a celtic violin, tabla and conga drum yet none of us will notice the difference because they are all members of the thalaivar genre.

Thalaivar has basically shown the past, present and future music composers that it does not matter whether he is using thavil, synthesizer, electric guitar, veenai or sound samples. All forms and instruments of music will adapt to the thalaivar genre as long as they can play seven notes. If his critics had any doubts about his style of composition or his adaptation to various genres of music, this is one big middle finger to all of them. Best still, he composed this hugely complicated album in 45 minutes. Goodness gracious me. They should just ban him from composing music since he is making the english and tamil dictionary run out of superlatives to describe him.

Oh and my favourite song from this album is Lifebuoy. Short but stunning :D


Well, there's a good reason for the catering to the youth argument. IR himself used to lament how easy composition had apparently become with the advent of computer technology. Even as late as 2012, he told an audience that the violin is a very difficult instrument and nobody wants to take it up when all it would take is pushing a few buttons on the keyboard to win accolades (even imitating the words used in music reality shows like "unbelievable"/"fantastic"). Dripping with sarcasm, in short. I am not sure how much his own rhetoric would have resonated with the IR who composed the title track of Vikram. He had boxed himself into a bit of an elitist corner. This album MAY be an indication that he is coming out of it. He has tried to keep the flag flying for orchestral music because no new composer really has taken over the baton from him in that regard. Maybe he finally got fed up of waiting.

[venkkiram]

I see 'நேற்று எந்தன் கனவில் வந்தாய் நூறு முத்தம் தந்தாயே' (காற்றை கொஞ்சம் நிற்க சொன்னேன் of NEPV) in Chaal Phillum Hai Dhaal Phillum Hai Fully Phillum Hai Yeh Ada (Ishq E Phillum). Raja magic rules!

[SVN]

Ishq Phillum video
http://erosnow.com/#!/music/watch/1011402/shamitabh/6216239/ishq-e-fillum-official-video-song

[Hulkster]

Well, there's a good reason for the catering to the youth argument. IR himself used to lament how easy composition had apparently become with the advent of computer technology. Even as late as 2012, he told an audience that the violin is a very difficult instrument and nobody wants to take it up when all it would take is pushing a few buttons on the keyboard to win accolades (even imitating the words used in music reality shows like "unbelievable"/"fantastic"). Dripping with sarcasm, in short. I am not sure how much his own rhetoric would have resonated with the IR who composed the title track of Vikram. He had boxed himself into a bit of an elitist corner. This album MAY be an indication that he is coming out of it. He has tried to keep the flag flying for orchestral music because no new composer really has taken over the baton from him in that regard. Maybe he finally got fed up of waiting.

I feel that the papers have misquoted him. Thalaivar is not against computer technology. In fact he appreciates how much it has helped in terms of music composition and is always constantly looking at the latest technology in terms of how it can be used in his compositions.

The issue here is that composers are using computer technology for every single situation where live instruments have been almost erased from the composing map of India. Consequently, this has reduced the composers' understanding of various composition techniques related to live instruments (which means that they will never grasp the beauty and difficulty of composing using a live orchestra) and has made them over dependent on technology. That is what thalaivar is completely against.

[JamesDap]

I actually don't particularly disagree with IR's views on the usage of computer technology in IFM. But just saying that the 80s IR probably wouldn't have given a shit about what the other composers were doing. With Shamitabh, there are indications that he may be getting back to that frame of mind. But it may be a one off and I could be wrong, let's see.

[mappi]

You guys have to check Santosh Narayanan (orchestra/intruments/etc.). With my limited knowledge, but still I conclude that after IR I see only him using the Bells efficiently. He is just fabulous in both the production and setup. For me a wait was terminated by his arrival and I often seem to pick several new arrangements and recording techniques in his work.

[JamesDap]

Could you suggest specific tracks? I was checking out a few of his compositions and cannot say I found the arrangements particularly complex but maybe I didn't hear the right ones.

[irir123]

You guys have to check Santosh Narayanan (orchestra/intruments/etc.). With my limited knowledge, but still I conclude that after IR I see only him using the Bells efficiently. He is just fabulous in both the production and setup. For me a wait was terminated by his arrival and I often seem to pick several new arrangements and recording techniques in his work.


In terms of quality of melody, Santosh Narayanan is heads and shoulders above many, including ARR - and perhaps even IR wrto to some of IR's recent compositions.

SN complements his basic melody with excellent orchestration, that is more in whole/holistic than any from his generation.

[mappi]

Crimson King,

I recomend songs from the movie Cuckoo. The songs are basically an extended hangover with IR songs through Santosh Narayanan. I found the rythms quite complex (eventhough my knowledge on the metrics and formulas is close to none). I found the meters quite complex viz à viz the presentation of the songs. For instance (just a few) :

'Potta Pulla', the flute quite syncing in with the varying rythms.

'Agasatha', with Sean Roland vocals and the keys interrupting the violins.

'Manasula Soora Kathey', again a charming flute included with computer music which you don't get to notice atall.

'Yenda Mapla', Santosh is the only person who uses Gana Bala intelligently (Listen to the Dhinakutha from Pizza). I like folk songs, and this one was unique with unconventional rhythm and suprisingly the use of jazzy keys inbetween. Ofcoarse bringing in an auto tune will be quite obvious that permits anyone to see the difference.

'Kodaiyile Mazha Pole' with amazing vocals and the tune changing within itself.

'Kalyana Kalyanam', I liked Anthony Dassan vocals, the heavy beat and the nadaswaram - a mixture that asks for attention.

I was suprised with this album coming out from nowhere having all the qualities of IR. With limitations of vocabularies, I cannot efficiently express more about this quality product. But I feel Santosh Narayanan does peak my interest a lot, only next to IR.

[JamesDap]

I have heard Cuckoo songs and frankly they didn't hold my interest much. But I am willing to try again, sometime soon. Let's see. Likewise, while I thought the music of Thegidi was nice, I wasn't overwhelmed again. The melodies are nice, maybe, but harmonically not very interesting.

[JamesDap]

OK, heard Potta Pulla through to Manasula. Good stuff, but as was my initial impression also, no real surprises for me. I don't listen to IR's music so much for just melody but also his ability and willingness to throw off the listener with unexpected changes.

If this was an IR album, it would have been labelled dated, stuck in the 80s, etc etc. Unfortunately, Raja's capacity to keep churning out great music like a machine is taken for granted by now and perhaps that's bound to happen with anybody who composes for a 1000 films. However, yes, I am happy to hear another composer trying to emulate IR's style with some original input and not blind imitation.

[irir123]

OK, heard Potta Pulla through to Manasula. Good stuff, but as was my initial impression also, no real surprises for me. I don't listen to IR's music so much for just melody but also his ability and willingness to throw off the listener with unexpected changes.

If this was an IR album, it would have been labelled dated, stuck in the 80s, etc etc. Unfortunately, Raja's capacity to keep churning out great music like a machine is taken for granted by now and perhaps that's bound to happen with anybody who composes for a 1000 films. However, yes, I am happy to hear another composer trying to emulate IR's style with some original input and not blind imitation.



Its not that there are complaints abt IR being dated.

its more to do with the fact that SN is proving himself to be a refreshing change amongst the current generation of composers (besides Ghibran and to some extent, YSR).

SN's focus on the production quality irrespective of the genre he is handling, makes every track very nice on the ears.

We need a director who will stand his ground in demanding some eclectic stuff from IR that is also brand new - along with top notch production quality.

The next time a director approaches IR and instead of adamantly insisting on something new and creative, is either content with whatever IR gives, or requests for a repeat of an earlier tune, that director should be sent to Mars as a test subject - with a collection of Justin Bieber CDs - as punishment, ahead of future Mars human missions.

[JamesDap]

I am not making those comments specific to anything said on this thread but a general observation on how listeners seem to react to IR's music. It was said even of NEPV that it was just 80s IR dressed up in modern production. And yet Kumki was widely hailed as the album of the year, even though Aiyayo evokes 80s IR more blatantly than any track on NEPV. Perplexing to say the least. I think people need to step back and ponder whether it is really all the accumulated baggage of memories of past IR classics, more than anything, that gets in the way of appreciating what he does these days. Sure, production may at times be an issue as also the singer selection but I don't seem to remember either of these getting in the way of hailing a composition like En Vaaniley or Deiviga Raagam, any number of Jency tracks really. Malaysia is hailed as 'unique' or 'inimitable' instead of simply calling it like it is but hey, it's the 80s factor at work again. People may rave about a track like Thendral Vanthu Theendum Pothu now but the reception it received at the time of its release was far more mixed. History repeats.

[Dragun]

Synths, computers, loops, etc. are just tools that can either be used well or used poorly, depending on who is using them. They're not magic boxes that automatically produce great music. In the hands of capable composers and programmers, electronics are capable of producing some evocative sounds and soundscapes not possible with acoustic instruments.


I think people need to step back and ponder whether it is really all the accumulated baggage of memories of past IR classics, more than anything, that gets in the way of appreciating what he does these days. Sure, production may at times be an issue as also the singer selection but I don't seem to remember either of these getting in the way of hailing a composition like En Vaaniley or Deiviga Raagam, any number of Jency tracks really.

I didn't grow up listening to a ton of 80s IR music, so I am still discovering a lot of those gems, but there are some 80s albums that I have recently heard for the first time and listened to over and over as if they were brand new albums. Perhaps I have the baggage of liking the overall 80s IR sound, even if don't have the baggage of those specific albums.

[JamesDap]

Which is part of the problem and I don't know that either the listener or Ilayaraja can do much about that. People are indeed attached to the 80s IR sound and (a) they find it difficult to accept anything else from him and (b) at the same time, don't want to be reminded of his old compositions when they listen to the new ones. It's a battle he can't win!

[irir123]

my retake on Shamitabh:
sha sha mi mi - interludes are class!

I wish a director with a good taste for music in Bollywood works with IR and demands fresh music and not like Balki requesting rehashes.

[k_vanan]

Synths, computers, loops, etc. are just tools that can either be used well or used poorly, depending on who is using them. They're not magic boxes that automatically produce great music. In the hands of capable composers and programmers, electronics are capable of producing some evocative sounds and soundscapes not possible with acoustic instruments.



I didn't grow up listening to a ton of 80s IR music, so I am still discovering a lot of those gems, but there are some 80s albums that I have recently heard for the first time and listened to over and over as if they were brand new albums. Perhaps I have the baggage of liking the overall 80s IR sound, even if don't have the baggage of those specific albums.

:exactly:

Last week downloaded from Itunes...Uravadam Nenjam- Oru Naal unnodu oru Naal :omg: getting mad after countless listening and sound look like digitalised ? :think: can somebody confirm this :?

[mappi]

k_vanan,

Digital came only during the 90's. Cassettes during the 60s and vinyl records during the 30s.

Uravadam Nenjam belongs to 1976. The format would be a wide cassete release with huge vinly record production. Both would have been available in the retail market. If you are hearing it on your computer or any other digital equipement, rest assured that its been digitalised.

Digitalisation is a process of converting any format and making it available as digital format. The hardware consits of the intial format's player, in this case a vinyl record or cassete player, a port that allows a standard player to pass its signal/output, a receiver, in most cases a laptop using USB ports. Once all are plugged in, a software is launched in the digital equipement which extracts the necessary output from the record player and stores it in a format readable by digital equipements. For more hi-tech outpout, computer audio interfaces are used between the hardwares and specific connections are made to get leveled outputs.

But how enhanced it is depends on the person who digitalises it. The input is more important than the output as it becomes a base material. Corrections can be done without tampering the master sounds and it can also be enhanced through channeling to bring out a larger hearing experience. It needs enourmous passion and devotion to do it, which is not the case now, they just do an extraction, bundle it and upload it. Many of IR works are getting tampered.

Myself, would wish to setup a large production unit (and an IR library) which extracts the sounds and assemble it to suit the digital format through which the sound production of IR does not become artificial but capture exactly what he wished to record in the tapes. Immense talent is needed to understand, decipher and channalise the sounds, tunes, rythms, beats, etc., IR has produced. Its not only a costly, but a tedious process.

If iTune proposes a song, I am confident that they have done justice in digitalising it, as I have listened to couple of songs on iPod - (not my favourite, mine is still vinyl records with all the customary noises which itself become an awesome sound) - and was awed by its clarity.

And Oru Naal Unnodu from Uravadam Nenjam is a fantastic song.

[k_vanan]

Thanks mappi :)

Look like digitalised with original sound. Try to find out 70's & 80's songs with same quality but couldn't get :(

[mappi]

Here is a site shared by K sometime back : honeybeemusicstudio.com

You have to call them and find out how they are proposing their product (CD or MP3 or ...), catalog & shipment.

EDIT : Their office is at Coimbatore. Click 'contact' to get more informations. And check the comments here : http://honeybeemusicstudio.com/blog.html

[krish244]

Stereophonic Sannata picturisation:

http://www.filmsofindia.com/news/4910-watch-dhanush-s-wacky-sannata-number-from-shamitabh

Need to see the movie to understand why it is picturised on Dhanush (Akshara appears only in the end)! This video does not not have the second interlude (i especially liked the guitar part). Even the first interlude is a little cut here and there!

thanks,

Krishnan

[krish244]

Shamitabh audio launch program on Vijay TV on 1st Feb at 3pm

http://timesofindia.indiatimes.com/tv/news/tamil/Shamitabh-audio-launch-on-Vijay-TV/articleshow/46074657.cms

thanks,

Krishnan

[irir123]

anything on Shamitabh's background score now that its released in India?

[mappi]

I will be watching it on Sunday. Limited release here (1st show was yesterday and the next on Sunday.)

https://fbcdn-sphotos-a-a.akamaihd.net/hphotos-ak-xfp1/v/t1.0-9/s720x720/10432495_952244144808908_2415513592177877274_n.jpg ?oh=1cc0dc70c376fd2e2d4a315cd0f0c580&oe=55677D85&__gda__=1435779253_55b7bb544fd19273a7a5480fdb16d93 8

[teja]

Background score is outstanding (for lack of better word). The main melody is played during the beginning and end credits but the arrangements are very different, underscoring the mood of the film at that time (Can't reveal further). What a theme! Goosebumps!

[irir123]

Subash K Jha says something abt the score in the film here - http://www.thehansindia.com/posts/index/2015-02-06/Shamitabh-review-rating-130000

[rajaramsgi]

ஒரு ராஜாதிராஜாவும் மூன்று தளபதிகளும்!
ம.கா.செந்தில்குமார் ஆனந்த விகடன் (http://www.vikatan.com/new/magazine.php?mid=1) 04 Feb, 2015 (http://www.vikatan.com/new/article.php?module=magazine&mid=1&sid=3101)

'ஷமிதாப்’ படத்தை சாக்காக வைத்து இளையராஜாவைக் கொண்டாடிவிட்டார் அமிதாப். மும்பையில் நடந்தது என்னவோ இளையராஜா இசையமைத்த 'ஷமிதாப்’ பட இசை வெளியீடுதான். ஆனால், அதை ராஜாவை ஆராதிக்கும் திருவிழாவாக மாற்றிவிட்டனர். ரஜினி, கமல், ஸ்ரீதேவி என அத்தனை பிரபலங்களும் அன்று செம ஃபார்ம்!
அமிதாப் தானே பேசிப் பதிவுசெய்த வீடியோதான் அழைப்பிதழ். அந்த வீடியோ பதிவை ரஜினி, கமல் உள்ளிட்ட பிரபலங்களுக்கு தன் மொபைல் மூலமே பெர்சனலாக அனுப்பி, விழாவுக்கு அழைத்திருந்தார். இதில் இன்னோர் ஆச்சர்யம்... இந்த விழாவுக்கு ரஜினி, கமல் இருவரும் வருவது இளையராஜாவுக்கு இறுதி நிமிடம் வரை தெரியாதாம். அரங்கத்தில் இருவரையும் பார்த்தது ராஜாவுக்கே இன்ப அதிர்ச்சி.
கமல், ஸ்ருதி ஹாசனுடன் வர... சரிகா, அக்ஷரா ஹாசனுடன் வந்திருந்தார். ரஜினி, தனுஷ், ஐஸ்வர்யா ஒரு பக்கம்... அமிதாப், அபிஷேக், ஐஸ்வர்யா மறுபக்கம்... போனி கபூருடன் ஸ்ரீதேவி என விழா... திருவிழாதான்.
'சீனிகம்’ படத்துக்காக ராஜா இசையமைத்த பாடலை ஸ்ரேயா கோஷல் தமிழ் - இந்தியில் கலந்து பாடி நிகழ்ச்சியைத் தொடங்க, வரவேற்புரை நிகழ்த்தியது அமிதாப்பின் குரல்.

http://www.vikatan.com/av/2015/02/zmqmfj/images/p8a.jpg'ராஜாவின் பாடல்கள், மக்கள் மனதில் தாலாட்டாக, நிம்மதியாக, சோகமாக... எனப் பலவிதங்களில் பயணிக்கின்றன. பொள்ளாச்சி அருகே உடுமலைப்பேட்டையில் உள்ள தியேட்டரில் ராஜா இசையமைத்த படம் வெளியானது. அந்தப் படம் ஓடிக்கொண்டிருந்த வரை தினமும் ஒரு யானை அங்கு வரும். தியேட்டருக்கு வெளியில் பாடல்களை ரசித்துக் கேட்பதுபோல நின்றுகொண்டிருக்கும். படம் முடிந்ததும் கிளம்பிவிடும். தியேட்டரில் இருந்து அந்தப் படம் எடுக்கப்பட்டதும் அந்த யானை வருவது நின்றுவிட்டது. அப்படி ஒரு யானையையே தன் இசையால் கட்டிப்போட்ட வசீகர இசையமைப்பாளர்’ எனச் சொல்லிக்கொண்டே மேடையில் தோன்றினார் அமிதாப். அரங்கம் முழுக்க ஆர்ப்பரிப்பு!
தொடர்ந்து இளையராஜா, கமல், ரஜினி, ஸ்ரீதேவி... என '16 வயதினிலே’ டீம் மேடை ஏறினர்.
'நீங்கள், ராஜா இருவருமே ஆன்மிகத் தேடல் உள்ளவர்கள். இருவருக்கும் என்ன வித்தியாசம்?’ - ரஜினியிடம் கேட்டார் அமிதாப்.
'ஹி இஸ் வெரி நாட்டி’ எனத் தொடங்கிய ரஜினி, 'இப்ப இருக்கிற இளையராஜா கிடையாது அப்ப. நானும் அவரும் விடியுறவரைக்கும் எல்லாம் குடிச்சிருக்கோம்’ என எந்தத் தயக்கமும் இல்லாமல் ரஜினி பேச, கீழே அமர்ந்திருந்த ராஜா, 'ஏய்... அதையெல்லாம் சொல்லாதே’ என்பதுபோல் செல்ல அதட்டலாக ரஜினிக்கு சிக்னல் கொடுத்தார். சிரித்துக்கொண்டே தொடர்ந்தார் ரஜினி. 'திடீர்னு ஒரு மாறுதல். ஆன்மிகத்துல அவருக்கு நாட்டம். போகப்போக சாமியாராவே மாறிட்டார். ஆரம்பத்துல 'இளையராஜா சார்’னுதான் கூப்பிடுவேன். அந்த மாற்றத்துக்குப் பிறகு 'சாமி’னு கூப்பிடுறேன்’ என்றவர், ராஜாவைப் பார்த்து 'சரிதானே?’ என்பதுபோல் தலையாட்ட, 'ஆமாம்’ எனத் தலையாட்டி ஆமோதித்தார் ராஜா.
'ராஜா உடனான பயணத்தில் மறக்க முடியாதது எது?’ இந்தக் கேள்வி கமலுக்கு.
'ஆரம்பத்துல 'ஹேராம்’ படத்துக்கு வேற ஒரு இசையமைப்பாளர்தான் மியூசிக் பண்ணியிருந்தார். அவர் போட்டுக்கொடுத்த டியூன்ல ஷூட்டிங்கும் முடிச்சுட்டு வந்துட்டேன். அப்புறம் என்னமோ அந்த இசையில் எனக்குத் திருப்தி இல்லை. அப்ப இளையராஜா சார்கிட்ட வந்தேன். 'திரும்ப ஷூட் பண்ணினால் எவ்வளவு செலவாகும்?’னு கேட்டார். 'அது ஆகும்...

http://www.vikatan.com/av/2015/02/zmqmfj/images/p8b.jpg20 கோடிக்கு மேல’னு சொன்னேன். 'சரி... நான் பார்த்துக்கிறேன்’னு சொன்னார். சவுண்டு இல்லாம பாடல்களை ப்ளே பண்ணி, நடிகர்களின் உதட்டு அசைவுகளுக்கு ஏற்ப பாட்டு எழுதச் சொல்லி அதுக்கு டியூன் போட்டுக்கொடுத்தார். அப்படி மியூசிக் பண்ண எல்லா பாடல்களுமே ஹிட். அதுதான் ராஜா!’
'அவர் டியூன்ல கரெக்ஷன்ஸ் சொல்லியிருக்கீங்களா... ஆர்க்யூ பண்ணுவீங்களா?’ இருவருக்குமான கேள்வி.
'அந்த மாதிரி எல்லாம் நான் கேட்டதே இல்லை. அது என் துறையும் கிடையாது’ என்ற ரஜினியிடம், 'அவர் இசையில் நீங்க பாடியிருக்கீங்களே?’ என எடுத்துக்கொடுத்தார் அமிதாப். 'அட... அதை ஏன் கேக்குறீங்க? 'மன்னன்’ படத்துல நாலு வரி பாடினேன். அதுக்கே எனக்கு எட்டு மணி நேரம் ஆச்சு’ என வெட்கத்துடன் சிரித்தார் ரஜினி.
கமல் பதில் இது: 'நான் அவர்கிட்ட நிறைய ஆர்க்யூ பண்ணுவேன். அப்ப அவர் சொல்ற பதில்ல இருந்து நிறையக் கத்துக்கலாம் பாருங்க... அதுக்காக! ஆனா, என்ன சண்டை போட்டாலும் கடைசியா எனக்கு என்ன தேவையோ, அதைக் கொடுத்துடுவார்.
http://www.vikatan.com/av/2015/02/zmqmfj/images/p8c.jpg'தேவர் மகன்’ பட கம்போஸிங். ஒரு இந்திப் பாட்டைச் சொல்லி, 'இந்த மாதிரி வேணும்’னு சொன்னேன். 'நீங்க சிச்சுவேஷன் சொல்லுங்க. பாட்டெல்லாம் சொல்லாதீங்க’னு சொன்னார். 'இல்லல்ல... எனக்கு அந்த மாதிரிதான் வேணும்’னு நான் பிடிவாதமாச் சொன்னேன். 'அட... நீங்க முதல்ல சிச்சுவேஷனைச் சொல்லுங்க. மத்ததெல்லாம் அப்புறம்’னு அவரும் பிடிவாதமா இருந்தார். சிச்சுவேஷன் சொன்னேன். 'இஞ்சி இடுப்பழகி...’ கொடுத்தார்’ என சிலாகித்தார் கமல்.
தனுஷ§ம் 'ஷமிதாப்’ இயக்குநர் பால்கியும் மேடைக்கு வந்தனர். 'படத்துக்கு ராஜா போட்டுக்கொடுத்த பாட்டை எங்கே பிளே பண்ணாலும் தனுஷ் ஆடுவார். ஆனா, ராஜா சார் இருக்கிறதால ஆடத் தயங்குறார். அதனால படத்துக்காக அவர் ஆடின பாட்டைப் பார்க்கலாம்’ என்றார் இயக்குநர் பால்கி.
'ஜானி’ படத்தில் இடம்பெற்ற 'ஆசையக் காத்துல தூதுவிட்டு...’ பாட்டுக்கு மேற்கத்திய பாணியில் ராஜா இசையமைத்திருக்க, பாடலுக்கு ஸ்ருதி குரல் கொடுத்திருந்தார். அதற்கு தனுஷின் டான்ஸ் அத்தனை ரகளை. ஒளிபரப்பு முடிந்ததும், 'தனுஷ், இப்போது ராஜா சார் வாய்ஸில் பாடுவார்’ என்றார் பால்கி சிரித்துக்கொண்டே. 'ஆட மட்டும் இல்லை... பாடவும் பதற்றமா இருக்கு’ எனச் சொல்லிய தனுஷ், பிறகு பாடத் தொடங்கினார். 'நான் தேடும் செவ்வந்திப் பூவிது...’, 'தென்பாண்டிச் சீமையிலே...’ பாடல்களை இளையராஜா குரலில் பாடினார் தனுஷ்.
'தனுஷ் பாடினது எப்படி இருக்கு?’ என ராஜாவிடம் பால்கி கேட்க, 'என் குரலைவிட தனுஷ் குரல் நல்லாவே இருக்கு’ என்றார் ராஜா.
'நான் இவரோட பாடல்களைக் கேட்டுத்தான் சினிமாவுக்கே வந்தேன்; வளர்ந்தேன். ராஜா சார் மியூசிக், எனக்குள்ள எந்த எமோஷனையும் உண்டாக்கிரும்’ என நெகிழ்ந்தார் தனுஷ்.
அடுத்து மேடை ஏறினார்கள் கமலும் அக்ஷராவும். படத்தின் டீஸர், டிரெய்லர்கள் திரையிடப்பட, 'நான் எப்படி நடிச்சிருக்கேன்?’ என, கமலிடம் கேட்டார் அக்ஷரா. 'என் பார்வையில் ஆயிரம் விமர்சனங்கள் சொல்வேன். நீ நல்லா பண்ணியிருக்கேனு நான் சொல்லணும்னு அவசியம் இல்லை. பால்கி இருக்கார். அவர் உன்னை நல்லவிதமாத்தான் வழிநடத்தியிருப்பார்னு எனக்குத் தெரியும். முழுப் படமும் பார்த்துட்டு என் விமர்சனம் சொல்றேன்’ என்ற கமல், மேடையில் இருந்து இறங்கிச் செல்லும் வழியில், சரிகாவுக்குச் சின்னப் புன்னகை, ஒரு கைகுலுக்கலை அளித்தார்.
'ஷமிதாப்’ படப் பாடல்களை ஜெயா பச்சன் வெளியிட, குல்சார் பெற்றுக்கொண்டார். அபிஷேக் பச்சன், ஐஸ்வர்யா ராய் பச்சன் இருவரும் ஒவ்வொரு மேஜையாகச் சென்று விருந்தினர்களை நலம் விசாரித்தனர். அப்போது ரஜினிக்கு அருகில் அமர்ந்திருந்த தனுஷை எழுப்பிவிட்டு அங்கு அமர்ந்த ஐஸ்வர்யா, ரஜினியுடன் சில நிமிடங்கள் தீவிரமாகப் பேசிக்கொண்டிருந்தார். பார்வையாளர்கள் வரிசையில் இருந்து, 'ரோபோ-2 எப்போ?’ எனக் குரல்கள் எழ, இருவர் முகத்திலும் புன்னகை.
'எல்லாரும் இளையராஜா சார் இசையமைத்த ஆயிரமாவது படம் 'ஷமிதாப்’னு நினைச்சுட்டு இருக்காங்க. ஆனா, பாலா இயக்கும் 'தாரை
தப்பட்டை’ படம்தான் ராஜாவுக்கு ஆயிரமாவது படம். 'ஷமிதாப்’ 1,001-வது படம். 'ஆயிரம்http://www.vikatan.com/av/2015/02/zmqmfj/images/p8d.jpg படங்களைக் கடந்துவிட்டார் ராஜா. அதுக்காக ஒரு விழா நடத்திக்கிறோம்’னு பாலாகிட்ட சொன்னதும் இந்தப் பாராட்டு விழாவை விட்டுக்கொடுத்தார் பாலா. ரொம்ப நன்றி பாலா’ என்ற பால்கி, 'பாலா மிகப் பெரிய கிரியேட்டர். அவர் பண்ணதுல பாதிகூட நான் பண்ணலை’ எனக் கூறியபோது, பாலா முகத்தில் எந்தச் சலனமும் இல்லை.
அமிதாப், பால்கி, தனுஷ், அக்ஷரா என ஒட்டுமொத்த 'ஷமிதாப்’ டீமும் மேடை ஏறியபோது, 'நாங்கள்லாம் 'ஷமிதாப்’ல
50 பெர்சன்ட்தான். மீதி 50 பெர்சன்ட் இவர்தான்’ எனச் சொல்லி அவர்கள் அறிமுகப்படுத்திய நபர்... ஒளிப்பதிவாளர் பி.சி.ஸ்ரீராம்.
ராஜாவைக் கொண்டாடுவதில் தமிழ் சினிமாவை முந்திக்கொண்டது பாலிவுட்!

[Fliflo]

ஷமிதாப்... 'நேற்று இல்லை நாளை இல்லை.. எப்பவும் (இளைய)ராஜா!’

http://tamil.filmibeat.com/cinemaakkaran-saalai/cinemakkaran-saalai-6-shamitabh-033122.html

[mappi]

Firstly, please do not consider this as a review or recomendation. I allow you to choose to watch the film or not. Balki does not make films to my taste and I always found his work wandering a lot envelopped inside something artificially realistic. So I do not want to influence anyone, maybe some of you may fall in love with this film.

The BGM is spit into 2 parts - pure instrumentaion (mostly string - violins) & the second trying to cope up with mordernity (keys and auto tunes).

IR plays the voice of Danish (enacted by Danush) until IR gets replaced by Amitab (as himself). At this point, IR shifts as a measurement of distance between these two characters - Shamitab. Finally he settles down to his previous role, but this time becoming the voice of Amitab. All these 3 parts are well executed by IR, an immense understanding on the logos (as in philosophy & psychology) of the standing characters. I always adress IR not as a composer, but a Music Director. Shamitab proves myself right once again.

The problem that is spotted is with the modern music sounds. It does not blend well during such moments where the artists seem to be using more body than expressions. After a while this is what they actually do, move their legs and shoulders in each and every scene, where IR tries to jump in to save it from getting more ugly. I am aware that people are going to praise their performence - well remove IR there you will simply notice it, thank IR later.

The OST is cut miserably, another 'nth' film where IR songs are nothing but bits - a huge disappointment awaits you there. But all the opening of the songs and its placements were fabulous. IR again shines there and to an extent Balki too.

There are few BGM which were out standing :

- Danish as a kid performing a death scene before his teacher
- Danish various unsucessful attempts
- Amitab meeting and expression of Danish
- Shamitab
- Toilet sequence
- Drunken Amitab
- Love Danish
- Car episode (no instruments, just a chaos delivered as a progressive melody - while you watch it you will come to know)
- Final Amitab

And


The main melody is played during the beginning and end credits but the arrangements are very different, underscoring the mood of the film at that time (Can't reveal further). What a theme! Goosebumps!

There could be much more, I got to get the DVD to pick them one by one. The above are just the indicators that made me keep watching the film. For IR's caliber I don't think its challenging, nevertheless he addressed it prefectly - neither too high nor too low. Overall an impressive delivery (as usual) by IR. Asking an applaud from the 'general' audience is difficult - you watch the film and there is a particular scene which holds the answer.

Shamitab BGM - Seraphic

About the movie, its loosely based on :

Those who are seers of the truth have concluded that of the nonexistent [the material body] there is no endurance and of the eternal [the soul] there is no change. This they have concluded by studying the nature of both. - Gita 2.16

I allow you to explore it while or after you have watched the film.

[irir123]

Mappi - yet to see the film - but the tracks themselves leave me with the feeling that another opportunity to extract something phenomenal from IR has been wasted by Balki.

no matter how the BGM is or nor, the film is essentially a vehicle for showcasing AB's baritone and IRs music may not garner the kind of awe it so richly deserves

[sudhakarg]

There is a sense of sadness as the great stars of the aging (aged) generation talks about Raja's genius. The sadness is that the current generation may not have recognized Raja's genius yet. For them, these kind of audio launches would be one among the 1000s of such events that happen over a year.

[thumburu]

There is a sense of sadness as the great stars of the aging (aged) generation talks about Raja's genius. The sadness is that the current generation may not have recognized Raja's genius yet. For them, these kind of audio launches would be one among the 1000s of such events that happen over a year.

I completely agree with you sudhakarg as time is such a curse . We are painfully aware that the legends Rajini, Kamal or even Sridevi, for that matter are never gonna combine with the genius RAja yet another time for movies. alas !

[irir123]

Even these stars don't know IR's intrinsic worth - they just happen to be stars - KH is an exception since he never misses an opportunity to speak about IR in his interviews.

Look at the way the music of Shamitabh is mentioned in the films review - things like 'with the legendary Ilaiyaraja providing soothing music' - EKSI! many of our hubbers are 100 times more knowledgeable and discerning than these online & print media reviewers.

Imagine IR doing a 'maharajanodu' or 'santhana kaatrey' in a Hindi film - will they be received in the manner they ought to be?

one reviewer who praised the music of 'dilwale dulhaniya..' has trashed Shamitabh's music!

[irir123]

http://accessbollywood.net/2015/02/06/movie-review-shamitabh-2015/


"....More distracting than any of these flaws is the movie’s music. The songs are horrible, but the incidental music is downright clownish. Any emotional moment is punctuated with garish musical cues so amateurish that it’s hard to believe that this is Balki’s third film...."

[buggle]

http://accessbollywood.net/2015/02/06/movie-review-shamitabh-2015/


"....More distracting than any of these flaws is the movie’s music. The songs are horrible, but the incidental music is downright clownish. Any emotional moment is punctuated with garish musical cues so amateurish that it’s hard to believe that this is Balki’s third film...."

Author might know musiq, not music

[Fliflo]

Well...need to post this as well on reviewers opinion on music..

Teja
February 11, 2015 at 10:41 am
Shocked to see your comments on music. Sorry to say, I found them very juvenile. Best thing about Shamitabh is it’s music. Not sure what kind of music you’re exposed to. The bollywood sounds you hear to these days can not be termed as “music”. Golden era of bollywood music is long gone, and this movie’s music brings back those memories. Tunes are very refreshing and background score adds a new dimension to the film. Almost every review out there has a positive feedback on music, and it’s composed by a man who has done musical score for a 1000 films, besides a few symphonies. You might want to give it another try, with an open mind, as this music is not in regular bollywood masala format.

Reply ↓
Kathy Post author
February 11, 2015 at 11:19 am
Musical taste is a matter of opinion, Teja. That I don’t share yours doesn’t make my opinion “juvenile.” If Balki’s intent was to evoke a time in cinematic history when every emotional reaction was cued by garish fanfare, then perhaps he succeeded. I found the music a major distraction. We agree to disagree.

[irir123]

Fliflo - the same critic has gone gaga over Dilwale Dulhaniyan le jayenge music! nothing wrong with that - the critic is more used to uncomplicated simple stuff from bollywood.

having said that we have to admit Shamitabh is a bit odd for an IR album - will be watching this weekend for the score

[Hulkster]

Fliflo - the same critic has gone gaga over Dilwale Dulhaniyan le jayenge music! nothing wrong with that - the critic is more used to uncomplicated simple stuff from bollywood.

having said that we have to admit Shamitabh is a bit odd for an IR album - will be watching this weekend for the score


I can understand why you do feel odd. In fact it applies to many fans who are used to thalaivar's live orchestra output and his recent output in many songs. To me it does not feel odd because i always see him as someone who can bend any music form or instrument to his unique inimitable style. How his output is derived is based on the kind of movie situation he receives. A simple example would be neethaaney en pon vasantham. If the situation requires bubble pop/rock/indian classical/blues etc he will derive it accordingly, but not before tuning them to his genre. What amazes me is that he has churned out all compositions in the same duration as he does for most of his film soundtracks. It is like whatever music form that exists, is nothing but the same 7 notes to him.

[dochu]

Unless one has a strong background or qualification in music, direction etc - it isn't quite right to comment on technicalities, which the reviewer in accessbollywood took it for granted.

As a lay person, one can comment on whether they like it or not and not more than that. Speaking of that, sometimes I have crossed the line stating that IR may composed in a hurry or so. Who am I to say that? Hence sometimes, I am guilty too.

This reviewer wrote clowny etc on IR's music. Those are adjectives best used for actions and not sure how it fits in a music composition. Weird choice of words.

Secondly, the review itself is not much in technicalities, but just a lay person's review - which any of the forum members can write.

Thirdly, I posted a comment in her blog questioning - but it did not get posted and comments got closed within few hours.

That shows how much value the review is.
Since it is from a western world, I don't think we have to give that much importance to it.

On related note, I think we may have increased some revenue via google ads, amazon adwords etc for the author of that site, which may be a true intention. Because it is easy to attract billions of Indians than millions of americans to make some profit. If one sees the source of the webpage, you can see the javascripts related to advertising and such.

[uvowefiyas]

It is like whatever music form that exists, is nothing but the same 7 notes to him.
Exactly. Whether it is tharai thappatai or keyboard or orchestra that rhythm patter and emotion out of it when seen in picture and numerous variations to patterns is intact, irrespective of what form of instrument used. The touring talkies trailer in youtube which starts with SAC singing and there comes tune with traditional drum instruments playing opposite and then same is repeated with piano or keyboard i guess..never realized the drum pattern and piano/keyboard patter is same..goosebumps..:smile2:

[JamesDap]

I don't think say Piddly or Sha Sha Mi Mi are any less orchestral than songs like Naan Kadhalin Pudu Padagan which he did at his commercial peak. So it's a misnomer that orchestra defines IR, which surprisingly even IR has encouraged through his discourses/rants in public over the last few years. What people who yearn for that 80s like feeling are missing in the new albums is the more heightened energy levels and sharp dynamic shifts in the 80s songs. I remember once I heard Kurangu Kaiyil Maalai and Thodatha Taalam back to back and was surprised at how much more vigorous the latter track was. But that is a function of how music is produced these days. Even very pedestrian Hindi soundtracks from that time were recorded in a more organic way than today. IR has moved on and adapted to the music culture of the day, but the fans cling to the past. Also, if you heard Karthik sing some IR classics in the NEPV launch, that should tell you that most of today's playback singers simply cannot execute his material with the conviction and energy that SPB or Yesudas brought to the table. The singers played a greater role in breathing life into IR's songs than perhaps he, the fans or critics have acknowledged over the years. Even a composer as great as IR needs a great set of pipes to truly make a song.

[irir123]

I don't think say Piddly or Sha Sha Mi Mi are any less orchestral than songs like Naan Kadhalin Pudu Padagan which he did at his commercial peak. So it's a misnomer that orchestra defines IR, which surprisingly even IR has encouraged through his discourses/rants in public over the last few years. What people who yearn for that 80s like feeling are missing in the new albums is the more heightened energy levels and sharp dynamic shifts in the 80s songs. I remember once I heard Kurangu Kaiyil Maalai and Thodatha Taalam back to back and was surprised at how much more vigorous the latter track was. But that is a function of how music is produced these days. Even very pedestrian Hindi soundtracks from that time were recorded in a more organic way than today. IR has moved on and adapted to the music culture of the day, but the fans cling to the past. Also, if you heard Karthik sing some IR classics in the NEPV launch, that should tell you that most of today's playback singers simply cannot execute his material with the conviction and energy that SPB or Yesudas brought to the table. The singers played a greater role in breathing life into IR's songs than perhaps he, the fans or critics have acknowledged over the years. Even a composer as great as IR needs a great set of pipes to truly make a song.



few things to backup your very legitimate and relevant points:

1. IR's music was just explosive - it changed right after Nayagan - in fact oldtime TFM hubbers used to divide IR's music as pre and post Nayagan years when even the sound of the tabala became less organic.

2. NEPV is the most 'complete' album in recent times - in terms of complete interludes (even there i didnt like the second interlude of "yennodu vaa vaa"), novel tunes and all IR related elements it was complete -Megha comes closest to NEPV - the interludes at some points in 'mughilo megamo' are filled with cues that instead of carrying the main melody kindof stalls the song - very unlike IR - i think its coz its an intrusive cue IR is forcing into the song, without even his own liking!

3. Shamitabh sounds like Balki having either forced IR into making compromises or hurriedly getting the tunes and the recordings done - in his hero-worship of IR, am not sure if he is very skilled in getting what he wants from IR - be it 'ishq phillum' or 'sha sha mi mi' the base rhythm is so monotonous its shocking by IR standards whose trademark is polyphony and constant surprises - the programmed loops of the 90s were still better (even if they paled with his pre-Nayagan output) - and the orchestration was top-notch - why dont we get to hear the percussion styles as in "ilavattam" from my dear marthandan - that was acoustic organic drum, so was 'oru naal' from devadhai ? compare these with "ishq phillum" - it does sound hollow and plastic

[JamesDap]

Very interesting bifurcation as pre and post Nayagan. It is true that around this time, the synth influence began to creep up in his music. Here he was actually catching up with world trends, as pop too got more robotic from the mid 80s. Even earlier but from mid 80s it was all over the place. But it was during this synth oriented phase that IR introduced interesting and unusual rhythm patterns like Vana Kuyile. From 2000s he has gone back to simpler patterns but still with drum machines instead of live drums. However I do still hear baroque harmony in Ishq and Sha Sha, it's just less noticeable since superficially the music sounds different.

[irir123]

crimson king - am copy pasting my posting from another thread, since we are discussing the change in IR's style post Nayagan

some IR's telugu songs from 1990 onwards

they are just out of this world stuff!
only make sure you shut your eyes while listening.

try these:

https://www.youtube.com/watch?v=fGPM9ClJnzU (year 1991-92 - the bass line is badass and the second interlude frenzy is something he has not done anytime before or after)

https://www.youtube.com/watch?v=FiOBP7J8afI (valai osai redux - the interludes particularly the second interlude is goosebumps)

https://www.youtube.com/watch?v=eRjClCc3u9c ('yemma andhi mayakkamaa's richer and lusher cousin with BADASS guitar riffs and an outrageously creative version of some ragam!)

https://www.youtube.com/watch?v=B7yqdc5hMRI - Songs 4 and 6 are outright masterpieces - 6 is Dharmavathy, and song 1 is still a great one despite sounding similar to 'priyasakhi' from Gopura Vasaliley, no.5 has some brilliant violin motifs.

https://www.youtube.com/watch?v=RJB6Oy5Jzwo - 'chamakku' and 'kolo kolamma' are marana mass maya mayagowlas which shot Chiranjeevi to heights even he wouldn't have imagined of! 'shubhalekha' is a riot with a percussion for a horse ride song, and the interludes are therichufying bombs and again the second interlude -OMG!

[JamesDap]

Will check out these at leisure, won't have access to internet on the computer for the next couple of days sadly. To sum it up, my view is that IR has always had a subversive streak tempered by the need to please listeners with his music. He doesn't want to get too far out where his work won't be understood. In the early 80s he was particularly subversive with songs like endrendrum anandhame. This began to get more balanced by mid late 80s. In the 90s fans felt disappointed that he was supposedly diluting his experimentation but songs like Vanakuyile, Nil nil, Thendral (Avatharam) stand out for their complexity and audacity. And so the story goes. Fans interpret the moderation of his experiments in recent years as him running out of ideas but it is more likely an adjustment to the prevailing music culture. Nobody else in Bollywood is going to use baroque piano in a disco track. That's classic IR.

[irir123]

spoton crimson king - am not the one who will ever accuse IR of running out of ideas - no way - am rather accusing those approaching him not to use his genius adequately enough - Balki is all gaga abt him but continues to ask for earlier tunes when IR has said repeatedly he gets annoyed ad nauseum when someone asks for an older tune or something like something else!

I appreciate Gautam for extracting an NEPV from IR

[venkkiram]

spoton crimson king - am not the one who will ever accuse IR of running out of ideas - no way - am rather accusing those approaching him not to use his genius adequately enough - Balki is all gaga abt him but continues to ask for earlier tunes when IR has said repeatedly he gets annoyed ad nauseum when someone asks for an older tune or something like something else!

I appreciate Gautam for extracting an NEPV from IR
Am not sure why going too much on Balki's decision. We already witnessed many times that IR's once composed tune for one language movie situation been utilized for another language movie situation. I like very much Cheeni Kum's songs. Its fresh.

[irir123]

Am not sure why going too much on Balki's decision. We already witnessed many times that IR's once composed tune for one language movie situation been utilized for another language movie situation. I like very much Cheeni Kum's songs. Its fresh.


Cheeni kum was great! but to request IR to do the same with every other film is nonsense, IMHO - our man is brimming with ideas and creativity - not to use that is criminal - in Paa, the 'mudi mudi' tune was reused thrice in the same album - the versions had different interpretations but thats far lesser than what one can get from IR.

am hoping for something super in thaarai thappattai

[thumburu]

Balki's making use of a Hanuman like IR is akin to employing a world class sculptor to perform ammi aattukkal kothifying.
Why go as far as devadhai for organic, rousing drumming , we had them even in as recent as Mumbai Express

[Hulkster]

While i understand the gripes about cheeni kum and to a certain extent Paa, i certainly do not understand the gripes for Shamitabh as only one song has been reused (reused is a wrong statement, more of modified). In fact Shamitabh has shown me more of thalaivar's composing styles than any of his other albums and i commend Balki for bring out the best in him here. I always thought that the way he uses electronic music was very unique as it never sounded like the way other composers use it and Shamitabh is the strongest highlight which shows that his composing style is on a genre of its own. Every time i listen to this album i can see that the orchestration is completely his style and the instruments are just children following to the music of the pipe.

[JamesDap]

While Shamitabh may get harsh flak from some fans, it is also not overwhelming, musically. NEPV is way more complex, emotional and nuanced. As I said in another forum, NEPV has stoked our expectations too much. It will be remembered as one of his all time masterpieces in hindsight. Not many of Raja's creations are going to match it. Shamitabh following in this wake of an Athu oru kanakaalam would have been better received.

[thumburu]

Even "adhu oru kanAkAlam" which came out after the wake of Thiruvasagam was not well received by many music pundits in this very forum. Subbudu like vijayr also had good words to say only for the short song "kAttu vazhi".

[JamesDap]

I know. That's why I said IF hypothetically Shamitabh had followed that film.