Its high time someone does that... thats the only way to get a true global recognition for IR which he truly deserves. May be who knows he may get life time achievement Oscar :D ......Quote:
Originally Posted by rprasad
Its high time someone does that... thats the only way to get a true global recognition for IR which he truly deserves. May be who knows he may get life time achievement Oscar :D ......Quote:
Originally Posted by rprasad
Another thing about thalaivar's use of "unpleasant sounds" in certain songs and unnecessary dialogues in albums like TIS. Thalaivar himself has stated he is not making TIS for award scoring purposes and has been like that ever since he entered the industry. Its a irreversible characteristic and something that i prefer as well. The reason why i mention this, is all these nitpicks about chorus and dialogues seem to be born out of fustration that it may not be accepted by foreign audiences and reduce his chances for recognition etc.
Thalaivar's Nothing But Wind's main track is the answer for all this choruses he uses. He is deeply interested in how natural sounds(anything with the exception of instruments) actually have music within them and his theory that they we enjoy them without realising them. It is within this border that he explores the usage of the choruses and natural sounds within a composition. And after listening to Chan Channare for atleast three times, the chorus mystically sounds like how thalaivar would create a counterpoint with instruments within a prelude. They do blend in perfectly.
If you want to bring forward thalaivar's tracks to new audiences, then you should bring forward his theory and style of thinking. Just choosing a composition that sounds nice to you randomly might defeat the whole purpose of this man. Anyway the orchestration of the man is diverse that people are bound to be amazed by what he has done.
Excerpt From the Frontline 1987 Interview :Quote:
Originally Posted by Plum
Q : Then how do you define music?
A: Music is nothing but sound. There is music in the bark of the dog. There is music in the walk of every human being. Music is not a subject to be discussed. It has to be experienced. The universe is one which has its own rhythm pattern, and it goes on in a cyclic fashion without losing its equilibrium. Similarly,sound is ultimately a solitary note. It is not ascending. It is not descending. It is not vertical. Nor is it sinusoidal. It is dynamic. Yet this dynamism defies our general perception. We human beings have lots of limitations. We are able to perceive only the sounds within the audible frequency. There are notes above and below that. We forget them. Man has fragmented this solitary note into seven notes of the octave.Listen to the howl of the dog. Doesn't it have a swara prashta. Sa Re Ga.(Ilaiyaraaja sings and shows the similarity) There is no difference between the howl of the dog and the songs of vidwans. Actually, I have written a script in which i have recorded in what raga a dog barks on various occasions. This proves my theory - music is nothing but sound.
naama irukkurathu IR forum-thaana? santhegama irukku! aalalukku muthugukku pinnaadi kaththiyoda alaiyura maathiri oru feeling. what he has done in the past 30+ yrs is more than enough to garner a minimum of 1000 oscars.
irir123,
I understand your POV on chorus and the weird sounds though I may not agree on many of the examples. 'jhanku chakku' may sound odd but when I see someone sing this song in the music competition, the whole audience sing along when this phrase appears. So Raja did know the pulse of the audience when he composed that phrase. (By the way, the most recognizable phrase in all of TFM, though not by Raja, is 'pee pee pee dum dum dum pee pee pee dum dum dum, pee pee pee dum dum dum dum dum'. No marks for guess where it appears :) )
The only point which I do not agree at all with your argument is the lack of effort stuff. I do not find this as a plausible argument for Raja using the chorus and I completely disagree here. I base this on what Raja has done all the time. When he can so easily write out material (in BGM) for even the most mundane of situations, why should it be 'difficult' for him to conceive or execute an instrumental in place of chorus. Has he even done that in BGM? I don't think so. So, I would go with rprasad's argument that not everything may turn out to our satisfaction. When Raja is using 'weird' sounds, he knows what he is doing and why he is using them. We may disagree on the effectiveness but I don't think we can accuse him of laziness.
என்னது, அந்திமழை பொழிகிறது பாட்டுல வர கோரஸ் அனாவசியமா? நான் இந்த ஆட்டத்துக்கு இல்ல :-)
நமக்கெல்லாம் அந்த சத்தம் கேட்டவுடனே ரோமாஞ்சம் தாங்க! அதே மாதிரி மடை திறந்து பாட்டின் ரெண்டாமத்து இன்டர்லூடில் வரும் கோரஸ் கேக்கும் போது வானத்தில் பறக்குற ஃபீலிங் வருமுங்க!
(திரையில் கும்பலா அரைகுறை ஆடைப்பெண்கள் வராத பட்சத்தில் எல்லாப்பாட்டுக்குமே கோரஸ் இருந்தாலும் நல்லது தான், என் கருத்துப்படி :D )
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ezy boy take it easy.
unarchigala kattupaduthunga. ellaame karuththu dhaan. adhai solravanga ellarume raasappuvin parama visirigal dhaan. dhairyamaa solraangalennu sandhosha padunga, mudinjaa unga pangukku aadhara poorvamaa pesunga. podhuppadayaa animals pera ellaam sollaadheenga. idhu enna 'Kazhaga koottamaa?'
naagareegamnu onnu irukkulla?
don't forget, in "aattukutti muttai ittu" IR cleverly used donkey braying sound also. so the correct phrase is "karpooraththukku (IR'ku) theriyum kazhudhaiyin vaasanai" so who are we to judge him on that? ;)Quote:
Originally Posted by ezy0265
mudhi-mudhi singer Shilpa Rao on IR :
"He is basically a very chilled out guy" :-)
http://www.thaindian.com/newsportal/...#ixzz0Zm39Rzus