this is the review we expect from fans of arr.what a great charismatic awesome review.hurray to the person who have taken his time in writing one of the best ways to write a review.many liked the songs .but the way he has written speaks about the quality of writing.
i bow my head to you with tears in my eyes .this is the way our master has to be applauded.our master needs more fans like you. --- In arrahmanfans@yahoogroups.com, "Sudarsan Rengarajan" <[EMAIL PROTECTED]> wrote: > > The Ultimate review. > > -- > With Regards, > Sudarsan Rengarajan > Mobile: 98809 41422. > > On 3/2/06, Thulasi Ram <[EMAIL PROTECTED]> wrote: > > > > SPELLBOUNDING REVIEW!!!!!!!!!!!!!!!!! WHO IS THE AUTHOR OF THIS REVIEW? > > IS IT U? OK, WHOEVER IT IS.... TONS OF APPLAUSE AND > > CHEERS!!!!!!!!!!!!!!!!!!!!!!! > > > > EXCELLENT AND NO WORDS TO DESCRIBE THIS REVIEW.... > > > > MAN IT'S AMAZING AND I M COMPLELTEY STUCK WITH WORDS TO DESCRIBE THE TRUTH > > BEHIND THIS GREAT REVEW. STUPENDOUS WORK!!!!!!!!!!!!!! > > > > IN ONE WORD, BRILLIANT! > > > > > > On 3/2/06, k.7. [EMAIL PROTECTED] <[EMAIL PROTECTED]> wrote: > > > > > *Read It Online Here <http://www.geocities.com/craverajj/>* > > > > ** > > > > *Godfather*: Establishing a new province within the Rahmaniac's heaven! > > > > * * > > > > > > > > It is indeed a bliss knowing that *Padmashree A.R.Rahman*, 'the Mozart > > of Asia', has made a tremendous return down to south India. His music, > > inclusive of all magnificent elements has no restriction in crossing global > > borders, revealing itself genuinely to people despite their, cast, creed, > > religion and ethics. By only spreading the message of love, A.R.Rahman's > > music alone has acquired immortality and succeeded to prevail beyond time. > > Looking at his recent works, one can concede that A.R.Rahman has evolved > > into being extremely versatile in composing music. His music speaks for > > itself, be it the acoustically acclaimed ' *Wate*r', which had music > > conveyed directly from his heart or the youthful, innovativeness of '*Rang > > De Basanti'.* A.R.Rahman's return had very much revolutionized south > > Indian film music. This is evident in through His ' *Mayiliragey*', from > > the film *Anbe Aaruyirea*. This particular song could never fit into any > > genre in existences in the Indian music industry today, but it was accepted > > by masses due to its melodic specialty and attractive music presentation. > > Some works of A.R.Rahman are too discreet to be digested instantly by > > masses. But when accepted there will be no turning back. This applies to his > > recent musical '*Godfather*'. > > > > > > > > *GodFather .long awaited treasure chest.* > > > > * * > > > > Godfather, is indeed the survivor among odds. The sheer determination > > and passion for films instigated director K.S.Ravikumar pull it trough > > financialy, defying all odds which occurred during the production of > > Godfather. The film had survived very crucial times which at a time had > > affirmed fans to doubt its ability to sustain. Many hypes and rumors thrown > > at the movie during its production phase which held most fans in dilemma. > > The issue finally dawned when the official trailer of the movie was > > released, adorned with a promising screenplay which seems to be musically > > driven by the music genius A.R.Rahman, making the long wait to auscultate > > it fruitful. All songs were depicted genuinely in the trailer; it was > > liberation for fans. Fresh, new and awesome were some spontaneous responses > > towards the trailer, the credit to it is shared by both K.S.Ravikumar and > > A.R.Rahman who have been trustworthy of delivering such fine and finished > > output over the past years. Their combo in the past for films such as * > > muthu*, *padaiyappa*, and *thenali* were reputed blockbusters. Godfather > > will definitely adorn a stature of its own in this enchanting league. > > > > > > > > > > > > > > > > · *The Film .an insight *** > > > > * * > > > > *Godfather a NIC ARTS Production* > > > > Director: K.S.Ravikumar > > > > Producer: S.S.Chakravarthy > > > > Music: A.R.Rahman > > > > Editor: K.Thanigachalam > > > > Lyrics: Vairamuthu > > > > Dialogues: Crazy Mohan > > > > Photography/Cinematography: P.C.Sreeram, Priyan, > > > > Vijay Milton and Chakravarthy > > > > Art Direction: Thotta Tharani > > > > Stunts: Kanal Kannan > > > > Choreography: Raju sundaram > > > > Cast: Ajith kumar, Asin, Kanika, Nadiya, Sujatha, Ramesh Kannna Santhana > > Barathi, Ponnambalam, Mansoor Ali Khan, Vaiyaburi, 'Crane' Manohar, > > 'Cesar' Manohar, Pandu, Vijayan, and Rajesh > > > > * * > > > > * * > > > > * * > > > > * *The title may be similar to Francis Ford Coppola's The Godfather<http://www.imdb.com/title/tt0150742/>, > > a runaway success trilogy of Hollywood. But K. S. Ravikumar has churned a > > *masala* added storyline for his movie 'Godfather' to comfort his > > audience. According to sources, Ultimate star Ajith Kumar, for the first > > time, plays a triple role character in this film. He will embark on a father > > role, fascinate us as a eunuch; a villain and enchant us as a hero. Ajith > > needed a break into the cine field after his big hit *Attahasam *and also > > because of the average feedbacks he received from his recent *Paramasivam. > > *Godfather will indeed be his breakthrough currently into the cine field. > > > > Asin comes in ravishingly as the love lady of the hero Ajith in the > > film. She will be playing a very subtle character of witty village girl > > according to her recent interview. Her acting would surely position her high > > in the tamil film industry after her recent hits like *Ghajin*i, *Maja*and > > *Sivakasi, *adds her sources. Five Star fame, Kanika, partakes a role as > > second heroine in the movie. She will be playing a mentally disturbed mother > > of both the Ajith's and the wife of Ajith acting as their father. This will > > be her first debut into a negative role driven to a character based on > > hatred and revenge. > > > > All the best of India's film fraternity has been working with the > > Godfather's crew. Yes, best art director, best music director, best > > cinematographer, best lyricist and more within the Godfather's team. > > According to the director, the marvelous sets erected and sensational > > shooting location around India has come in handy in portraying A.R.Rahman's > > frolicsome music scores. The highlight of the film will be a bharatanatyam > > dance performance by the Ajith playing a eunuch. Art director Thotta Tharani > > has erected as lavish classical dance hall in Hyderabad costing Rs. 2 Crores > > for this song and it will be a classy feast for eyes and ears of fans he > > adds. ** > > > > * *A team comprising of geniuses or gems of the film industry is yet to > > present the most exciting and enjoyable production in Tamil film > > entertainment, could be sincerely expressed when one comes across the above > > names. So being patient in this case will result to a priceless experience. > > The wait is laudable. > > > > > > > > > > > > · *The Soundtrack A magnum opus * > > > > * * > > > > A.R.Rahman the musical genius of India teaming up with K.S.Ravikumarhas always been a celebrated combo to deliver music of a delightful nature. > > K.S.Ravikumar, a commercial director of a kind bestirs a fine chemistry > > musically while associating himself with A.R.Rahman. Looking at works of > > A.Rahman with K.S.Ravikumar in the past, in movies like Muthu, Padaiyappa > > and Thenali , one could easily predict the music outcomes of Godfather. > > Folk, Indian classical and sentimental music styles or genres are always in > > favor of K.S.Ravikumar's musical instinct towards his movies. A.R.Rahmanon the other hand delivers these genres of music with ease but in a > > distinguished manner which became hits in no time. Here are some assertions: > > > > > > > > 1. In *Muthu* all songs were super hits > > > > > > > > * <http://www.raaga.com/channels/tamil/lyrics/127.html>Kuluvalilae * > > > > Udit Narayanan<http://www.raaga.com/channels/tamil/artist/Udit_Narayanan.h tml> > > , Chitra <http://www.raaga.com/channels/tamil/artist/Chitra.html> > > > > > > > > * <http://www.raaga.com/channels/tamil/lyrics/133.html>Oruvan Oruvan * > > > > SP. Balasubramaniam<http://www.raaga.com/channels/tamil/artist/SP._Balasu bramaniam.html> > > > > > > > > * <http://www.raaga.com/channels/tamil/lyrics/137.html>Thilana Thilana * > > > > Mano <http://www.raaga.com/channels/tamil/artist/Mano.html>, Sujatha<http://www.raaga.com/channels/tamil/artist/Sujatha.html> > > > > > > > > * <http://www.raaga.com/channels/tamil/lyrics/4879.html>Kokku Saiva Kokku > > * > > > > SP. Balasubramaniam<http://www.raaga.com/channels/tamil/artist/SP._Balasu bramaniam.html> > > , Theni Kunjarammal > > <http://www.raaga.com/channels/tamil/artist/Theni_Kunjarammal.html> > > > > > > > > * <http://www.raaga.com/channels/tamil/lyrics/4880.html>Vidu Kathaiya * > > > > Hariharan <http://www.raaga.com/channels/tamil/artist/Hariharan.html> > > > > Songs are rated by listeners of Raaga<http://www.raaga.com/channels/tamil/movie/T0000106.html> > > Courtesy of Ragaa<http://www.raaga.com/channels/tamil/movie/T0000106.html> > > > > > > > > A quote from The Hindu<http://www.hinduonnet.com/thehindu/mp/2005/12/31/stories/200512 3101070300.htm>" > > *Audio sales are dipping in cities as proved by "Chandramukhi" which sold > > only 50 per cent of what a "Muthu" or "Padayappa" did a few years ago *" > > > > > > > > 2. *Padaiyappa*, a super hit also > > > > > > > > > > > > *En Peru Padaiyappa * > > > > SP. Balasubramaniam<http://www.raaga.com/channels/tamil/artist/SP._Balasu bramaniam.html> > > > > > > > > *Minsara Penn Poove * > > > > Srinivas <http://www.raaga.com/channels/tamil/artist/Srinivas.html>,Nithyashre e<http://www.raaga.com/channels/tamil/artist/Nithyashree.html> > > > > > > > > *Oh..ho.. Kikku * > > > > Mano <http://www.raaga.com/channels/tamil/artist/Mano.html>, Febi > > <http://www.raaga.com/channels/tamil/artist/Febi.html> > > > > > > > > *Suthi Suthi * > > > > SP. Balasubramaniam<http://www.raaga.com/channels/tamil/artist/SP._Balasu bramaniam.html> > > , Harini <http://www.raaga.com/channels/tamil/artist/Harini.html> > > > > > > > > *Vazhkayil Aiyiram * > > > > Sriram <http://www.raaga.com/channels/tamil/artist/Sriram.html> > > > > > > > > *Theme Music * > > > > Instrumental > > <http://www.raaga.com/channels/tamil/artist/Instrumental.html> > > > > Songs are rated by listeners of Raaga<http://www.raaga.com/channels/tamil/movie/T0000130.html> > > Courtesy of Ragaa<http://www.raaga.com/channels/tamil/movie/T0000130.html> > > > > > > > > > > > > 3. *Thenali* not missing out too > > > > > > > > *Aalangati * > > > > Kamal Hassan<http://www.raaga.com/channels/tamil/artist/Kamal_Hassan.html> > > , Sujatha <http://www.raaga.com/channels/tamil/artist/Sujatha.html> > > > > > > > > *Athini Chithini * > > > > Hariharan <http://www.raaga.com/channels/tamil/artist/Hariharan.html>,Chitra<ht tp://www.raaga.com/channels/tamil/artist/Chitra.html> > > , Sivaraman <http://www.raaga.com/channels/tamil/artist/Sivaraman.html> > > > > > > > > *Injirango * > > > > Kamal Hassan<http://www.raaga.com/channels/tamil/artist/Kamal_Hassan.html> > > , Chitra <http://www.raaga.com/channels/tamil/artist/Chitra.html>, Clinton<http://www.raaga.com/channels/tamil/artist/Clinton.html> > > , Dominique <http://www.raaga.com/channels/tamil/artist/Dominique.html> > > > > > > > > *Porkalam * > > > > Gopika <http://www.raaga.com/channels/tamil/artist/Gopika.html>, Poornima<http://www.raaga.com/channels/tamil/artist/Poornima.html> > > , Srinivas <http://www.raaga.com/channels/tamil/artist/Srinivas.html> > > > > > > > > *Swasame * > > > > SP. Balasubramaniam<http://www.raaga.com/channels/tamil/artist/SP._Balasu bramaniam.html> > > , Sadhana Sargam > > <http://www.raaga.com/channels/tamil/artist/Sadhana_Sargam.html> > > > > > > > > *Thenali * > > > > Shankar Mahadevan > > <http://www.raaga.com/channels/tamil/artist/Shankar_Mahadevan.html> > > > > Songs are rated by listeners of Raaga<http://www.raaga.com/channels/tamil/movie/T0000270.html> > > Courtesy of Ragaa<http://www.raaga.com/channels/tamil/movie/T0000270.html> > > > > > > > > A.R.Rahman has applied a similar sort of formula to the music of > > Godfather as applied to his past works with K.S. RAVIKUMAR. Folk, > > classical and sentimental are some genres involved within it. A.R.Rahmanhas made a bright attempt in introducing rap, techno and also remixes into > > this league and it has turned out well. The Soundtrack initially was slated > > to have six audio tracks, but later three more tracks were added to promote > > the Audio CD. KM MUSIQ <http://www.kmmusiq.com/>, a new Audio label was > > introduced, to market the soundtrack of godfather in India. While AGIMUSIC<http://www.agimusic.com/godfather.html>for the international market distribution. The credits to this soundtrack > > are as listed below: > > > > > > > > > > > > > > > > *The Track listing* > > > > > > > > 1. Illamai - Mohammad Aslam/ Tanvi/ Shalini Singh > > > > 2. Katril Oru Varthai - S.P.Balasubramaniam / Sadhana Sargam / Reena > > Bharadwaj > > > > 3. Dinam Deepavali - Kalpana / Sonu Karkar / Leon James / Peer Mohamed / > > Ranjith > > > > 4. Innisai Alapadaiye - Naresh Iyer/ Mahati > > > > 5. Kamma Karaiyile - Naresh Iyer / Sowmiya > > > > 6. Innisai (Chorus) - Mahati / Saindhavi > > > > 7. Theeyil Vizhunda - A R Rahman > > > > 8. Innisai (Radio Mix) - Naresh Iyer / Mahati > > > > 9. Illamai (D.U.C.K Mix) - Suresh Peters / Blaaze > > > > > > > > *CREDITS* > > > > *INDIAN CLASSICAL VOCAL ON INNISAI* > > > > GHULAM MURTUZA KHAN > > > > GHULAM QADIA KHAN > > > > PROFF SRINI ON HINDUSTANI BHOLS > > > > SRINIVAS ON SOLLUKATTU > > > > *MUSICIANS* > > > > MIRUTHANGAM - SEENU > > > > GHATAM - KARTHIK <http://www.ghatamkarthick.com/> > > > > PAKAWAJ - SREENI > > > > MOORSING - YOGIRAJA > > > > > > > > LYRICS - VAIRAMUTHU > > > > ADDITIONAL RYTHM PROGRAMING - SANJAY > > > > ILLAMAI D.U.C.K MIX PRODUCED BY SURESH PETERS<http://www.rediff.com/style/apr/03peter.htm> > > > > RECORDED AT PANCHATHAN RECORD INN, A M STUDIO AND PHASE ONE, SKYLIGHT > > (TORONTO) > > > > B.GANESH - MUSIC CO - ORDINATOR > > > > MIXING ENGINEER - H. SRIDHAR > > > > SOUND ENGINEERS - S. SIVA KUMAR, ADITYA MODI AND KARTIK VISWANATHAN > > > > ALL SONGS PUBLISHED BY KM MUSIQ > > > > > > > > A spectacular credit lining indeed. Godfather is positively a precious > > effort. > > > > > > > > > > > > *The Music Review: Opening the treasure chest * > > > > > > > > Before moving on to what Godfather' s music has to offer, It is worthy > > to look at some mediums involved supporting this review in justifying the > > greatness of Godfather's Music. > > > > > > > > *Hardware * > > > > - *Soundcard*: Creative's<http://www.soundblaster.com/products/product.asp? category=1&subcategory=208&product=14066>X-Fi Xtreme Music audio processor. > > > > "*The Creative X-Fi Xtreme Fidelity audio processor packs in over 51 > > million transistors that churn out over 10,000 MIPS of power! That is 24 > > times more powerful than its predecessor, the Sound Blaster Audigy 2 ZS, and > > is all dedicated to delivering the best audio experience ever! "* > > > > * * > > > > - *Speaker System*: Creative's<http://www.creative.com/products/product.asp? category=4&subcategory=461&product=9306>Gigaworks S750. > > > > *"**Creative GigaWorks(r) S750 embodies the power of speaker technology with > > its distinguished capabilities that affirm it as a top-of-class performer. > > Designed for DVD, gaming and AV enthusiasts, this is the first THX(r) > > certified 7.1 multimedia speaker system that features Titanium Super > > tweeters."* > > > > > > > > - *Headphones: *Creative's<http://www.creative.com/products/product.asp? category=437&subcategory=438&product=11164>HQ 1700. > > ** > > > > > > > > *Software* > > > > - *Media Player: *Creative's<http://www.soundblaster.com/mediasource/>MediaSource Player. > > ** > > > > Now getting to the Audio Review... > > > > > > > > > > > > *Song:* *Ilamai Blood Rushing Youthfulness - 5:19mins.* > > > > * Singers: Mohammad Aslam, Tanvi and Shalini Singh<http://www.chennaionline.com/chat/celebchat/14shalinisinghprofi le.asp> > > .* > > > > * Genre: Pop.* > > > > * * > > > > This song is all about youthfulness; the disc guitar greets us abruptly > > but spontaneously at the start of the track. The initial start is grungy, > > filled with lots of energy lasting till the end. Shalini greets us hello > > sounding similar to the voice of Vasundra Dass. Artistic rhythm loops and > > some synth patterns adorn the background, increasing the energy of the song. > > Tanvi on the other hand does some animal ushering effects in this song which > > goes "Trrrerrrrrrrah", amusing. A.R.Rahman has introduced a new rhythm > > instrument in this song which is the Trinidadian pan Steel drum<http://images.google.com.my/images?hl=en&q=Trinidadian%20steel% 20drum&btnG=Google+Search&sa=N&tab=wi>, > > it's a sophisticated instrument. It executes high pitched rhythm pattern > > while played. This rhythm pattern garnishes the song every time Aslam goes > > Oh Ooh at the start of the pallavi. There is so much happening in this song, > > for instance notice the chord progression, guitars and synth weaved together > > just before Aslam enters into the track, genius effort. The start is very > > promising; the song contains some new and fresh elements of music. This song > > could be used as an intro song in the movie because of its energetic value > > and it seem to describe the characteristics of the hero Ajith in the movie. > > Well, let's go on to hear how the song evolves. Very good rhythmic verbal > > expressions are used in this song, catchy syllables "thadan dham dham > > dham" .is rendered by Aslam, indulging into the melody. Walla! What follows > > is the exact melodic progression used by Aslam rendering thadan dham dham > > but this time with the lyrics of the pallavi. A new addition into this > > song, very atmospheric vibes enter while Aslam renders the first caranam > > lending more emotional punch to the song. The song at whole turns vigorous > > and brighter as new music effects debut into it later on. The melodic > > structure mostly remains the same. The ending sprouts out creatively. After > > the chorus rendering of thadan tham tham..the melody is ripped off its > > rhythmic values leaving behind a single instrument to conquer the song, yes > > the pan steel drums. Having Shalini repeating her hellos the song ends > > leaving a message which says "hello the music game is not over yet. Three > > drum beats finally keeps us awake for more music ahead > > > > > > > > *Singers:* A very successful attempt for Aslam debuting in tamil after > > being a phenomenal sensation in Rang De Basanti. Ilammai has done him proud > > with an involvement with a good melody requiring his vocal attention. He has > > done a clean job with his Tamil pronunciations as well as dictions, no > > doubt. Shalini and Tanvi have been in the A.R.Rahman league for quite a > > while. They come in good for these kinds of music genres. > > > > > > > > *Interludes: *Very simple interludes decorate this song. This is due to > > the heavy instruments which the song had in store at whole. This is called a > > harmonic contrast in musical terms. It's all about tailored listening. The > > first interlude begins at 1:35 to 2: 08. A.R.Rahman has done something new > > here too, a mixture of vocal and rhythm. A potpourri of vocal by the singers > > in harmony is pleasurable. Aslam takes in the center stage with the country > > style of yodeling <http://en.wikipedia.org/wiki/Yodeling>, pretty relaxed. > > The second interlude is also vocal based, centering on the female leads, > > with tanvi doing her ushering Trraaah's and the chorus going hip- ho-hip, > > shalini renders a string of notes in an ascending and descending order > > before Aslam enters into the mainstream melody. Good mixture indeed. > > Beautiful chord progressions and rhythm loops accompanies the vocal this > > time. > > > > > > > > *Mood, Melody and Emotions: *A.R.Rahman has started this album with lots > > of energy. The pick on a western melody is a definite choice for this track. > > Illamai delivers a strong and boosting ambience overall which makes our foot > > to tap and hand to clap while hearing it. Bright and colorful emotions are > > executed along the course of this track which is delightful. > > > > * * > > > > *Lyrics: *Vairamuthu has done well penning the lyrics for this song. The > > song mostly deals with lyrics talking about the hero's dream girl or her > > nature. The pallavi compares parrots with women while the caranams go on > > narrating different characters or behaviors regarding young women the hero > > dreams of. The phrase " Oh oh oh oh Sofia...ha ha Malika...ha ha > > Fouzia...oh yachika...ha ha is the hype of the song. > > > > > > > > > > > > *Song: Kaathril Oru vaarthai A breezy loyal whisper 6: 04mins.* > > > > *Singers: S.P.Balasubramaniam <http://www.spbala.com/>, Sadhana Sargam > > <http://www.hindilyrix.com/singers/singer-sadhana- sargam.html>and Reena > > Bharadwaj > > <http://media1.commedia.org.uk:8080/ramgen/history/reenabharadwaj.mp3 >(**Click > > here to listen to an exclusive interview about her**).* > > > > *Genre: Sentimental Pop.* > > > > > > > > The breezy effects of this song are lovable. Sadhana in a delicate > > manner renders the first two lines from pallavi of the song emotionally. She > > is accompanied by haunting chord progressions bursting in passion. The > > Dholak <http://www.indianmusicalinstruments.com/percussions3.htm> and > > tinkles of the hand cymbals conquers the melodic atmosphere subsequently > > changing the mood of the song. Reena then enters into a Middle Eastern music > > mode with Reena singing phrases "hey Hey sahibbah" on air, melodically > > interesting. The violin enters in vigorously, proving its music ability in > > the song. Then it's back to a full pallavi where the accordion makes its > > debut, dramatically enchanting the melody. The melodic boost here is the > > bright ascending notes from the keyboard played over the background. An > > Undeniable breathtaking start. S.P.B comes in the picture singing "Snehidi > > or my girlfriend". When S.P.B renders the caranam the rhythms sync in with > > perfect timing, sharpening notes executions in the melody. A fantastic > > reverb effect is used from 2: 14 to 2: 16 on the dholak. A distinct > > instrumental arrangement occupies the second part of the caranam. Filled > > with strings, and guitar, it transmits a dazzling mood shift. The second > > caranam is filled with a pitiful synth effect which highlights the lyrics of > > the song there. Both S.P.B and sadhana goes on demonstrating their vocal > > versatility while rendering the caranams taking on various mood and hues of > > sentiment. The beats of the song moves unsoiled while handling different > > parts of the song. The rhythm transition is so perfect that moods are > > unpredictable directly flattering the soul of a listener. The track moves on > > to flourish on more melodic creativity. S.P.B breaks in an unusual feel > > while he renders the pallavi for the first time at the end of the song. The > > duet in the pallavi is luxurious; it just heightens the emotional bliss of a > > listener. The song ends with Sadhana's "Hey hey snehida or hey hey my > > boyfriend" and a sharp execution of the dholak. Just amazing. > > > > > > > > *Singers: *An incredible vocal line-up evoking a music paradise at > > instant. A distinct music adaptability of S.P.B. makes him one of the most > > sort after playback singer in India. He proved his versatile vocal execution > > in Ah Aah's Thazhuvudu Nazhuvudu in R & B genre. Now a sentimental genre? > > What more lies ahead for him is capricious. Sadhana on the other hand is the > > female counterpart of S.P.B. She devours the finest of what music has to > > offer. The duo lends beauty to this song not only by their vocal but Tamil > > dictions. Both of them are amateurs in the A.R.Rahman league. Reena had > > her share of fame in Menaaxi's Hey Rishta and the recent duet with Kavitha > > krishnamurty in Mangal pandey's Mai vari Vari. Although new, she is riding > > high with her vocal chords. > > > > > > > > *Interludes: *Two stunning interludes support this song. The first one > > from 1: 36 to 2: 03. The strings take part actively in the first interlude. > > Every dynamic violin strokes is responded with a sharp rhythmic expression > > based on the Middle Eastern style creating a unique fusion at whole. The > > whole atmosphere of the interlude is transformed into a subtle sequence when > > S.P.B. and Sadhana comes into its next phase. The subtle version > > highlights their vocals with the support of the accordion. The second > > interlude from 3: 15 to 3: 55 takes us into another dimension of the song. > > This interlude is vibrant, having a tremolo effect on S.P.B.'s rhythmic > > syllable rendering. The strings cry to a brighter tune along with the piano > > and the accordion here. The chord progression here is something to watch out > > for. Then as the first interlude, the magical tune manifests into the main > > mood of the song having the strings section making the first move. Wow mind > > blowing! > > > > > > > > *Mood, Melody and Emotion: *The song doesn't totally put you in somber. > > There are brighter sequences in the melody which portray a blissful mood. > > Take for instance the start of the second interlude. The melody has shades > > of the carnatic ragas Natabhairavi and Sindhubhairavi. Both ragas were used > > extensively in Alaipauthey's "Snehidhane Snehidhane". These ragas are > > perfect help in bringing out that accurate mood proportions of the song. The > > emotion characterized in this song is the longing for love, and mixed love > > confessions made by the hero and heroin. A fine love song indeed. > > > > > > > > *Lyrics: *The lyrics for this song are spectacular. There phrase kaathril > > Orr vaarthai itself is enough to inject high dosage of astonishment into > > listeners. The lyrics are based on strong confessions made by the lovers > > about their level of purity in love. The lyrics also inform us about the > > lover's converse their expectation in a love relationship in regards to > > gender. > > > > > > > > *Song: Dinam Dinam Dinam A Brilliant Merriment 5:29mins.* > > > > *Singers: Kalpana, Sonu Kakkar<http://www.tribuneindia.com/2004/20040627/spectrum/main7.htm>, > > Leon James, Peer Mohammed and Ranjith.* > > > > *Genre: Indian Folk.* > > > > * * > > > > The Deepavali mood hits on you instantly while listening to this track. > > The song starts playfully having Leon James render "thottapuram Sondhapuram" > > the D.U.C.K effect is used on the boy's voice here. With less traces of > > electronic rhythm, the melody is adorned with attractive verbal rhythms (0: > > 00 0:10) or beat box in colloquial terms by Leon. The bass guitar slides > > in providing the chord support to the melody with a fantastic 3 notes vibe > > produced by the keyboard. Suddenly the rhythm beats ascend and descents for > > a short while then moving into a crash of heavy rhythms and synth effects. > > The high pitched piccolo is used to express the mode of the melody. Sonu > > Kakkar then shatters the ambience with her energetic execution of the > > Pallavi. The pallavi is powefull, filled with many music elements leaving > > listeners with goosebumps. The part where two same tamizh syllable "li" > > which occurs in the pallavi, stressed with chords is mesmerizing. Leon comes > > in doing chorus again on "thottapuram" with a wonderful voice modulation. > > Then it's Ranjith and Peer mohammed turn to fill in the lead with the same > > lines as Leon did. The melodic arrangements remain the same here. The folk > > flavor is stressed through usage of Tamizh words such as "doi" and "hoi" in > > the song. The phrases are also melodically stressed with chord transitions. > > A.R.Rahman has arranged a unique music progression style for this song. > > Making it a distinct folk song that you've never come across before. The > > usage tisra nadai or 3 beat rhythm cycle as in thakkita jhannu ta, dhimmi ta > > is good choice to execute folk genres at rhythamic perspective. Kalpana > > debuts in, singing unusual telugu lyrics in the Tamizh song. She also sings > > from 1: 36 to 1: 44 in the song. Now, the only way to differentiate Sonu and > > Kalpana is by their Tamizh diction or accent. The caranams are mostly > > rendered in duet forms accept for some parts in the second caranam. A lot of > > synthetic music effects are used to lift this folk song from its natural > > characteristics. The pan effect or an effect to direct musical elements over > > the left stereo channel to the right stereo channel or vice- versa is widely > > used in this song. There are some exclusive sangathi's or melodic > > modulations used when Sonu sings the pallavi from 4: 36 to 4: 40 in the > > song. The abundance of musical elements used in this song progresses rapidly > > within the course of melody, giving listeners a radical music ambience > > alteration. Chord progressions are all over this song taking its pride in > > lifting some distinctive sequences in the track. The song end's with sonu > > singing "dinam dinam, and the drum beats get wild here. The beats represent > > the bursting effects of fireworks and lovely chimes bid goodbye along with > > the piccolo at the end. That's a grand exit. > > > > > > > > *Singers:* A great crew with positive vocal accent dazzles this song, > > could be sincerely expressed when one listens to this song. Both Sonu and > > kalpana have high pitched and grungy voices, suiting the folk backdrop. This > > is sonu's debut into tamizh and into A.R.Rahman's League. She has done > > fabulous at her first attempt. Kalpana has rendered Taj Mahal's "Thiruppachi > > Aruvaaley". She has good voice structure. Leon James is a new find but with > > exceptional singing talent at a young age. Peer Mohamed and Ranjith have > > done justice to their debut into A.R.Rahman's league. Both of them have > > very tonal voice and fresh vocal chords which the Indian music industry > > craves for currently. > > > > > > > > *Interludes: *The first interlude which is from 1: 44 to 2: 15 is a vocal > > mixture which consists of both Sonu and Leon rendering lead vocals. Sonu > > takes a leap into the scenario with a powerful high pitched OHkaram (a > > continuous apprehended music note with a syllable usually vowels, in Indian > > classical music). The strings of the guitar accompany her here. When she > > starts singing deepaavali the rhythms come in highlighting the tabla usage > > with forceful beats. Then Leon renders the Telegu lyrics in harmony. Sonu > > again finishes the piece with her Ohkaram before leading to the mainstream > > melody. The second interlude is from 3: 19 to 3: 54. There is lots of > > improvisation done in the second interlude. The first part is filled with > > very synthetic rhythm and vocal loops having tremolo and phased effect. This > > is suddenly changed into a different music mode with Sonu and kalpana > > rendering Indian classical swaras or notes "Ni dha pa" but alternated with a > > phased or radio edited voice and a normal voice of both of them. The tabla > > usage is highlighted at this part giving more classical feel to the > > sequence. > > > > > > > > *Mood, Melody and Emotion*: The mood of this song is joy and contentment. > > The folk genre used, has been a big support in revealing these moods. The > > usage of children choruses and the piccolo, an instrument from the flute > > family heightens these modes, bringing them to live. Beats or rhythm of > > various hues and speed also brings satisfaction. The melody overall is based > > on folk style and talking about folk the raga commonly associated with this > > genre is Sankarabharanam, Harikambhoji and Ananabhairavi. The raga evident > > in this song is Harikambhoji or Khamaaj. Harikambhoji was brightly displayed > > during the second interlude where swaras were sung in the song. The Emotion > > the song transmits is mostly happiness and all other positive feelings. > > > > > > > > *Lyrics*: The lyric in this song communicates a celebration. A joyous > > celebration which takes place in rural area of India where joy remains > > eternal. The song also share love chats between two lovers on how they > > should behave in this kind of celebration where everyone meets. Good > > positive lyrics explain their witty behaviors. The Telugu lyrics in between > > creates hype in the song. An experiment on tamil words and Indian musical > > notes is evident in the second interlude. Where sonu sings Ni Dha Pa > > followed by a phrase Nidaapa which means it's you. A creative effort. > > > > > > > > > > > > *Song: Innisai Alapadaiye Melodic Poetry 5: 14mins* > > > > *Singers: Naresh Iyer and Mahati* > > > > *Genre: Indian Semi Classical* > > > > * * > > > > One of those gem studded attempts that people find for within A.R.Rahman's > > treasure chest of music. This classical attempt is a gem of its kind. The > > initial start pulls us aside Srinivas<http://www.chennaionline.com/chat/celebchat/02srinivasprofil e.asp>rendering some beautifull sollakattu's or melodic beats in sync with a range > > of Indian classical instruments which are the Mridangam<http://images.google.com.my/imgres? imgurl=http://www.carnatica.net/sangeet/mridangam.jpg&imgrefurl=http: //www.carnatica.net/sangeet/mridangam.htm&h=261&w=324&sz=13&tbnid=HM8 kxfHJuRRz1M:&tbnh=91&tbnw=114&hl=en&start=1&prev=/images%3Fq% 3Dmridangam%26svnum%3D>, > > Ghatam<http://images.google.com.my/imgres? imgurl=http://www.carnatica.net/sangeet/mridangam.jpg&imgrefurl=http: //www.carnatica.net/sangeet/mridangam.htm&h=261&w=324&sz=13&tbnid=HM8 kxfHJuRRz1M:&tbnh=91&tbnw=114&hl=en&start=1&prev=/images%3Fq% 3Dmridangam%26svnum%3D>and > > Moorsing<http://images.google.com.my/imgres? imgurl=http://www.carnatica.net/sangeet/mridangam.jpg&imgrefurl=http: //www.carnatica.net/sangeet/mridangam.htm&h=261&w=324&sz=13&tbnid=HM8 kxfHJuRRz1M:&tbnh=91&tbnw=114&hl=en&start=1&prev=/images%3Fq% 3Dmridangam%26svnum%3D>. > > In sync here mean perfect timing the moorsing is played at the same tempo as > > the others and it's not easy to maintain this trough out since this > > instrument vibrates greatly. As the jathiswarams evolves the madhyama (F > > flat) pitched drone by the tambura comes into the backdrop giving a > > rewarding feel to the soul of listeners. The jathiswasram rendering builds > > into a crescendo lavishly ending with the female chorus taking on lyrics > > "achil vaarthai" What lies beyond is unpredictable now but it unfolds > > mysteriously. The acoustic guitar strike notes "Sa,Ga, Ma" backing the > > vocals while other instruments like the kanjira lends another hue brightly > > into the melody turning it into a paradise. Then the rhythm instruments > > build into a crescendo welcoming Naresh Iyer to enter into the melody. The > > start Innisai is subtle without rhythms when naresh burst in the rhythms > > joins him surprisingly when he finishes the word " alapadaiye". The > > beautiful ascending and descending keys of the piano in the background > > evokes the rasa or feel or shringara (love) and it's divine. The rhythms are > > constantly on Catushra Nadai (four beat rhythm cycle) of Adi Tala here with > > Naresh's lustful tonal voice mostly executed on air. The whole ambience of > > the song is fantastic when the chords join in the melody. Then suddenly when > > naresh moves on to render salanggaigal olikka, the strings moves vribrantly > > with "thom thom tanananana thana thoooom" stunning Hindustani bhols which > > are counterparts of the carnatic jathiswaram moves on very subtle along with > > the flow of the piano keys, splendid. Naresh along with female chorus > > renders "acchil vazhom ", with the khan brothers coming along weaving > > attractive bhols into the melody. Then moving on, the female chorus renders > > the Pallavi in ecstasy. The song continues to unravel its beauty when Naresh > > renders the caranam "ezhuvai " accompanied by the bhols again with the > > Guitar striking Sa,Ga,ma clearly all over the song. Naresh moves to the > > thara stayi or upper octive rendering the same caranam lyrics while mahati > > is introduced to the melody having her hum in responds to naresh orders. The > > last two word tiruvai and taruvai is rendered in madhyamakala or middle > > speed when naresh repeats it for the second time.. Mahati cleanly > > establishes an alaap with implausible reverbs. She reminds us of Nityashree > > Mahadevan here. The chords and bhols are breath taking at this point. > > Mahati then executes the later part of the caranam with pride, accompanied > > with the bhols later on. When mahati renders the caranam, a synthetic music > > effect is used in between 3: 10 to 3:14 moving along unparallel with the > > rhythm pattern of the song .Then its naresh turn to perform his lines. He > > heads high in notes giving birth to different bhols execution by the khan > > brothers. Both naresh and mahati take turns to render the pallavi. Another > > synthetic sound effect is added from 4:18 to 4: 20. Things get vigorous as > > the mridangam is substituted for the Pakawaj, its cousin from the north. > > Both Naresh and mahati joins the chorus rendering acchil with delight. > > Naresh ends the song in solo by extending the syllable yeaaa and fading it > > out. Srinivas appears again building the rhythms into crescendo with his > > jathiswarams. An enchanting departure. This song unites both south and North > > Indian classical music disciplines and elements. > > > > > > > > *Innisai Alapadaiye (Remix): *The remixed version of this song has only an > > improvised interlude. The interlude starts with vigourus drums beat and > > vocals going "oh yah". There is also the yodeling effect here. The rhythmic > > pattern change into folkish beats called the koothu melam. With flat > > tambourine shaped drums accompanied by whistles. The song then transits to > > the main melody. > > > > > > > > *Singers: *There is quite a number of singers involved pushing this song > > to success. A.R.Rahman has been exploiting this young talent and whom he > > believes is going to hike high in the Indian Music industry. Yeah, he is > > Naresh Iyer, after the massive debut hit of Ah Aah "Mayilirage" he sung in a > > string of melodies in Rang De Basanti, and now a classical genre. Naresh has > > done A.R.Rahman proud; he indeed has talent and versatility. In this song, > > Naresh has sung with a tonal voice and it's a great experiment. Mahati who > > is currently making waves in the industry debuts for A.R.R.Rahman. She has > > good voice modulation and energy in it. Her classical voice accent is > > matured and intricate. The khan brothers joins the team again this time > > rendering very lustful bhols in raga malkauns. Their Noor-Un-Ala from > > Meenaxi was a definition of tranquility. Srinivas has done a beautiful job > > rendering the jathiswarams. He is a talented singer in the industry that > > needs to be used more often. Minsara Poove of Padaiyappa was his > > breakthrough working with A.R.Rahman > > > > > > > > *Interludes: *There is only one spectacular interlude in this song. It > > occurs between 2: 06 to 2: 39. Huge wind instruments like the trombone along > > with the strings and cymbals thumps on heavily, making the atmoshpere kind > > of situational. Then the khan brothers enter in taking your breath away. > > They sing in different pitches providing a harmonic bhol execution. The > > dynamic beats of the Pakhawaj and, leg bells provoke ecstasy. A precious > > interlude. > > > > > > > > *Mood, Melody and Emotion: *The mood of love in on air. The song doesn't > > posses heavy sangathis not to be very classical. The contemporary style of > > composing in this song, uproots feelings of yearning or lustful mode. The > > mixture of bhols and Jathiswarams is the soul stirrer. The melody is based > > on Raga Hindolam or Malkauns a raga which A.R.Rahman has used before the > > hit remix Thottal Poo Malarum from Ah Aah. The raga speaks another dimension > > here. It brings out love and compassion within the listeners. > > > > > > > > *Lyrics: *The lyrics used in this song are highly poetic as well as > > grammatical. The words in the pallavi are grammatic which goes "innisai > > alapadaiye Illamaiyin nankodaye" These tamil words have never been used ever > > in tamil film songs. The composure of the word strikes into the soul even if > > we could not understand it. The lyrics go on to tell the love yearnings of > > the lovers. > > > > > > > > * * > > > > *Song: Kamma Karaiyile A folk Reverie 5: 29mins* > > > > *Singers: Naresh Iyer and Sowmya* > > > > *Genre: Contemporary Folk* > > > > > > > > The comical OoH wah OOOh Wah Syllables greets the song unexpectedly. > > The single rhythm beats raises expectation of what lies further. The subtle > > beats have changed into dandiya style massively. With lots of vocal > > involvement in the melody now, the song moves rapidly. The beautiful "Kamma > > Kamma " takes its position after a crescendo of beats. Sowmya in a high > > pitched voice ejects wonder. The background is filled with lavish effects > > melody and > > ... > > > > [Message clipped] > > > > > > > > > > Explore, Experience, Enjoy A.R.Rahman - The Man, The Music, The Magic. > > Only at arrahmanfans.com - The definitive A.R.Rahman e-community. > > > > Homepage: http://www.arrahmanfans.com > > Admin: [EMAIL PROTECTED] > > To Subscribe: [EMAIL PROTECTED] > > To Unsubscribe: [EMAIL PROTECTED] > > > > > > > > SPONSORED LINKS > > New music artists<http://groups.yahoo.com/gads? t=ms&k=New+music+artists&w1=New+music+artists&w2=New+country+music+ar tists&w3=Christian+music+artists&w4=Country+music+artists&w5=Unsigned +music+artist&c=5&s=137&.sig=E_9K3EUS5Nq4XC2NVEcHVg> New > > country music artists<http://groups.yahoo.com/gads? t=ms&k=New+country+music+artists&w1=New+music+artists&w2=New+country+ music+artists&w3=Christian+music+artists&w4=Country+music+artists&w5= Unsigned+music+artist&c=5&s=137&.sig=CzMbarcQjQpbSM3H1Hphpg> Christian > > music artists<http://groups.yahoo.com/gads? t=ms&k=Christian+music+artists&w1=New+music+artists&w2=New+country+mu sic+artists&w3=Christian+music+artists&w4=Country+music+artists&w5=Un signed+music+artist&c=5&s=137&.sig=5KufVIKLfB07Wr3qJvKlqA> Country > > music artists<http://groups.yahoo.com/gads? t=ms&k=Country+music+artists&w1=New+music+artists&w2=New+country+musi c+artists&w3=Christian+music+artists&w4=Country+music+artists&w5=Unsi gned+music+artist&c=5&s=137&.sig=RoBRazQDpYdvjsJAZDKtKA> Unsigned > > music artist<http://groups.yahoo.com/gads? t=ms&k=Unsigned+music+artist&w1=New+music+artists&w2=New+country+musi c+artists&w3=Christian+music+artists&w4=Country+music+artists&w5=Unsi gned+music+artist&c=5&s=137&.sig=43FFBkSzom8m0Asp4UvM8Q> > > ------------------------------ > > YAHOO! 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