s da nagi.. mayya mayya has tremendous percussion mix and more importantly many layers which ARR handled in a terrific way.. none could ever imagine creating such an orchestration for that song.
On Mon, Jun 2, 2008 at 8:10 PM, Nagaraj <[EMAIL PROTECTED]> wrote: > > Mayya Mayya and Beedi jaliyele.. > > Yeni vechalum ettathu :) > ( Even if u have a ladder it wont be high enough) > > There has so much written and said abt Guru and Mayya Mayya.. > I can say one thng..I felt proud being a Rahman fan after listening to > Mayya Mayya..Songs like Mayya Mayya ( quite a few songs like that ) > make me feel he is not one of the best composers this country has ever > seen but the greatest composer this nation has ever seen..( i wud > love to say worlds greatest..but i dont hear music fm west .. ) > > Even my keyboard cried when I wrote the names of the two songs on the > same line..Donno how Shri.Baradwaj compared these two songs.. > > anyways, People have their opinion..so be it.. > > Regards, > S.V.Nagaraj > > --- In arrahmanfans@yahoogroups.com <arrahmanfans%40yahoogroups.com>, > "Thulasi Ram" <[EMAIL PROTECTED]> wrote: > > > > hello Rawat, i liked ur reply > > > > On Sun, Jun 1, 2008 at 11:18 PM, V S Rawat <[EMAIL PROTECTED]> wrote: > > > > > hmm. > > > > > > Thinking about it, I find "Mayya Mayya" carrying the same mood as > "Bidi > > > Jalaye Le" by the other Vishal (Bhardwaj) (or is Vishal Bhardwaj the > > > Vishal of Vishal-Shekhar? such identical names.) > > > > > > Of course, I am not saying copying etc. but the mood of the song. both > > > are such Jolly, freak out, naughty, teaser, tempting, provocative, > > > tantalizing songs, and visuals of both also uphold the same mood. Both > > > songs became quite popular also. > > > > > > And there is the beauty of our man. I find Mayya Mayya one of the most > > > complex songs of our man -- so many instruments, arrangement, > non-indian > > > feel, chorus background, strange lyrics, uncommon voice -- and yet, I > > > feel that it was intentionally kept somewhat subdued, controlled > voices > > > giving the indication of inner bliss, contemplating whereas Bidi > Jalaye > > > Le was comparitively loud, -- that, in front of Mayya Mayya, > Bhardwaj's > > > Bidi Jalaye Le sounds to be a poem being rendered by Kindergarten Kids > > > in some school stage play, (but I maintain that it also is good song). > > > > > > If Bhardwaj ever compared the two songs, he would have understood that > > > he has to go miles, rather light years, to even touch ARR's shadow. > > > > > > -- > > > Rawat > > > > > > On 6/2/2008 12:31 AM India Time, _Jahanzeb Farooq_ wrote: > > > > > > >> And couldn't Rahman's Mayya mayya from Guru be seen as a furtive > > > > escapee from the Vishal-Shekhar camp? > > > > > > > > Mayya Mayya by VS?? No way. > > > > > > > > > > > > --- In arrahmanfans@yahoogroups.com <arrahmanfans%40yahoogroups.com>, > Vithur <vithurm@> wrote: > > > >> *A ditty to make aditi smile* > > > >> Saturday May 31 2008 17:57 IST > > > >> > > > >> *Baradwaj Rangan* > > > >> > > > >> As if to prove his detractors wrong, as if to silence those > > > > criticisms that > > > >> his music cannot be got until you listen to it over and over — like > > > >> imposition, filling that blackboard in your mind with grimly > > > > repeated > > > >> resolves of "The next time around, I will like this song better" — > > > > A R > > > >> Rahman has composed... Wait, that's not the word, for 'composed' > > > > gives the > > > >> impression of a certain rigidity of structure, of a schema, of > > > > following a > > > >> premeditated thought to its predetermined conclusion, whereas the > > > > instantly > > > >> fall-in-lovable Kabhi kabhi Aditi (from Jaane Tu Ya Jaane Na) > > > > sounds like > > > >> Rahman did nothing more than cup his ear to the chest of a college- > > > > goer in > > > >> love and translate those heartbeats into notes. > > > >> > > > >> After a succession of stately, senior-citizen scores, how > > > > delightful it is > > > >> to see Rahman strutting about in jeans again, an iPod stuffed in > > > > the back > > > >> pocket. When I heard that this notoriously non-prolific composer > > > > had two > > > >> soundtracks due to hit stores at the same time — and after a quick > > > > glance > > > >> westwards to assure myself that the sun wasn't about to rise > > > > there — I > > > >> thought, this week, I'd record my thoughts about Ada and Jaane Tu > > > > Ya Jaane > > > >> Na in this column. But that's not going to be possible, because > > > > the endless > > > >> listens to Kabhi kabhi Aditi have left me with barely any time to > > > > get to the > > > >> other tracks. > > > >> > > > >> How do I love this song? Let me count the ways. I love the way the > > > > rhythm > > > >> kicks in like an afterthought, well into the second line, > > > > changing — in an > > > >> instant — the texture of the number that you thought was going to > > > > be > > > >> coloured primarily by whiny pickings on an acoustic guitar. I love > > > > the > > > >> gradual buildup and explosion in the stanzas, as the > > > >> everything's-gonna-be-okay shrug from earlier is fleshed out into > > > > doggerel > > > >> universalities — that the bleakness of night will once again give > > > > way to the > > > >> light of day, that the flowers will bloom once more. (The actor- > > > > playwright > > > >> Noël Coward once expressed his astonishment at "how potent cheap > > > > music is." > > > >> When you're a certain age, I guess the same could be said of dime- > > > > store > > > >> philosophising.) And I love the repeated pleas to Aditi to please, > > > > please, > > > >> please get out of her blue funk and crack a smile: Hey Aditi, has > > > > de, has > > > >> de, has de, has de, has de, has de tu zara / Nahin to bas thoda, > > > > thoda, > > > >> thoda, thoda, thoda, thoda muskura. > > > >> > > > >> Yet, there was the nagging realisation as the song came to a close > > > > that had > > > >> it been played for me in a guessing game and had I been asked to > > > > figure out > > > >> the composer, I would have dithered between AR Rahman and Shankar- > > > > Ehsaan-Loy > > > >> and Vishal-Shekhar. Does it appear to anyone else that the lines > > > > between the > > > >> troika at the top are increasingly beginning to blur? When the > > > > compositional > > > >> style is 'Indian,' I find I'm able to instantly pick out Khwaja > > > > mere Khwaja > > > >> as a Rahman creation (no other composer can whip up such a > > > > spiritual > > > >> fervour), or Goonji si hai as a number by Shankar-Ehsaan-Loy > > > > (their melody > > > >> lines have the smoothest edges in the business). > > > >> > > > >> But it becomes murkier when we're talking pop-style compositions — > > > > like > > > >> Kabhi kabhi Aditi, or Kahin to hogi (from the same album). If the > > > > composer's > > > >> names were scratched out from the inlay cover of the Taare Zameen > > > > Par CD, > > > >> would you settle on Shankar-Ehsaan-Loy as the brains behind Kholo > > > > kholo and > > > >> Jame raho? Or, for that matter, even with Vishal-Shekhar's very > > > >> Indian-sounding Main agar kahoon and Jag soona soona laage from Om > > > > Shanti > > > >> Om, don't they make you think of Shankar-Ehsaan-Loy? And couldn't > > > > Rahman's > > > >> Mayya mayya from Guru be seen as a furtive escapee from the Vishal- > > > > Shekhar > > > >> camp? > > > >> > > > >> I wish I knew where I'm going with this — based on the above, > > > > there seems to > > > >> be some overarching summation to be made about modern-day > > > > composers, doesn't > > > >> it? — but the only conclusion (if it can even be called that) is > > > > that > > > >> compositional styles overlap a lot more than they used to. > > > >> > > > >> I was listening, recently, to Dil sajan jalta hai from Mukti, and > > > > even if I > > > >> hadn't already known the name of the composer, the stanzas would > > > > have left > > > >> me with little doubt. It's all a smooth rise-and-fall of melody, > > > > till we get > > > >> to the phrases shabnam ke girne se, early in the second stanza, > > > > where the > > > >> luscious curves flatten abruptly to straight lines, as if, for > > > > those few > > > >> seconds, something had caused the scale to sputter and choke to > > > > near-death. > > > >> That something is the unmistakable R D Burman signature. Now, why > > > > didn't we > > > >> find this in anyone else's music of that time? I'll leave you to > > > > chew over > > > >> that while I head back to clear my head with that ditty about > > > > Aditi. > > > >> *Film critic, > > > >> The New Indian Express. > > > >> Feedback to this article > > > >> can be sent to > > > >> [EMAIL PROTECTED] > > > >> ** > > > >> http://www.newindpress.com/sunday/sundayitems.asp? > > > > id=SEF20080531083111&eTitle=Cinema&rLink=0 > > > >> > > > >> -- > > > >> regards, > > > >> Vithur > > > > > > > > > > > > ------------------------------------ > > > > > > Are you searching for a reason, to be kind? > > > <b> > > > 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]<arrahmanfans-subscribe%40yahoogroups.com> > > > To Unsubscribe: [EMAIL PROTECTED] Groups > > > Links > > > > > > > > > > > > > > > > >
