Dreams of the past, and of the present...
Adhu Oru Kanaa Kaalam
The music Ilayaraja has made for Balu Mahendra is all about moods. The melancholy Kanne Kalaimane(Moondram Pirai) that lulls you to sleep, the sultry Ponmeni(MP), one of the sureshot nominees for the mother of all item numbers, the psychedelic Vaan Engum(MP) , the dark,almost psychotic En Iniya Pon Nilave(Moodu Pani), the hinting at the tragic Veedu theme. The moods have as much to do with some mesmerising music as with the breathtaking visuals and with the movies themselves. So to listen to Adhu Oru Kanaa Kaalam without seeing the songs is like eating half a meal. And this half a meal truly leaves you with an aching hunger, a hunger for the Ilayaraja of yore.
Andha Naal Nyabagam is a mere shade of the classic Ilayaraja melody, yet it is an excellent number sung beautifully by Shreya Ghosal-the clear, sweet quality her voice has lending an entire new dimension to the song. Vijay Yesudas does an equally competent job and without being harsh and comparing him with his father, one must say he definitely has talent.
Kaatu Vazhi is going to have Ilayaraja, the singer's fans rooting. But he scrapes rock bottom with the pitch, trying to sing as low as low can be, which tends to be almost recitative at times. But this song will definitely grow on you particulary because of the interesting fusion of musical styles and the novel orchestration.
If you want to take a virtual trip down time to the glorious hey days of Ilayaraja in the 70’s and the 80’s, then Kili Thattu is the song you should be listening to. The kids’ chorus, the magical interludes, and Bhavatharini and Jyothi singing in tandem, and yet singing as one, if ever that was possible, transport you to a entirely different plane . Bhavatharini has transformed so spectacularly from her Mastana Mastana days, and she even manages to go one up on her award winning Mayil Pola.
Enkitta Modhaadhe(Rajadhi Raja), Raja(Agni Nakshatram), Podhuvaaga En Manasu Thangam(Murattu Kalai) are pretty demanding predeccesors for a hero centric song and Ennada Ninaicha doesn’t even come close. The tavil and guitar make an interesting combination and yet the fizz does seem missing. Balu Mahendra’s penchant for realism can be seen in the lyrics that go Kuchiya polave naan irundhaaal... what a perfect fit for Dhanush!
On the whole, the songs are average and one can only hope that the movie changes this impression and recreates the Balu-Raja magic or we might have to sigh and say Adhu Oru Kanaa Kalam
Oru Naal Oru Kanavu
In sheer contrast, is Fazil’s Oru Naal Oru Kanavu- an instantly likeable, immensely appealing album. I, personally have never favoured Ilayaraja’s scores for Fazil, post Kaadhalukku Mariyadhai because I have always felt it was that movie that marked the inevitable change in style for Raja, when he adapted to the demands of time. I agree Ennai Thalatta varuvalo is a brilliant song (which by the way is largely due to Hariharan) but I always think the synth beats sort of mar the song’s charm. Almost all of Raja’s songs for Fazil after that are indicative of a transitive phase where he is caught between the genius of his orchestration and synthesized music, attempting a challenging marriage between these two. In fact there is one out of place song Iravu Pagalai Theda in all his numbers for Kadhalukku Mariyadhai and Kannukul Nilavu which reeks of vintage Ilayaraja. But with Oru Naal Oru Kanavu, Ilayaraja comes full circle and it’s a sort of a reaffirmation as to why he is the Isaignani.
Katril Varum Geethame takes off from where Yamunai Aaatrile left off and is one of the most splendid showcases of the richness of Carnatic music. Drawing heavily on the classical influences, with the confluence of a host amazing voices this song is definitely a winner. You got to hear the places where the ladies come together in spell binding harmony.
Khajuraho is a definitive break from style, a number that is so un-Ilayaraja like that you might think it was a Vidyasagar or a YSR or why even an ARR who composed it. It only makes you wonder what this man is not capable of composing. Hariharan rocks in this sexy duet which I don't know for some reason, reminds me of Vennilave specifically the Idhu Irullala Idhu Olialla Idhu Rendodum Seradha Pon Neram bit. Guitar interludes, a throbbing synth beat, echo effect in the vocals , one can go on and on..
Enna Paatu Vendum Unakku- a jazzy disco song and Sonu Nigam sings in surprisingly good tamil, so much so that it is difficult to guess that he is singing. And Ponnuku Maapillai, though it has pedestrian lyrics is a must listen for the unexpected transition after the first stanza, where Manjsri sings in solo. You are almost led to believe the song has ended and the next has begun- a technique that Ilayaraja put to use so succesfully in Rakkamma.
Oru Naal Oru Kanavu, makes you think that when speaking about Ilayaraja's days of glory, it is probably too early to say Adhu Oru Kanaa Kalam!
Update: A rather hasty take on Andha Naal Nyabagam....This song doesn't just grow on you...it gets under your skin and fills you up....the slap/tap/pluck style of guitar strumming, the Ho Ho Ho chorus, and the part where Vijay Yesudas goes 'Alai Alaiya....' force me to change my mind....this song will hold its own against any classic Raja melody!
The music Ilayaraja has made for Balu Mahendra is all about moods. The melancholy Kanne Kalaimane(Moondram Pirai) that lulls you to sleep, the sultry Ponmeni(MP), one of the sureshot nominees for the mother of all item numbers, the psychedelic Vaan Engum(MP) , the dark,almost psychotic En Iniya Pon Nilave(Moodu Pani), the hinting at the tragic Veedu theme. The moods have as much to do with some mesmerising music as with the breathtaking visuals and with the movies themselves. So to listen to Adhu Oru Kanaa Kaalam without seeing the songs is like eating half a meal. And this half a meal truly leaves you with an aching hunger, a hunger for the Ilayaraja of yore.
Andha Naal Nyabagam is a mere shade of the classic Ilayaraja melody, yet it is an excellent number sung beautifully by Shreya Ghosal-the clear, sweet quality her voice has lending an entire new dimension to the song. Vijay Yesudas does an equally competent job and without being harsh and comparing him with his father, one must say he definitely has talent.
Kaatu Vazhi is going to have Ilayaraja, the singer's fans rooting. But he scrapes rock bottom with the pitch, trying to sing as low as low can be, which tends to be almost recitative at times. But this song will definitely grow on you particulary because of the interesting fusion of musical styles and the novel orchestration.
If you want to take a virtual trip down time to the glorious hey days of Ilayaraja in the 70’s and the 80’s, then Kili Thattu is the song you should be listening to. The kids’ chorus, the magical interludes, and Bhavatharini and Jyothi singing in tandem, and yet singing as one, if ever that was possible, transport you to a entirely different plane . Bhavatharini has transformed so spectacularly from her Mastana Mastana days, and she even manages to go one up on her award winning Mayil Pola.
Enkitta Modhaadhe(Rajadhi Raja), Raja(Agni Nakshatram), Podhuvaaga En Manasu Thangam(Murattu Kalai) are pretty demanding predeccesors for a hero centric song and Ennada Ninaicha doesn’t even come close. The tavil and guitar make an interesting combination and yet the fizz does seem missing. Balu Mahendra’s penchant for realism can be seen in the lyrics that go Kuchiya polave naan irundhaaal... what a perfect fit for Dhanush!
On the whole, the songs are average and one can only hope that the movie changes this impression and recreates the Balu-Raja magic or we might have to sigh and say Adhu Oru Kanaa Kalam
Oru Naal Oru Kanavu
In sheer contrast, is Fazil’s Oru Naal Oru Kanavu- an instantly likeable, immensely appealing album. I, personally have never favoured Ilayaraja’s scores for Fazil, post Kaadhalukku Mariyadhai because I have always felt it was that movie that marked the inevitable change in style for Raja, when he adapted to the demands of time. I agree Ennai Thalatta varuvalo is a brilliant song (which by the way is largely due to Hariharan) but I always think the synth beats sort of mar the song’s charm. Almost all of Raja’s songs for Fazil after that are indicative of a transitive phase where he is caught between the genius of his orchestration and synthesized music, attempting a challenging marriage between these two. In fact there is one out of place song Iravu Pagalai Theda in all his numbers for Kadhalukku Mariyadhai and Kannukul Nilavu which reeks of vintage Ilayaraja. But with Oru Naal Oru Kanavu, Ilayaraja comes full circle and it’s a sort of a reaffirmation as to why he is the Isaignani.
Katril Varum Geethame takes off from where Yamunai Aaatrile left off and is one of the most splendid showcases of the richness of Carnatic music. Drawing heavily on the classical influences, with the confluence of a host amazing voices this song is definitely a winner. You got to hear the places where the ladies come together in spell binding harmony.
Khajuraho is a definitive break from style, a number that is so un-Ilayaraja like that you might think it was a Vidyasagar or a YSR or why even an ARR who composed it. It only makes you wonder what this man is not capable of composing. Hariharan rocks in this sexy duet which I don't know for some reason, reminds me of Vennilave specifically the Idhu Irullala Idhu Olialla Idhu Rendodum Seradha Pon Neram bit. Guitar interludes, a throbbing synth beat, echo effect in the vocals , one can go on and on..
Enna Paatu Vendum Unakku- a jazzy disco song and Sonu Nigam sings in surprisingly good tamil, so much so that it is difficult to guess that he is singing. And Ponnuku Maapillai, though it has pedestrian lyrics is a must listen for the unexpected transition after the first stanza, where Manjsri sings in solo. You are almost led to believe the song has ended and the next has begun- a technique that Ilayaraja put to use so succesfully in Rakkamma.
Oru Naal Oru Kanavu, makes you think that when speaking about Ilayaraja's days of glory, it is probably too early to say Adhu Oru Kanaa Kalam!
Update: A rather hasty take on Andha Naal Nyabagam....This song doesn't just grow on you...it gets under your skin and fills you up....the slap/tap/pluck style of guitar strumming, the Ho Ho Ho chorus, and the part where Vijay Yesudas goes 'Alai Alaiya....' force me to change my mind....this song will hold its own against any classic Raja melody!
posted by Dreamer at 5:09 PM
2 Comments:
Wow..."Dreams of the Past and the Present" is impressive. I liked it.
Hey Nalini!
Thanks! :)
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