Thanks for the informed analysis. The song is a gem and I love it.
Regards and best wishes.
csrao
-----Original Message-----
From: taimur.nadeem <taimur.nad...@yahoo.com>
To: arrahmanfans@yahoogroups.com
Sent: Fri, 7 Aug 2009 3:12 am
Subject: [arr] Ennuir thozhiye A R RAHMANs Sweetest song
Hi everyone,
Now i present the review( its done by SWAPS) of the most beautiful
and the most sweetest song of A R RAHMAN. this song gives me a feel which i
just cant communicate.this song is a pinnacle of a r rahmans musical
wizardry.its a timeless classic. a song that is heard once in a life time . The
review completely narrates the song and tells how splendiferous it is. Music
itself would be stunned that how beautiful it could be, thanks to A R RAHMAN .
NOW Here we go
Ennuir thozhiye (Unnimenon, Chinmayi; lyric by Pa.Vijay):
If I go over the board praising this song, I mean it in every sense & with full
confidence. This song deserves every bit of praise. The Rahman magic works
wonderfully here. After listening to the song, I was assured that all those who
requested ARR to compose like his vintage days, will stop complaining. This
song
has the 'Roja' sound- the freshness of Roja, the experimental nature of Thiruda
thiruda, the uniqueness of Bombay & the simplicity of Pudhiya Mugam. I've
rarely
heard such a beautiful & sweet song in my entire life. Each line of the song is
like a honey-drop.
The song opens with ARR's solo piano. The sound of the piano is scintillating.
ARR attempts a jazz like treatment while sticking to the roots of the main
melody. The song is based on the pentonic Raga Durga (Shuddha Saveri- Sa Re Ma
Pa Dha Sa), which is premierly used by Rahman. The strings (cellos & violins)
support the piano. The piece goes on for about 30 secs & u already crave for
more. Its like an alaap any singer starts before performimg a raga in a
classical concert. He sets the mood of the song with his magical fingers. The
rhythm is set by the heavy bass guitar accompanied by the accoustic guitars.
Unnimenon sings the lines 'Ennuir thozhiye'. Unnimenon's real genius comes out
in this song. He comes out of the Yesudas mould to deliver an original. The
bass
guitar used towards the end of the lines reminds me of the title song of
Enswasa
Katre. Suddenly, the melody shifts to build a musical crescendo. The piano
glides over the notes with the cymbals to create a western symphonic sound,
employing totally different notes (Ni Re Ga Ma Ga, Re Ma Ga, Re Ma Ga, Re Sa Sa
Pa Pa Re, the underlining denotes the notes of the lower octave). The
percussion
arrangement is also of a western nature. Unni returns to sing the pallavi in
Raga Durga. The composition is very smooth. It explores the essence of the
raga.
After 2 lines, the song changes (as the previous music changed). The lines r
'Ineeyavale...' which r sung in a higher pitch.
The 1st interlude is very unique. For once u feel, how beautiful the violin
sounds! But no, its not the violin, its vocals. Chinmayi humms the taanams
flawlessly. Its done so beautifully. The piano follows her, when at times just
glides from the upper notes to the lower ones as if a river is flowing.
The 1st charanam belongs to Chinmayi. She does a fantastic job. Her voice seems
so fresh & calm! The opening lines of the charanam 'Ottrai jadayil..' r very
catchy. The beauty lies in the way it has been composed. Listen to the 2nd line
'enathu kalla sirippazhagil...'. It beautifully drops from an upper note to a
lower one. Immediately, the very next line picks up from Sa Re, Re Dha, Dha Re`
(Kattidithe thangam imay paarthathundaa...sign ` denotes the notes of the
higher
octave) with the strings. This really pours in the tenderness & subtleness in
the song. After the lines 'Oru nanjam undu...' u can hear the violin plucks
(another favourite ARR style). Lastly, the charanam ends with a rather
cross-treatment of notes like Sa`-Pa-Dha-Ma-Dha-Pa-Ma-Re-Sa
(Poo-Poo-en-aasai-theernthathu).
Unni returns to the pallavi.
The 2nd interlude starts with a moorsing-like sound & then pan-flutes enter
(both reproduced electronocally). The pan-flute piece resembles a lot like the
1st interlude of 'Thengizhakku cheemayile' from Kizhakku cheemayile. These
types
of interludes remind u of golden ARR days. The pan-flutes were a common feature
then. There's this percussion with heavy bass (dont know the name) which
appears
in the 2nd interlude & continues till the end. Its played after every 4 counts.
Its the kind of percussion used in 'Chinna chinna aasai' from Roja. Coming
back,
The 2nd charanam is identically same, only difference is that both the singers
distribute their lines. The string arrangement is more evident here.
Interestingly, when Chinmayi sings the lines 'Endhan seviyil sinungukiraay', u
can hear the pan-flute in the background which does not follow the Durga
pattern; instead it uses a shuddha gandhar. U'll have to hear it very
carefully.
In the end, both the singers sing their parts of the pallavi. Unni wraps up the
song by extending the word 'enna enna' in a typical classical finale fashion,
i.e. in alaap. This song is an absolute treat to listen. It caught my interest
from day 1. It can be listed in ARR's best composed romantic sons ever!
Singers+Composition+Arrangement+Emotions+Appeal= Full Marks!
Rating: ***** (Can I over-rate it???)
do write your comments
regards,
taimur,
karachi,
Pakistan.
------------------------------------
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