agree with u. when i heard ishq ada for the first time, i instantly thought of ARR!!
On Wed, Jun 4, 2008 at 6:51 AM, Pradeepan R <[EMAIL PROTECTED]> wrote: > *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 is > that compositional styles overlap a lot more than they used to. > > *I Don't agree with that.. I can anyday recognize a ARR song without being > told abt it.. > Even if there are some songs where the composition makes it appear as if > styles are overlapping, > ARR comes out time & again with his trade-mark compositions - which is > refreshing & completely Rahmanish. > Recent Example: Ishq Ada Hai - Male version: *Nobody else could compose > something like that.* > > > On Sat, May 31, 2008 at 11:53 AM, Vithur <[EMAIL PROTECTED]> 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 >> >> HELP EVER; HURT NEVER; >> LOVE ALL; SERVE ALL >> > > > > -- > Cheers, > Pradeepan. > > "All you need to do is, decide what to do with the time that is given to > you !" > >
