[arr] Chakkarakatti Song shooting ar Rs 2 crores
Recently director Kala Prabhu shot a song sequence, based on a unique concept in Prasad studio for the movie. The song portrays New York City after 500 years. The song with such an incredible idea is for 'Sakkarakatti' that features Bhagyaraj's son Shanthanu in the lead. Vedhika is acting as his pair. The film has the music by none other than A.R. Rahman. Shanthanu and Vedhika were dancing around with a lot of French girls for the song. The song, which would cost two crore rupees, will be shot for 10 days, informs the director. The movie, which has been in the making for quite some time, is growing fast. It is expected to be released by March-April. The young hero Shanthanu is expecting the movie for a break in his career. http://www.indiaglitz.com/channels/tamil/article/36185.html -- regards, Vithur A.R.RAHMAN - MY BREATH LIFE FORCE
Re: [arr] Re: Can someone define living up to ARR's own standards?
All these discussions are signs that ARR will go down in the history as a Legend.. We just need to look at history to realise that. . Good discussion..I am enjoying it a lot. On Jan 28, 2008 2:48 PM, jamshid TC [EMAIL PROTECTED] wrote: *Vande Mataram* was released in 1997 on India's 50th anniversary of independence . -Jamshid --- On *Sun, 1/27/08, shanavas.chemmamkuzhi [EMAIL PROTECTED]* wrote: From: shanavas.chemmamkuzhi [EMAIL PROTECTED] Subject: [arr] Re: Can someone define living up to ARR's own standards? To: arrahmanfans@yahoogroups.com Date: Sunday, January 27, 2008, 10:27 PM I disagree here.Time won't affect the quality of music.Rahman used the same tune in 1994 and 2000 ,and both songs were appreciated. Porale Ponnuthayi - Karuthamma (1994) Chanda Suraj Lakhon Tare - Vande Matharam (2000) -- Looking for last minute shopping deals? Find them fast with Yahoo! Search.http://us.rd.yahoo.com/evt=51734/*http://tools.search.yahoo.com/newsearch/category.php?category=shopping
[arr] Jodha Akbar - An Epic Tale
http://bollywoodmoviesblog.wordpress.com/2008/01/28/jodhaa-akbar-an-epic-tale/ Just lliked this article so that to share it with you all, as it's of one of the blogger have written in AOL India Blogs about the movie Jodhaa Akbar in a very classy way: To borrow the famous words of Mel Brooks,The Legend had it coming. At least it deserved a perspective from one of our best film makers. Another two weeks before the might of the Mughal Empire unleashes on a Cinema screen near you. And for the majority who is apt to get confused at the whole premise of AKBAR the GREAT and this Rajput Princess thingy, better ruffle through those old history textbook pages once again, if you can find them, that is. It shouldn't matter anyways. For the rest who scream from the nearest fort ramparts about how Ashutosh Gowariker is shortchanging history and manipulating facts to his own interests, I say, please give him a break. He has proved to be a great story teller, and a fine craftsman of the Silverscreen and if he wants to tell you a story in his own terms, let him do it. Knowing Ashutosh Gowariker and his portfolio of fine craftsmanship, JODHA-AKBAR wouldn't be disappointing. I am hoping that my wait was worth it. AR Rahman's music that seems to be flowing at you from every second FM station these days doesn't seem to disappoint you. Though as far as Ashutosh's handful of movies are considered, the music played its part in the entire movie and then kept quiet. The stress was on the wholesome movie and not on the item numbers which usually are marketed as by-products of the main movie. For those who came into the history classes late, or have never ever attended it once, arguably(after all, it wouldn't be history if we didn't, get it.) Jodha Bhai was the daughter of King Bharmal who gives away her daughter in marriage to young Jalaluddin, who makes his valiant presence felt in the battlefield, and is soon to be crowned and be known as Akbar the Great. In keeping with the traditions based on the social customs and conditions of those times, marriages were more political alliances than suitablematches, and they kept the entire machinery of the Hindustan's splintered royalty chugging on smoothly. Seen as a prequel to Mughal-e-Azam, everything that has been done to Jodha-Akbar has been done in a grand scale or maybe, in Ashutosh Gowariker's way of translating opulence. I always shiver at the prospect of those period drams that graced our silverscreen in recent times, and the apprehensions are still there, restless, but they have been unceremoniously banished to the back of my mind. The last one that came in during Diwali(not exactly of the epic variety,but the marketing mandarins were adamant!), in an arresting blue afterglow, and spelling out opulence in big, large, cringing NEON from its every set, had me fleeing the Cinema. And that from another acclaimed Director. For Hrithik Roshan, this is an epic roleof a lifetime(though I am wondering what would best describe his role as Gautam Buddha for Shyam Benegal's next project). This also happens to be Aishwarya Rai-Bachchan's first release post wedding, so it gains all the more gravitas as it naturally attains the grand inertia of the the First Family of Bollywood. Mme Rai's last foray into an epic was to say the least scathing. Maybe its just the beginning of epic roles for Hrithik. -- regards, Vithur A.R.RAHMAN - MY BREATH LIFE FORCE
Re: [arr] ARR SHOW IN CHENNAI
I can't understand this. Can u explain?
--- In arrahmanfans@yahoogroups.com, Gopal Srinivasan [EMAIL PROTECTED]
wrote:
It's a private concert.
- Original Message
From: saraswathi suvarna [EMAIL PROTECTED]
To: a r rahman arrahmanfans@yahoogroups.com
Sent: Monday, January 28, 2008 8:35:29 AM
Subject: [arr] ARR SHOW IN CHENNAI
I heard there is going to be a show in Chennai on 9th
February 08.
Saras
_ _ _ _ _ _
Never miss a thing. Make Yahoo your home page.
http://www.yahoo. com/r/hs
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[arr] indiaglitz review of JA.....
http://www.indiaglitz.com/channels/hindi/musicreview/9481.html
[arr] Kindly provide the link of STAR PLUS Award
Dear Vithur, Kindly provide me the Video or youtube link of Star Plus Award to ARR programme. Kind Regards, K.Sathish A.R.Rahman - My Soul Role Model Vithur [EMAIL PROTECTED] wrote: Friends, Tonight in Star PLus channel, they are telecasting Nokia 14th Annual Screen Awards. ARR feaatures in the Best Music Director for Guru and shreya Ghosal for Barso re in Guru. watch and enjoy -- regards, Vithur A.R.RAHMAN - MY BREATH LIFE FORCE - Never miss a thing. Make Yahoo your homepage.
Re: [arr] ARR SHOW IN CHENNAI
Rahman goes private :)
On Jan 28, 2008 3:43 PM, ram930_krishna [EMAIL PROTECTED] wrote:
I can't understand this. Can u explain?
--- In arrahmanfans@yahoogroups.com arrahmanfans%40yahoogroups.com,
Gopal Srinivasan [EMAIL PROTECTED]
wrote:
It's a private concert.
- Original Message
From: saraswathi suvarna [EMAIL PROTECTED]
To: a r rahman arrahmanfans@yahoogroups.comarrahmanfans%40yahoogroups.com
Sent: Monday, January 28, 2008 8:35:29 AM
Subject: [arr] ARR SHOW IN CHENNAI
I heard there is going to be a show in Chennai on 9th
February 08.
Saras
_ _ _ _ _ _
Never miss a thing. Make Yahoo your home page.
http://www.yahoo. com/r/hs
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Re: [arr] [IMPORTANT] An opportunity to help the foundation
Keep this thread active . Is there a PDF Version of the Volume 1 available, so that the book can be circulated to FANS from Bangladesh, the US, Singapore, Malaysia, Middle East Gopal / Vijay Is a PDF Version possible ?? --- In arrahmanfans@yahoogroups.com, Vithur [EMAIL PROTECTED] wrote: Little drops make a mighty ocean . Best way to start is we all buying how much ever we can... Good start SIRAJ On 1/22/08, Siraj K [EMAIL PROTECTED] wrote: I just placed an order I paid through my credit card.. Its my small and humble help for the foundation.. -SIRAJ On Jan 21, 2008 10:01 PM, neetika raina [EMAIL PROTECTED] wrote: Are the books available in any of the stores in India?? any store in bangalore??Gangarams is the biggest store i guess in bangalore.. wen will they get the stock for sale in indian stores??? any idea?? would like to buy all the volumes of this book.. -- To: arrahmanfans@yahoogroups.com From: [EMAIL PROTECTED] Date: Sat, 19 Jan 2008 09:31:30 -0800 Subject: [arr] [IMPORTANT] An opportunity to help the foundation Dear friends, Here is an opportunity to spread the word about the A.R.RahmanFoundation and contribute to it as well. A series of 9 colouring books for children, based on the theme of Pray For Me Brother (the first book was released by ARR at the Delhi concert) are being released over the next year. This is an entirely non-profit venture and all proceeds from the sales of these books will go the Foundation. The books are priced at Rs. 100/- each Here is how you can contribute to this effort - i. Buy copies for personal use ii. Buy copies to gift to relatives and friends iii. Buy copies to sell/donate/distribute to schools and institutions The books can be purchased online from http://cgi.ebay.in/ws/eBayISAPI.dll?ViewItemitem=220193732875 Shipping is presently available only within India. For fans located outside of India, you could ship these books to family and friends in India. If someone is interested in a bulk order, the publishers will consider shipping them overseas too. From the fan community, We are hoping to guarantee minimum sales of 500 copies per title. That is the least we could do given our commitment, devotion and size. Even at 2 copies per person, only 250 people need to buy. We could surely do much more than that. Looking forward to your ardent support. On behalf of the foundation, Vijay. -- It's about getting married. Click here! Try it! http://ss1.richmedia.in/recurl.asp?pid=201 -- regards, Vithur A.R.RAHMAN - MY BREATH LIFE FORCE
[arr] Re: Fear of failure haunts A.R.Rahman
Is negative headline a new trend of journalism?
The content inside has the subtle headline and doesnt match the actual.
--- In arrahmanfans@yahoogroups.com, Vithur [EMAIL PROTECTED] wrote:
Fear of failure haunts A.R. Rahman Sun Jan 27, 2008 5:22pm IST
Emailjavascript:commonPopup('/do/emailArticle?articleId=INIndia-31616820080127',
540, 600, 1, 'emailPopup') |
Printhttp://in.reuters.com/articlePrint?articleId=INIndia-31616820080127|
Share
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By Prithwish Ganguly
MUMBAI (Reuters) - A string of hits over the years hasn't helped
composer
A.R. Rahman get rid of his biggest fear -- that a bad project might
harm his
reputation as Bollywood's best.
Rahman, who shot to fame with his compositions for Roja in 1992,
is known
for his musical versatility. He has innovated with different
instruments and
sounds to create some of India's best known musical hits for more than a
decade.
But the composer knows success comes at a price.
*It does scare me sometimes (but) not about staying on top - first
place or
second place,* Rahman told Reuters.
*It is about what I'm delivering, how good the music is always, how
precise
I have to be while composing as I might be putting my reputation of
15 years
at stake*.
Rahman has several big budget projects lined up for release in 2008,
including Ashutosh Gowariker's Jodhaa Akbar, Subhash Ghai's Yuvraaj,
Rakeysh Mehra's Dilli 6 and the Aamir Khan-starrer Ghajini.
But he's eagerly awaiting Tamil filmmaker Shankar's science fiction
venture
Robot.
*Robot' is very futuristic and I am looking forward to composing
for it*,
Rahman said. *I have never tried the genre before and it is an exciting
venture*.
Selecting the right project might be tough for some but for Rahman,
instinct
plays a key role.
I often take quick decisions as sometimes I work with people whom I
have
worked with before and sometimes it's just out of pure instinct when
I come
across an exciting project.
http://in.reuters.com/article/bollywoodNews/idINIndia-31616820080127?pageNumber=2virtualBrandChannel=0
--
regards,
Vithur
A.R.RAHMAN - MY BREATH LIFE FORCE
Re: [arr] Re: Can someone define living up to ARR's own standards?
Hey Rano, i definitely do agree to the 'generation' gap herewhoa !! and to think the only generation gap was between elders who used to listen to MSV and others and us lot who rediscovered film music with A R R..a lot of people who have tuned in to A R R s music should go back and listen to ALL his stuff between 92 and 97 I tried hard to replay all the songs in my mind and came up with these 3 for now..PAROTA PAROTA from Vandi Cholai Chinrasu, YEDUKU PONDATI from Keezaku Cheemayile and KOKU SAIDE KOKU from Muthu.all 3 are very very situational but very very 'different'..there was a phase where moviemakers and lyricists tried to overdo the jeans pant baggy pant bit (started from gentleman and then hit the pits with the track onu rendu moona da...from pudhiya manargal...notice the 1st stanza where the words jeans and baggy are used and the tune seems so completely in contrast !) and also overdose of elderly voices (again started from roja and then the track in muthu which ive mentioned above). On a different note, i ve been literally humming IN LAMHON KE DAMAN..from jodhaa and accidentally slipped into the interlude of SITIRA NILAVU from Vandi Cholai..if someone could mix and match and cut and paste, id love to hear how it would sound...me thinks it would fit perfectly atleast before the stanza where Madhushree starts off -Vijay On Jan 27, 2008 11:12 AM, Ranojoy [EMAIL PROTECTED] wrote: Let me try to explain. For the first 5 years, between 1992 and 1996, almost none of the people here or ANYWHERE will be able to find 5 A R songs that they didn't like. Out of 25-30 albums. That's a high standard. Every phrase, every intro, every verse is astounding from that period. In Guru, the first interlude from Barso Re is phenomenal and no other composer is capable of that kind of music, and many fans think that A R is capable of sustaining that sort of quality over the length of the entire album, which may or may not happen because the songs are extremely situational nowadays. It is RIDICULOUS for anyone here to say that one cannot criticize this aspect of Rahman's music or that, because there are many many fans who have been there since the first song of A R R ever aired and before, and have a right to express their feelings. I am curious to know how old some of you are, because there seems to be a generational gap developing in this group :) --- In arrahmanfans@yahoogroups.com arrahmanfans%40yahoogroups.com, Chord [EMAIL PROTECTED] wrote: I hear this phrase over and over and over in reviews. What does that mean exactly? Is it purely subjective or are there elements of Rahman's best works that can be operationalized? If ARR is a progressive artist who doesn't stick to formulas, what exactly are his standards that people expect him to adhere to album after album? I think it's the same dilemma for all suuccessful artists. You take rock bands from the west, you hear so many comments about how their earlier works outshine later works. Oh, this group's music back in the 70s was so much better than their work now. Their own success haunts them down the road, if they let it. Let's take JA. If you want to compare elements of JA to his most highly rated soundtracks of the past, there is good melody, amazing musicianship, crystal clear sound, beautiful ornamentation and attention to musical detail, haunting chords ahd harmonies, catchy rhythms, and innovativeness. So, what's the problem? I get the feeling that no matter how objectively good an ARR soundtrack will be, there will ALWAYS be folks who say the phrase above. And I guarantee you that these same folks would say he is repetitive if Rahman were indeed to go back to the Dil Se or Taal mode or whatever mode they wish for.
Re: [arr] Joginder ready for argument on JA Review - COME ON GUYS
I feel this another marketing gimmick by that 'who is tuteja' . Let us not respond to Dog's barking at the Sun. On Jan 27, 2008 5:40 PM, Vithur [EMAIL PROTECTED] wrote: http://www.naachgaana.com/2008/01/27/music-review-jodha-akbar-joginder-tuteja/ since many of us have been commenting on him and his review just go to the website in the link he has posted his review there again and wants to have conversation about the audo of jodha akbar there if anybody wish to have an arguement/conversation or have an opinion to tell to him U HAVE THE OPPERTUNITY to do so ( this was posted by Hemanth from orkut ) -- regards, Vithur A.R.RAHMAN - MY BREATH LIFE FORCE
[arr] Re: Pakistan Sufi Sensation set to rock in India
Hi, I am delighted to hear that he is A.R.Rhaman's fan, but he is not at all a sufi sensation of pakistan if you want to listen to latest sufi sensation of pakistan then listen to Arieb Azhar 's Album WAJJ Singers from pakistan who reallu are A.R.R's fan included Shiraz Uppel (he has done Shakalak baby with A.R.R, latest Roya re song features in film Dhoka)and latest band named KAAVISH is a very much inspired by A.R.R amoung many other. Regards, Majid - Pakistan --- In arrahmanfans@yahoogroups.com, Vithur [EMAIL PROTECTED] wrote: Adeel loves Indian music, his role models being A.R. Rahman, Shankar-Ehsaan-Loy and Sonu Nigam. http://www.bollywoodworld.com/news/bwnews.php? subaction=showfullid=1201464599archive = -- regards, Vithur A.R.RAHMAN - MY BREATH LIFE FORCE
[arr] Re: ARR's Standard Deviation - Part I - Originality
Actually, let me modify my post a bit. Yes, ARR has lost his youth, freshness, and reblliousness. I agree with you there. There was an energy, innovativeness, and fire to those compositions, which perhaps many are missing today. I feel that he has made up for this loss through more mature compositional style and craftmanship as well as a more refined skill in pure melody and providing more room to the lyrics and singer. I don't think he has lost his originality in the purest of sense, although he is not as innovative as he once was. I think there is a difference here. Yes, I have questioned some of his choices of sound and arrangements in recent years, but to me it's not a loss, it's a choice. With JA, my concerns about sound quality were quickly put to ease as this is one of his best sonically sounding records. You have to remember too that music, emotion, and memory are to tied in together. Many of us look back on Rahman's music in the early days with nostalgia, which is in and of itself a confounding variable. --- In arrahmanfans@yahoogroups.com, Chord [EMAIL PROTECTED] wrote: Wonderful essay. Too bad it doesn't change my opinion that ARR has not lost A THING since the beginning. He is just as brilliant and original as before. Let's agree to disagree and move on. --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera dtdja@ wrote: Originality The most original songs of the 92-96 era, in my opinion, are Thee Thee from Thiruda Thiruda (93) and Mettupodu from Duet (94); and their respective albums too can be called the most original from ARR's highest creative standpoint. Roja would certainly have to be considered original if we compare ARR's originality to the relative originality of the musical backdrop of that era, but that is not what we are attempting here; I feel that compared with the aforementioned albums, Roja, along with the likes of Puthiya Mugham, Uzhavan, and Bombay would qualify as some of the most soulful and brilliantly crafted albums, but, not the most original; again, please keep in mind that my comparisons are confined to ARR's body of work and not extended to any comparison's with the work by any of his composer peers. Thiruda Thiruda (93) was a breakthrough album for ARR as he was able to match, if not exceed, the expectations surrounding his second post-Illayaraja Mani Ratnam production after Roja, which could not have been an easy task for a 25 year old who thought his first movie album would be his last! Thee Thee's stunning energy and freshness is only the icing on the cake after the beautiful vocal tapestry of Raasathi, the operatic grandeur of Veerapandi Kottayile, and barring its close references to Michael Jackson-like dance beats, Chandralekha as well. Duet (94), on the other hand, with an unprecedented use of Kadiri Gopalnath and his saxophone to showcase Carnatic music, was quite a daringly original attempt for a movie; to say both maestros pulled it off with shocking success, would be an understatement. So, has there been a song/album of that calibre in recent times? I think it will be an accurate statement to say that there has not been a song like Thee Thee or Mettupodu in recent times, certainly not a conceptually original album of Duet's kind, and most surely not an album for an Indian movie. Now why could that be? First of all, as you lose your youthful freshness and become enmeshed in a system, you lose a significant share of that rebellious spirit. Albert Einstein said during his latter years when he went on his quest to discover a Unified Field Theory, how much he wished he had that same rebellious spirit which fuelled his strength of mind and imaginative powers to overthrow the revered Laws of Sir Isaac Newton and his universe of absolute time and space with the new Relativity Theory. Similarly, in United States presidential politics, Sen. Barack Obama is touting his freshness in Washington as one of his biggest strengths for bringing about real change to the country. So, yes, time spent in any environment can significantly reduce your capacity for daring and originality, which is what we are seeing with ARR in India. However, let us not forget that we owe much of the advancement of the quality of Indian music to him and let's not be surprised if his most original work comes from his work abroad because that environment is still new to him and he has many colors to show to the rest of the world where he is not yet legend! _ Shed those extra pounds with MSN and The Biggest Loser! http://biggestloser.msn.com/
[arr] ARR 's Father's Moris Minor
Rahmaniacs, ARR 's Father used to have a Moris Minor car, and ARR 's Grandfather was an excellent driver. ARR started learning car driving right from the age of 9 in the beaches of CHENNAI ( Marina beach ) . Their entire family used to go round Chennai in that car. But they have disposed the car now. - Raihanaji ( AAHA FM ) -- regards, Vithur A.R.RAHMAN - MY BREATH LIFE FORCE
Re: [arr] Re: ARR's Standard Deviation - Part I - Originality
agreed to all your comments Chord; but i think he is still as innovative as he was before. however, i think he used to experiment more with synthesizers\instruments before and now he is considering melody and voices more. Chord [EMAIL PROTECTED] wrote: Actually, let me modify my post a bit. Yes, ARR has lost his youth, freshness, and reblliousness. I agree with you there. There was an energy, innovativeness, and fire to those compositions, which perhaps many are missing today. I feel that he has made up for this loss through more mature compositional style and craftmanship as well as a more refined skill in pure melody and providing more room to the lyrics and singer. I don't think he has lost his originality in the purest of sense, although he is not as innovative as he once was. I think there is a difference here. Yes, I have questioned some of his choices of sound and arrangements in recent years, but to me it's not a loss, it's a choice. With JA, my concerns about sound quality were quickly put to ease as this is one of his best sonically sounding records. You have to remember too that music, emotion, and memory are to tied in together. Many of us look back on Rahman's music in the early days with nostalgia, which is in and of itself a confounding variable. --- In arrahmanfans@yahoogroups.com, Chord [EMAIL PROTECTED] wrote: Wonderful essay. Too bad it doesn't change my opinion that ARR has not lost A THING since the beginning. He is just as brilliant and original as before. Let's agree to disagree and move on. --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera dtdja@ wrote: Originality The most original songs of the 92-96 era, in my opinion, are Thee Thee from Thiruda Thiruda (93) and Mettupodu from Duet (94); and their respective albums too can be called the most original from ARR's highest creative standpoint. Roja would certainly have to be considered original if we compare ARR's originality to the relative originality of the musical backdrop of that era, but that is not what we are attempting here; I feel that compared with the aforementioned albums, Roja, along with the likes of Puthiya Mugham, Uzhavan, and Bombay would qualify as some of the most soulful and brilliantly crafted albums, but, not the most original; again, please keep in mind that my comparisons are confined to ARR's body of work and not extended to any comparison's with the work by any of his composer peers. Thiruda Thiruda (93) was a breakthrough album for ARR as he was able to match, if not exceed, the expectations surrounding his second post-Illayaraja Mani Ratnam production after Roja, which could not have been an easy task for a 25 year old who thought his first movie album would be his last! Thee Thee's stunning energy and freshness is only the icing on the cake after the beautiful vocal tapestry of Raasathi, the operatic grandeur of Veerapandi Kottayile, and barring its close references to Michael Jackson-like dance beats, Chandralekha as well. Duet (94), on the other hand, with an unprecedented use of Kadiri Gopalnath and his saxophone to showcase Carnatic music, was quite a daringly original attempt for a movie; to say both maestros pulled it off with shocking success, would be an understatement. So, has there been a song/album of that calibre in recent times? I think it will be an accurate statement to say that there has not been a song like Thee Thee or Mettupodu in recent times, certainly not a conceptually original album of Duet's kind, and most surely not an album for an Indian movie. Now why could that be? First of all, as you lose your youthful freshness and become enmeshed in a system, you lose a significant share of that rebellious spirit. Albert Einstein said during his latter years when he went on his quest to discover a Unified Field Theory, how much he wished he had that same rebellious spirit which fuelled his strength of mind and imaginative powers to overthrow the revered Laws of Sir Isaac Newton and his universe of absolute time and space with the new Relativity Theory. Similarly, in United States presidential politics, Sen. Barack Obama is touting his freshness in Washington as one of his biggest strengths for bringing about real change to the country. So, yes, time spent in any environment can significantly reduce your capacity for daring and originality, which is what we are seeing with ARR in India. However, let us not forget that we owe much of the advancement of the quality of Indian music to him and let's not be surprised if his most original work comes from his work abroad because that environment is still new to him and he has many colors to show to the rest of the world where he is not yet legend! __ Shed those extra pounds with MSN and The Biggest
[arr] ARR's Standard Deviation - Part II - Aesthetic Judgment
Aesthetic Judgment (Taste) I don’t have to tell you that ARR’s taste is of the highest possible kind compared with composers of all time. I mean how many composers the world-over has ever had the privilege of being compared to the ideal of Mozart, let alone being called one? Not even the kings of melody of the West – Richard Rogers (of The Sound of Music (59) fame) Sir Francis Lai (Love Story (1970)), Maurice Jarr (Dr. Zhivago (1965)), or even Ennio Morricone, who have written some of the most soulful and moving music I have ever heard, have been told they are like Mozart, at least not to my knowledge. Most music lovers, and all great minds, Leo Tolstoy and Albert Einstein among them, have acknowledged unanimously that Mozart’s music is the most perfect and the most universal imagined, no, let me use the word conjured, by any human being; because imagination, to many, could still mean there’s some conscious involvement in that process of creation; perhaps, it is still a conscious process, but it is a far superior sense of consciousness that, by average human standards, it cannot be called one. If anybody here has seen the Oscar-winning movie Amadeus (84) by Milos Forman, you can see why it is so: Mozart’s music, to use a phrase Einstein once used, seems like have simply been ‘plucked out of the universe’; the great scientist who adored Mozart and used to play his Sonatas on his little violin when he wanted a break from his scientific pursuits, says that compared to Mozart, Beethoven’s music feels ‘too personal, almost naked.’ Tolstoy, in his polemical book ‘What is Art?’ destroys the kind of conscious creativity that he believes Beethoven and the followers of the Romantic movement that he charted, Richard Wagner, for example, brought about to Europe, overthrowing the musical dominance of the spontaneous and universal music of Mozart. In essence, Mozart’s music and its perfection are not a result of conscious processing, they come from a superior sense of natural harmony and an extremely rare capability of letting go of one’s self and connecting with the universal spirit and listening to it in all its infinite beauty. There cannot be a more fitting description of ARR’s music and how he has conjured his magical output over the years; and it is no accident that the West would offer up their ideal for comparison with the best the East has offered to date. That sort of taste, a sincere kinship with the natural harmony and beauty of the universe, with God, if you will, years in an industry cannot fade away or dilute, and, if anything, I can confidently say that ARR’s taste has, over the years, been refined like fine old wine, and I have not witnessed an instance where his aesthetic judgment, given the proper opportunities, has faltered beyond identification. In his choice of movies, directors, and lyrics, there maybe exceptions, but I will address these in a later category. It is difficult to pin down one or two works from the 92-96 period in which, like Rano said, beauty oozed out of every single phrase that he weaved, but I will pick two of my favorite songs ‘Kannalane’ from Bombay (95) and ‘Uyirum Neeye’ from Pavitra (94) in which I think ARR achieves the highest form of perfection. Sometime back, I analyzed the beauty of the song Uyirum Neeye from a conceptual viewpoint, so if anybody is interested, let me know and I will send it to you or post it on the forum. Kannalane (or Kehna Hai Kya), I hear, has entered the music textbooks in certain parts of the world (Canada, if I recall correctly)! Yes, these are songs of superior beauty that they have that universal appeal that Tolstoy hailed as the finest ingredient of the greatest of art. What about now? What are the ARR compositions within the past 5 years which evoke the same feelings in me? Piya Ho from Water (2005) and Do Kadam from Meenaxi (2004) for sure are my favorites from this period with Tere Bina from Guru not too far off. When I refer to the perfection of these songs, I mean that I don’t feel that I need to remove any part, any phrase, any instrument, sound or note, everything is in the right place at the right time! If anybody felt differently about these songs, I would be curious to know which parts destroy the perfection of these songs. I can write an essay on the song Do Kadam and will do soon so that I can back up my feelings just like I did with Uyirum Neeye. Do Kadam is so personal for me that I don’t want to hold it up as universal! This song symbolizes what ARR and I share in silence without speaking a single word with each-other, but by connecting to the same universal spirit that we both trust wholeheartedly and by whose mysterious ways we are awed day in and day out. The highest taste, as Immanuel Kant defines it, is always subjective, but universal, and it will always flow from God and only God; Not only is ARR connected with Him, he can articulate His beauty with such
Re: [arr] [IMPORTANT] An opportunity to help the foundation
the book is not meant to be circulated via pdf...we are figuring out a way to have distribution outside indiaanyone interested can email gopal and me in private ! On Jan 28, 2008 3:31 AM, vrvithur [EMAIL PROTECTED] wrote: Keep this thread active . Is there a PDF Version of the Volume 1 available, so that the book can be circulated to FANS from Bangladesh, the US, Singapore, Malaysia, Middle East Gopal / Vijay Is a PDF Version possible ?? --- In arrahmanfans@yahoogroups.com arrahmanfans%40yahoogroups.com, Vithur [EMAIL PROTECTED] wrote: Little drops make a mighty ocean . Best way to start is we all buying how much ever we can... Good start SIRAJ On 1/22/08, Siraj K [EMAIL PROTECTED] wrote: I just placed an order I paid through my credit card.. Its my small and humble help for the foundation.. -SIRAJ On Jan 21, 2008 10:01 PM, neetika raina [EMAIL PROTECTED] wrote: Are the books available in any of the stores in India?? any store in bangalore??Gangarams is the biggest store i guess in bangalore.. wen will they get the stock for sale in indian stores??? any idea?? would like to buy all the volumes of this book.. -- To: arrahmanfans@yahoogroups.com arrahmanfans%40yahoogroups.com From: [EMAIL PROTECTED] Date: Sat, 19 Jan 2008 09:31:30 -0800 Subject: [arr] [IMPORTANT] An opportunity to help the foundation Dear friends, Here is an opportunity to spread the word about the A.R.RahmanFoundation and contribute to it as well. A series of 9 colouring books for children, based on the theme of Pray For Me Brother (the first book was released by ARR at the Delhi concert) are being released over the next year. This is an entirely non-profit venture and all proceeds from the sales of these books will go the Foundation. The books are priced at Rs. 100/- each Here is how you can contribute to this effort - i. Buy copies for personal use ii. Buy copies to gift to relatives and friends iii. Buy copies to sell/donate/distribute to schools and institutions The books can be purchased online from http://cgi.ebay.in/ws/eBayISAPI.dll?ViewItemitem=220193732875 Shipping is presently available only within India. For fans located outside of India, you could ship these books to family and friends in India. If someone is interested in a bulk order, the publishers will consider shipping them overseas too. From the fan community, We are hoping to guarantee minimum sales of 500 copies per title. That is the least we could do given our commitment, devotion and size. Even at 2 copies per person, only 250 people need to buy. We could surely do much more than that. Looking forward to your ardent support. On behalf of the foundation, Vijay. -- It's about getting married. Click here! Try it! http://ss1.richmedia.in/recurl.asp?pid=201 -- regards, Vithur A.R.RAHMAN - MY BREATH LIFE FORCE
Re: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
Dear Dasun , Your write up speaks abt yourself.. The way you have experienced ARR 's music right from the beginning days till now. Very neatly written. Fantastic piece . Hats off On 1/28/08, Chord [EMAIL PROTECTED] wrote: Fantastic writeup. Good choice of words and you are obviously very educated and well read. I esp. like your last paragraph, about sharing that unsaid silence with ARR and paying tribute to the harmony and divinity around us. I can TOTALLY relate. You expressed yourself very beautifully and poignantly. I'm going to save your writeup --- In arrahmanfans@yahoogroups.com arrahmanfans%40yahoogroups.com, Dasun Abeysekera [EMAIL PROTECTED] wrote: Aesthetic Judgment (Taste) I don't have to tell you that ARR's taste is of the highest possible kind compared with composers of all time. I mean how many composers the world-over has ever had the privilege of being compared to the ideal of Mozart, let alone being called one? Not even the kings of melody of the West – Richard Rogers (of The Sound of Music (59) fame) Sir Francis Lai (Love Story (1970)), Maurice Jarr (Dr. Zhivago (1965)), or even Ennio Morricone, who have written some of the most soulful and moving music I have ever heard, have been told they are like Mozart, at least not to my knowledge. Most music lovers, and all great minds, Leo Tolstoy and Albert Einstein among them, have acknowledged unanimously that Mozart's music is the most perfect and the most universal imagined, no, let me use the word conjured, by any human being; because imagination, to many, could still mean there's some conscious involvement in that process of creation; perhaps, it is still a conscious process, but it is a far superior sense of consciousness that, by average human standards, it cannot be called one. If anybody here has seen the Oscar-winning movie Amadeus (84) by Milos Forman, you can see why it is so: Mozart's music, to use a phrase Einstein once used, seems like have simply been `plucked out of the universe'; the great scientist who adored Mozart and used to play his Sonatas on his little violin when he wanted a break from his scientific pursuits, says that compared to Mozart, Beethoven's music feels `too personal, almost naked.' Tolstoy, in his polemical book `What is Art?' destroys the kind of conscious creativity that he believes Beethoven and the followers of the Romantic movement that he charted, Richard Wagner, for example, brought about to Europe, overthrowing the musical dominance of the spontaneous and universal music of Mozart. In essence, Mozart's music and its perfection are not a result of conscious processing, they come from a superior sense of natural harmony and an extremely rare capability of letting go of one's self and connecting with the universal spirit and listening to it in all its infinite beauty. There cannot be a more fitting description of ARR's music and how he has conjured his magical output over the years; and it is no accident that the West would offer up their ideal for comparison with the best the East has offered to date. That sort of taste, a sincere kinship with the natural harmony and beauty of the universe, with God, if you will, years in an industry cannot fade away or dilute, and, if anything, I can confidently say that ARR's taste has, over the years, been refined like fine old wine, and I have not witnessed an instance where his aesthetic judgment, given the proper opportunities, has faltered beyond identification. In his choice of movies, directors, and lyrics, there maybe exceptions, but I will address these in a later category. It is difficult to pin down one or two works from the 92-96 period in which, like Rano said, beauty oozed out of every single phrase that he weaved, but I will pick two of my favorite songs `Kannalane' from Bombay (95) and `Uyirum Neeye' from Pavitra (94) in which I think ARR achieves the highest form of perfection. Sometime back, I analyzed the beauty of the song Uyirum Neeye from a conceptual viewpoint, so if anybody is interested, let me know and I will send it to you or post it on the forum. Kannalane (or Kehna Hai Kya), I hear, has entered the music textbooks in certain parts of the world (Canada, if I recall correctly)! Yes, these are songs of superior beauty that they have that universal appeal that Tolstoy hailed as the finest ingredient of the greatest of art. What about now? What are the ARR compositions within the past 5 years which evoke the same feelings in me? Piya Ho from Water (2005) and Do Kadam from Meenaxi (2004) for sure are my favorites from this period with Tere Bina from Guru not too far off. When I refer to the perfection of these songs, I mean that I don't feel that I need to remove any part, any phrase, any instrument, sound or note, everything is in the right place at the right time! If anybody felt differently about these songs, I would be curious to know which
Re: [arr] indiaglitz review of JA.....
This is probably the 3rd or 4th review mentioning In Lamhon Ke as a weak song. I don't understand.. This song starts with one of the finest melody till date.. Though the chorus comes a little strong, the melody stands out tall.. I have not been able to shake it of my head for more than a week now and I am sure it is going to be permanently etched in my memory for a very long time.. Sam - Original Message From: sai shastry [EMAIL PROTECTED] To: arrahmanfans@yahoogroups.com Sent: Monday, January 28, 2008 7:50:07 PM Subject: [arr] indiaglitz review of JA. http://www.indiagli tz.com/channels/ hindi/musicrevie w/9481.html Never miss a thing. Make Yahoo your home page. http://www.yahoo.com/r/hs
[arr] Re: ARR's Standard Deviation - Part I - Originality
Wonderful essay. Too bad it doesn't change my opinion that ARR has not lost A THING since the beginning. He is just as brilliant and original as before. Let's agree to disagree and move on. --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera [EMAIL PROTECTED] wrote: Originality The most original songs of the 92-96 era, in my opinion, are Thee Thee from Thiruda Thiruda (93) and Mettupodu from Duet (94); and their respective albums too can be called the most original from ARR's highest creative standpoint. Roja would certainly have to be considered original if we compare ARR's originality to the relative originality of the musical backdrop of that era, but that is not what we are attempting here; I feel that compared with the aforementioned albums, Roja, along with the likes of Puthiya Mugham, Uzhavan, and Bombay would qualify as some of the most soulful and brilliantly crafted albums, but, not the most original; again, please keep in mind that my comparisons are confined to ARR's body of work and not extended to any comparison's with the work by any of his composer peers. Thiruda Thiruda (93) was a breakthrough album for ARR as he was able to match, if not exceed, the expectations surrounding his second post-Illayaraja Mani Ratnam production after Roja, which could not have been an easy task for a 25 year old who thought his first movie album would be his last! Thee Thee's stunning energy and freshness is only the icing on the cake after the beautiful vocal tapestry of Raasathi, the operatic grandeur of Veerapandi Kottayile, and barring its close references to Michael Jackson-like dance beats, Chandralekha as well. Duet (94), on the other hand, with an unprecedented use of Kadiri Gopalnath and his saxophone to showcase Carnatic music, was quite a daringly original attempt for a movie; to say both maestros pulled it off with shocking success, would be an understatement. So, has there been a song/album of that calibre in recent times? I think it will be an accurate statement to say that there has not been a song like Thee Thee or Mettupodu in recent times, certainly not a conceptually original album of Duet's kind, and most surely not an album for an Indian movie. Now why could that be? First of all, as you lose your youthful freshness and become enmeshed in a system, you lose a significant share of that rebellious spirit. Albert Einstein said during his latter years when he went on his quest to discover a Unified Field Theory, how much he wished he had that same rebellious spirit which fuelled his strength of mind and imaginative powers to overthrow the revered Laws of Sir Isaac Newton and his universe of absolute time and space with the new Relativity Theory. Similarly, in United States presidential politics, Sen. Barack Obama is touting his freshness in Washington as one of his biggest strengths for bringing about real change to the country. So, yes, time spent in any environment can significantly reduce your capacity for daring and originality, which is what we are seeing with ARR in India. However, let us not forget that we owe much of the advancement of the quality of Indian music to him and let's not be surprised if his most original work comes from his work abroad because that environment is still new to him and he has many colors to show to the rest of the world where he is not yet legend! _ Shed those extra pounds with MSN and The Biggest Loser! http://biggestloser.msn.com/
[arr] Soul of a Profession
Amitabh Bachchan was a corporate executive before he shifted to films; director Shekhar Kapur and singer Abhijeet were chartered accountants.*Music composers AR Rahman and Shanker shifted from civil and software engineering respectively. * ** *http://wplay.wordpress.com/2008/01/28/soul-of-a-profession-2/ *-- regards, Vithur A.R.RAHMAN - MY BREATH LIFE FORCE
[arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
Dasun The writeup is beautiful. If only we have any scientific journal of rahman's music, we cd have published few good articles. OR at least how about some any music journal..search if there are any which suit our discussions in this group. Raghu --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera [EMAIL PROTECTED] wrote: Aesthetic Judgment (Taste) I don't have to tell you that ARR's taste is of the highest possible kind compared with composers of all time. I mean how many composers the world-over has ever had the privilege of being compared to the ideal of Mozart, let alone being called one? Not even the kings of melody of the West Richard Rogers (of The Sound of Music (59) fame) Sir Francis Lai (Love Story (1970)), Maurice Jarr (Dr. Zhivago (1965)), or even Ennio Morricone, who have written some of the most soulful and moving music I have ever heard, have been told they are like Mozart, at least not to my knowledge. Most music lovers, and all great minds, Leo Tolstoy and Albert Einstein among them, have acknowledged unanimously that Mozart's music is the most perfect and the most universal imagined, no, let me use the word conjured, by any human being; because imagination, to many, could still mean there's some conscious involvement in that process of creation; perhaps, it is still a conscious process, but it is a far superior sense of consciousness that, by average human standards, it cannot be called one. If anybody here has seen the Oscar-winning movie Amadeus (84) by Milos Forman, you can see why it is so: Mozart's music, to use a phrase Einstein once used, seems like have simply been `plucked out of the universe'; the great scientist who adored Mozart and used to play his Sonatas on his little violin when he wanted a break from his scientific pursuits, says that compared to Mozart, Beethoven's music feels `too personal, almost naked.' Tolstoy, in his polemical book `What is Art?' destroys the kind of conscious creativity that he believes Beethoven and the followers of the Romantic movement that he charted, Richard Wagner, for example, brought about to Europe, overthrowing the musical dominance of the spontaneous and universal music of Mozart. In essence, Mozart's music and its perfection are not a result of conscious processing, they come from a superior sense of natural harmony and an extremely rare capability of letting go of one's self and connecting with the universal spirit and listening to it in all its infinite beauty. There cannot be a more fitting description of ARR's music and how he has conjured his magical output over the years; and it is no accident that the West would offer up their ideal for comparison with the best the East has offered to date. That sort of taste, a sincere kinship with the natural harmony and beauty of the universe, with God, if you will, years in an industry cannot fade away or dilute, and, if anything, I can confidently say that ARR's taste has, over the years, been refined like fine old wine, and I have not witnessed an instance where his aesthetic judgment, given the proper opportunities, has faltered beyond identification. In his choice of movies, directors, and lyrics, there maybe exceptions, but I will address these in a later category. It is difficult to pin down one or two works from the 92-96 period in which, like Rano said, beauty oozed out of every single phrase that he weaved, but I will pick two of my favorite songs `Kannalane' from Bombay (95) and `Uyirum Neeye' from Pavitra (94) in which I think ARR achieves the highest form of perfection. Sometime back, I analyzed the beauty of the song Uyirum Neeye from a conceptual viewpoint, so if anybody is interested, let me know and I will send it to you or post it on the forum. Kannalane (or Kehna Hai Kya), I hear, has entered the music textbooks in certain parts of the world (Canada, if I recall correctly)! Yes, these are songs of superior beauty that they have that universal appeal that Tolstoy hailed as the finest ingredient of the greatest of art. What about now? What are the ARR compositions within the past 5 years which evoke the same feelings in me? Piya Ho from Water (2005) and Do Kadam from Meenaxi (2004) for sure are my favorites from this period with Tere Bina from Guru not too far off. When I refer to the perfection of these songs, I mean that I don't feel that I need to remove any part, any phrase, any instrument, sound or note, everything is in the right place at the right time! If anybody felt differently about these songs, I would be curious to know which parts destroy the perfection of these songs. I can write an essay on the song Do Kadam and will do soon so that I can back up my feelings just like I did with Uyirum Neeye. Do Kadam is so personal for me that I don't want to hold it up as universal! This song symbolizes what ARR and I share in silence without speaking a single word with each-other, but by connecting to the same universal spirit that we both trust
Re: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment - Journal on ARR's music - a fantastic idea..
Been reading these mails wih a lot of interest especailly as these happen to be very 'healthy' so far. Chord and Dasum weel strated and written. I would love to contribute to JA /senior members/originality discussions but will refrain for the moment. However just wanted to say that a Journal on ARR's music is a fantastic idea..Perhaps it could be associated with his school of music (I prefer the term Academy to school) to opened in the near future. The teachings from the ARR' Academy (shortened to: ARRA) could be 'journalised' (ARRAJ) and a section could be allocated to Fan's views/takes on ARR's music? Failing that or until the school opens, perhaps a magazine could be started by fans. Perhaps there is hidden talent amongst the members. arr_raghu I think you have just opened a pandora box of thoughts and hopefully some action will follow. If not then let me just say what an excellent idea arr_raghu [EMAIL PROTECTED] wrote: Dasun The writeup is beautiful. If only we have any scientific journal of rahman's music, we cd have published few good articles. OR at least how about some any music journal..search if there are any which suit our discussions in this group. Raghu --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera [EMAIL PROTECTED] wrote: Aesthetic Judgment (Taste) I don't have to tell you that ARR's taste is of the highest possible kind compared with composers of all time. I mean how many composers the world-over has ever had the privilege of being compared to the ideal of Mozart, let alone being called one? Not even the kings of melody of the West Richard Rogers (of The Sound of Music (59) fame) Sir Francis Lai (Love Story (1970)), Maurice Jarr (Dr. Zhivago (1965)), or even Ennio Morricone, who have written some of the most soulful and moving music I have ever heard, have been told they are like Mozart, at least not to my knowledge. Most music lovers, and all great minds, Leo Tolstoy and Albert Einstein among them, have acknowledged unanimously that Mozart's music is the most perfect and the most universal imagined, no, let me use the word conjured, by any human being; because imagination, to many, could still mean there's some conscious involvement in that process of creation; perhaps, it is still a conscious process, but it is a far superior sense of consciousness that, by average human standards, it cannot be called one. If anybody here has seen the Oscar-winning movie Amadeus (84) by Milos Forman, you can see why it is so: Mozart's music, to use a phrase Einstein once used, seems like have simply been `plucked out of the universe'; the great scientist who adored Mozart and used to play his Sonatas on his little violin when he wanted a break from his scientific pursuits, says that compared to Mozart, Beethoven's music feels `too personal, almost naked.' Tolstoy, in his polemical book `What is Art?' destroys the kind of conscious creativity that he believes Beethoven and the followers of the Romantic movement that he charted, Richard Wagner, for example, brought about to Europe, overthrowing the musical dominance of the spontaneous and universal music of Mozart. In essence, Mozart's music and its perfection are not a result of conscious processing, they come from a superior sense of natural harmony and an extremely rare capability of letting go of one's self and connecting with the universal spirit and listening to it in all its infinite beauty. There cannot be a more fitting description of ARR's music and how he has conjured his magical output over the years; and it is no accident that the West would offer up their ideal for comparison with the best the East has offered to date. That sort of taste, a sincere kinship with the natural harmony and beauty of the universe, with God, if you will, years in an industry cannot fade away or dilute, and, if anything, I can confidently say that ARR's taste has, over the years, been refined like fine old wine, and I have not witnessed an instance where his aesthetic judgment, given the proper opportunities, has faltered beyond identification. In his choice of movies, directors, and lyrics, there maybe exceptions, but I will address these in a later category. It is difficult to pin down one or two works from the 92-96 period in which, like Rano said, beauty oozed out of every single phrase that he weaved, but I will pick two of my favorite songs `Kannalane' from Bombay (95) and `Uyirum Neeye' from Pavitra (94) in which I think ARR achieves the highest form of perfection. Sometime back, I analyzed the beauty of the song Uyirum Neeye from a conceptual viewpoint, so if anybody is interested, let me know and I will send it to you or post it on the forum. Kannalane (or Kehna Hai Kya), I hear, has entered the music textbooks in certain parts of the world (Canada, if I recall correctly)! Yes, these are songs of superior beauty that they have that universal appeal that Tolstoy hailed as the finest ingredient
Re: [arr] Re: Can someone define living up to ARR's own standards?
Hi Vij and Rano... may this so called 'generation gap' is a mere 'generation continuum' and different members are at different parts/sections/length of this continuum Vijay Iyer [EMAIL PROTECTED] wrote: Hey Rano, i definitely do agree to the 'generation' gap herewhoa !! and to think the only generation gap was between elders who used to listen to MSV and others and us lot who rediscovered film music with A R R..a lot of people who have tuned in to A R R s music should go back and listen to ALL his stuff between 92 and 97 I tried hard to replay all the songs in my mind and came up with these 3 for now..PAROTA PAROTA from Vandi Cholai Chinrasu, YEDUKU PONDATI from Keezaku Cheemayile and KOKU SAIDE KOKU from Muthu.all 3 are very very situational but very very 'different'..there was a phase where moviemakers and lyricists tried to overdo the jeans pant baggy pant bit (started from gentleman and then hit the pits with the track onu rendu moona da...from pudhiya manargal...notice the 1st stanza where the words jeans and baggy are used and the tune seems so completely in contrast !) and also overdose of elderly voices (again started from roja and then the track in muthu which ive mentioned above). On a different note, i ve been literally humming IN LAMHON KE DAMAN..from jodhaa and accidentally slipped into the interlude of SITIRA NILAVU from Vandi Cholai..if someone could mix and match and cut and paste, id love to hear how it would sound...me thinks it would fit perfectly atleast before the stanza where Madhushree starts off -Vijay On Jan 27, 2008 11:12 AM, Ranojoy [EMAIL PROTECTED] wrote: Let me try to explain. For the first 5 years, between 1992 and 1996, almost none of the people here or ANYWHERE will be able to find 5 A R songs that they didn't like. Out of 25-30 albums. That's a high standard. Every phrase, every intro, every verse is astounding from that period. In Guru, the first interlude from Barso Re is phenomenal and no other composer is capable of that kind of music, and many fans think that A R is capable of sustaining that sort of quality over the length of the entire album, which may or may not happen because the songs are extremely situational nowadays. It is RIDICULOUS for anyone here to say that one cannot criticize this aspect of Rahman's music or that, because there are many many fans who have been there since the first song of A R R ever aired and before, and have a right to express their feelings. I am curious to know how old some of you are, because there seems to be a generational gap developing in this group :) --- In arrahmanfans@yahoogroups.com, Chord [EMAIL PROTECTED] wrote: I hear this phrase over and over and over in reviews. What does that mean exactly? Is it purely subjective or are there elements of Rahman's best works that can be operationalized? If ARR is a progressive artist who doesn't stick to formulas, what exactly are his standards that people expect him to adhere to album after album? I think it's the same dilemma for all suuccessful artists. You take rock bands from the west, you hear so many comments about how their earlier works outshine later works. Oh, this group's music back in the 70s was so much better than their work now. Their own success haunts them down the road, if they let it. Let's take JA. If you want to compare elements of JA to his most highly rated soundtracks of the past, there is good melody, amazing musicianship, crystal clear sound, beautiful ornamentation and attention to musical detail, haunting chords ahd harmonies, catchy rhythms, and innovativeness. So, what's the problem? I get the feeling that no matter how objectively good an ARR soundtrack will be, there will ALWAYS be folks who say the phrase above. And I guarantee you that these same folks would say he is repetitive if Rahman were indeed to go back to the Dil Se or Taal mode or whatever mode they wish for. - Sent from Yahoo! #45; a smarter inbox.
RE: [arr] Re: ARR's Standard Deviation - Part I - Originality
Thanks to all for the responses. Purevibz, you pretty much wrote the prelude to part II of my essay. I agree, innovativeness may have been a better word than originality, because as you would understand from reading the second part, his music still flows from the origin of all life, and therefore it must be original! :) I should've taken my GRESs, and I warned you that I'm still learning too!! lol. I'm glad you understood my point though. Let's keep the discussion going. Hail ARR! Dasun To: arrahmanfans@yahoogroups.com From: [EMAIL PROTECTED] Date: Mon, 28 Jan 2008 13:15:12 + Subject: [arr] Re: ARR's Standard Deviation - Part I - Originality Actually, let me modify my post a bit. Yes, ARR has lost his youth, freshness, and reblliousness. I agree with you there. There was an energy, innovativeness, and fire to those compositions, which perhaps many are missing today. I feel that he has made up for this loss through more mature compositional style and craftmanship as well as a more refined skill in pure melody and providing more room to the lyrics and singer. I don't think he has lost his originality in the purest of sense, although he is not as innovative as he once was. I think there is a difference here. Yes, I have questioned some of his choices of sound and arrangements in recent years, but to me it's not a loss, it's a choice. With JA, my concerns about sound quality were quickly put to ease as this is one of his best sonically sounding records. You have to remember too that music, emotion, and memory are to tied in together. Many of us look back on Rahman's music in the early days with nostalgia, which is in and of itself a confounding variable. --- In arrahmanfans@yahoogroups.com, Chord [EMAIL PROTECTED] wrote: Wonderful essay. Too bad it doesn't change my opinion that ARR has not lost A THING since the beginning. He is just as brilliant and original as before. Let's agree to disagree and move on. --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera dtdja@ wrote: Originality The most original songs of the 92-96 era, in my opinion, are Thee Thee from Thiruda Thiruda (93) and Mettupodu from Duet (94); and their respective albums too can be called the most original from ARR's highest creative standpoint. Roja would certainly have to be considered original if we compare ARR's originality to the relative originality of the musical backdrop of that era, but that is not what we are attempting here; I feel that compared with the aforementioned albums, Roja, along with the likes of Puthiya Mugham, Uzhavan, and Bombay would qualify as some of the most soulful and brilliantly crafted albums, but, not the most original; again, please keep in mind that my comparisons are confined to ARR's body of work and not extended to any comparison's with the work by any of his composer peers. Thiruda Thiruda (93) was a breakthrough album for ARR as he was able to match, if not exceed, the expectations surrounding his second post-Illayaraja Mani Ratnam production after Roja, which could not have been an easy task for a 25 year old who thought his first movie album would be his last! Thee Thee's stunning energy and freshness is only the icing on the cake after the beautiful vocal tapestry of Raasathi, the operatic grandeur of Veerapandi Kottayile, and barring its close references to Michael Jackson-like dance beats, Chandralekha as well. Duet (94), on the other hand, with an unprecedented use of Kadiri Gopalnath and his saxophone to showcase Carnatic music, was quite a daringly original attempt for a movie; to say both maestros pulled it off with shocking success, would be an understatement. So, has there been a song/album of that calibre in recent times? I think it will be an accurate statement to say that there has not been a song like Thee Thee or Mettupodu in recent times, certainly not a conceptually original album of Duet's kind, and most surely not an album for an Indian movie. Now why could that be? First of all, as you lose your youthful freshness and become enmeshed in a system, you lose a significant share of that rebellious spirit. Albert Einstein said during his latter years when he went on his quest to discover a Unified Field Theory, how much he wished he had that same rebellious spirit which fuelled his strength of mind and imaginative powers to overthrow the revered Laws of Sir Isaac Newton and his universe of absolute time and space with the new Relativity Theory. Similarly, in United States presidential politics, Sen. Barack Obama is touting his freshness in Washington as one of his biggest strengths for bringing about real change to the country. So, yes, time spent in any environment can significantly
[arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
Fantastic writeup. Good choice of words and you are obviously very educated and well read. I esp. like your last paragraph, about sharing that unsaid silence with ARR and paying tribute to the harmony and divinity around us. I can TOTALLY relate. You expressed yourself very beautifully and poignantly. I'm going to save your writeup --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera [EMAIL PROTECTED] wrote: Aesthetic Judgment (Taste) I don't have to tell you that ARR's taste is of the highest possible kind compared with composers of all time. I mean how many composers the world-over has ever had the privilege of being compared to the ideal of Mozart, let alone being called one? Not even the kings of melody of the West Richard Rogers (of The Sound of Music (59) fame) Sir Francis Lai (Love Story (1970)), Maurice Jarr (Dr. Zhivago (1965)), or even Ennio Morricone, who have written some of the most soulful and moving music I have ever heard, have been told they are like Mozart, at least not to my knowledge. Most music lovers, and all great minds, Leo Tolstoy and Albert Einstein among them, have acknowledged unanimously that Mozart's music is the most perfect and the most universal imagined, no, let me use the word conjured, by any human being; because imagination, to many, could still mean there's some conscious involvement in that process of creation; perhaps, it is still a conscious process, but it is a far superior sense of consciousness that, by average human standards, it cannot be called one. If anybody here has seen the Oscar-winning movie Amadeus (84) by Milos Forman, you can see why it is so: Mozart's music, to use a phrase Einstein once used, seems like have simply been `plucked out of the universe'; the great scientist who adored Mozart and used to play his Sonatas on his little violin when he wanted a break from his scientific pursuits, says that compared to Mozart, Beethoven's music feels `too personal, almost naked.' Tolstoy, in his polemical book `What is Art?' destroys the kind of conscious creativity that he believes Beethoven and the followers of the Romantic movement that he charted, Richard Wagner, for example, brought about to Europe, overthrowing the musical dominance of the spontaneous and universal music of Mozart. In essence, Mozart's music and its perfection are not a result of conscious processing, they come from a superior sense of natural harmony and an extremely rare capability of letting go of one's self and connecting with the universal spirit and listening to it in all its infinite beauty. There cannot be a more fitting description of ARR's music and how he has conjured his magical output over the years; and it is no accident that the West would offer up their ideal for comparison with the best the East has offered to date. That sort of taste, a sincere kinship with the natural harmony and beauty of the universe, with God, if you will, years in an industry cannot fade away or dilute, and, if anything, I can confidently say that ARR's taste has, over the years, been refined like fine old wine, and I have not witnessed an instance where his aesthetic judgment, given the proper opportunities, has faltered beyond identification. In his choice of movies, directors, and lyrics, there maybe exceptions, but I will address these in a later category. It is difficult to pin down one or two works from the 92-96 period in which, like Rano said, beauty oozed out of every single phrase that he weaved, but I will pick two of my favorite songs `Kannalane' from Bombay (95) and `Uyirum Neeye' from Pavitra (94) in which I think ARR achieves the highest form of perfection. Sometime back, I analyzed the beauty of the song Uyirum Neeye from a conceptual viewpoint, so if anybody is interested, let me know and I will send it to you or post it on the forum. Kannalane (or Kehna Hai Kya), I hear, has entered the music textbooks in certain parts of the world (Canada, if I recall correctly)! Yes, these are songs of superior beauty that they have that universal appeal that Tolstoy hailed as the finest ingredient of the greatest of art. What about now? What are the ARR compositions within the past 5 years which evoke the same feelings in me? Piya Ho from Water (2005) and Do Kadam from Meenaxi (2004) for sure are my favorites from this period with Tere Bina from Guru not too far off. When I refer to the perfection of these songs, I mean that I don't feel that I need to remove any part, any phrase, any instrument, sound or note, everything is in the right place at the right time! If anybody felt differently about these songs, I would be curious to know which parts destroy the perfection of these songs. I can write an essay on the song Do Kadam and will do soon so that I can back up my feelings just like I did with Uyirum Neeye. Do Kadam is so personal for me that I don't want to hold it up as universal! This song symbolizes what ARR and I share in silence without speaking a
Re: [arr] indiaglitz review of JA.....
I agree with you Sam. I don't understand how people it's a weak song, and I certainly and flabergasted to read how many think that Man Mohanna is boring, mediocre and uninspiring! Huh?? Anyway, I don't want to beat a dead horse. Let em say what they want to say. I know what's brilliant in my own mind and heart. --- In arrahmanfans@yahoogroups.com, Sam [EMAIL PROTECTED] wrote: This is probably the 3rd or 4th review mentioning In Lamhon Ke as a weak song. I don't understand.. This song starts with one of the finest melody till date.. Though the chorus comes a little strong, the melody stands out tall.. I have not been able to shake it of my head for more than a week now and I am sure it is going to be permanently etched in my memory for a very long time.. Sam - Original Message From: sai shastry [EMAIL PROTECTED] To: arrahmanfans@yahoogroups.com Sent: Monday, January 28, 2008 7:50:07 PM Subject: [arr] indiaglitz review of JA. http://www.indiagli tz.com/channels/ hindi/musicrevie w/9481.html Never miss a thing. Make Yahoo your home page. http://www.yahoo.com/r/hs
[arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment - Journal on ARR's m
Starting a Journal is NOT like starting a music company or a monthly magazine. Its out of question in my opinion. I wasnt talking about starting one for ARR specially, I meant sending an educated article on ARR to some prestigious Journal which deals with such stuff. If one really wants something specially for ARR, A newsletter will do..but there must be a team who can devote themselves to take care of its goodwill. Gopal, Vij etc are already doing a great deal here.. I dont expect them to carry another responsibility. Raghu --- In arrahmanfans@yahoogroups.com, neena kochhar [EMAIL PROTECTED] wrote: Been reading these mails wih a lot of interest especailly as these happen to be very 'healthy' so far. Chord and Dasum weel strated and written. I would love to contribute to JA /senior members/originality discussions but will refrain for the moment. However just wanted to say that a Journal on ARR's music is a fantastic idea..Perhaps it could be associated with his school of music (I prefer the term Academy to school) to opened in the near future. The teachings from the ARR' Academy (shortened to: ARRA) could be 'journalised' (ARRAJ) and a section could be allocated to Fan's views/takes on ARR's music? Failing that or until the school opens, perhaps a magazine could be started by fans. Perhaps there is hidden talent amongst the members. arr_raghu I think you have just opened a pandora box of thoughts and hopefully some action will follow. If not then let me just say what an excellent idea arr_raghu [EMAIL PROTECTED] wrote: Dasun The writeup is beautiful. If only we have any scientific journal of rahman's music, we cd have published few good articles. OR at least how about some any music journal..search if there are any which suit our discussions in this group. Raghu --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera dtdja@ wrote: Aesthetic Judgment (Taste) I don't have to tell you that ARR's taste is of the highest possible kind compared with composers of all time. I mean how many composers the world-over has ever had the privilege of being compared to the ideal of Mozart, let alone being called one? Not even the kings of melody of the West Richard Rogers (of The Sound of Music (59) fame) Sir Francis Lai (Love Story (1970)), Maurice Jarr (Dr. Zhivago (1965)), or even Ennio Morricone, who have written some of the most soulful and moving music I have ever heard, have been told they are like Mozart, at least not to my knowledge. Most music lovers, and all great minds, Leo Tolstoy and Albert Einstein among them, have acknowledged unanimously that Mozart's music is the most perfect and the most universal imagined, no, let me use the word conjured, by any human being; because imagination, to many, could still mean there's some conscious involvement in that process of creation; perhaps, it is still a conscious process, but it is a far superior sense of consciousness that, by average human standards, it cannot be called one. If anybody here has seen the Oscar-winning movie Amadeus (84) by Milos Forman, you can see why it is so: Mozart's music, to use a phrase Einstein once used, seems like have simply been `plucked out of the universe'; the great scientist who adored Mozart and used to play his Sonatas on his little violin when he wanted a break from his scientific pursuits, says that compared to Mozart, Beethoven's music feels `too personal, almost naked.' Tolstoy, in his polemical book `What is Art?' destroys the kind of conscious creativity that he believes Beethoven and the followers of the Romantic movement that he charted, Richard Wagner, for example, brought about to Europe, overthrowing the musical dominance of the spontaneous and universal music of Mozart. In essence, Mozart's music and its perfection are not a result of conscious processing, they come from a superior sense of natural harmony and an extremely rare capability of letting go of one's self and connecting with the universal spirit and listening to it in all its infinite beauty. There cannot be a more fitting description of ARR's music and how he has conjured his magical output over the years; and it is no accident that the West would offer up their ideal for comparison with the best the East has offered to date. That sort of taste, a sincere kinship with the natural harmony and beauty of the universe, with God, if you will, years in an industry cannot fade away or dilute, and, if anything, I can confidently say that ARR's taste has, over the years, been refined like fine old wine, and I have not witnessed an instance where his aesthetic judgment, given the proper opportunities, has faltered beyond identification. In his choice of movies, directors, and lyrics, there maybe exceptions, but I will address these in a later category. It is difficult to pin down one or two works from the 92-96 period in which, like Rano said, beauty
[arr] Re: Soul of a Profession
Is this some made up material? --- In arrahmanfans@yahoogroups.com, Vithur [EMAIL PROTECTED] wrote: Amitabh Bachchan was a corporate executive before he shifted to films; director Shekhar Kapur and singer Abhijeet were chartered accountants.*Music composers AR Rahman and Shanker shifted from civil and software engineering respectively. * ** *http://wplay.wordpress.com/2008/01/28/soul-of-a-profession-2/ *-- regards, Vithur A.R.RAHMAN - MY BREATH LIFE FORCE
[arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment - Journal on ARR's m
I just mentioned Journals.. but must keep in mind.. Obviously, articles must be educated, well structured, meaningful and with valid set of references(most imp). Good/ bad or new or original are very subjective and must be quantized somehow..just saying Raasaathi is a wonderful song doesnt help much. One must include the techinical details like major/minor C,F # etc scales, hindustani/carnatic raagas etc. Must comply with the format of the publisher.. This is no mean task but looking at the body of knowledge here, its possible. Raghu --- In arrahmanfans@yahoogroups.com, neena kochhar [EMAIL PROTECTED] wrote: Been reading these mails wih a lot of interest especailly as these happen to be very 'healthy' so far. Chord and Dasum weel strated and written. I would love to contribute to JA /senior members/originality discussions but will refrain for the moment. However just wanted to say that a Journal on ARR's music is a fantastic idea..Perhaps it could be associated with his school of music (I prefer the term Academy to school) to opened in the near future. The teachings from the ARR' Academy (shortened to: ARRA) could be 'journalised' (ARRAJ) and a section could be allocated to Fan's views/takes on ARR's music? Failing that or until the school opens, perhaps a magazine could be started by fans. Perhaps there is hidden talent amongst the members. arr_raghu I think you have just opened a pandora box of thoughts and hopefully some action will follow. If not then let me just say what an excellent idea arr_raghu [EMAIL PROTECTED] wrote: Dasun The writeup is beautiful. If only we have any scientific journal of rahman's music, we cd have published few good articles. OR at least how about some any music journal..search if there are any which suit our discussions in this group. Raghu --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera dtdja@ wrote: Aesthetic Judgment (Taste) I don't have to tell you that ARR's taste is of the highest possible kind compared with composers of all time. I mean how many composers the world-over has ever had the privilege of being compared to the ideal of Mozart, let alone being called one? Not even the kings of melody of the West Richard Rogers (of The Sound of Music (59) fame) Sir Francis Lai (Love Story (1970)), Maurice Jarr (Dr. Zhivago (1965)), or even Ennio Morricone, who have written some of the most soulful and moving music I have ever heard, have been told they are like Mozart, at least not to my knowledge. Most music lovers, and all great minds, Leo Tolstoy and Albert Einstein among them, have acknowledged unanimously that Mozart's music is the most perfect and the most universal imagined, no, let me use the word conjured, by any human being; because imagination, to many, could still mean there's some conscious involvement in that process of creation; perhaps, it is still a conscious process, but it is a far superior sense of consciousness that, by average human standards, it cannot be called one. If anybody here has seen the Oscar-winning movie Amadeus (84) by Milos Forman, you can see why it is so: Mozart's music, to use a phrase Einstein once used, seems like have simply been `plucked out of the universe'; the great scientist who adored Mozart and used to play his Sonatas on his little violin when he wanted a break from his scientific pursuits, says that compared to Mozart, Beethoven's music feels `too personal, almost naked.' Tolstoy, in his polemical book `What is Art?' destroys the kind of conscious creativity that he believes Beethoven and the followers of the Romantic movement that he charted, Richard Wagner, for example, brought about to Europe, overthrowing the musical dominance of the spontaneous and universal music of Mozart. In essence, Mozart's music and its perfection are not a result of conscious processing, they come from a superior sense of natural harmony and an extremely rare capability of letting go of one's self and connecting with the universal spirit and listening to it in all its infinite beauty. There cannot be a more fitting description of ARR's music and how he has conjured his magical output over the years; and it is no accident that the West would offer up their ideal for comparison with the best the East has offered to date. That sort of taste, a sincere kinship with the natural harmony and beauty of the universe, with God, if you will, years in an industry cannot fade away or dilute, and, if anything, I can confidently say that ARR's taste has, over the years, been refined like fine old wine, and I have not witnessed an instance where his aesthetic judgment, given the proper opportunities, has faltered beyond identification. In his choice of movies, directors, and lyrics, there maybe exceptions, but I will address these in a later category. It is difficult to pin down one or two works from the 92-96 period in which, like
Re: [arr] Re: Can someone define living up to ARR's own standards?
small correction in red ink... Hi Vij and Rano... may be this so called 'generation gap' is a mere 'generation continuum' and different members are at different parts/sections/ length of this continuum... . neena kochhar [EMAIL PROTECTED] wrote: Hi Vij and Rano... may this so called 'generation gap' is a mere 'generation continuum' and different members are at different parts/sections/length of this continuum Vijay Iyer [EMAIL PROTECTED] wrote: Hey Rano, i definitely do agree to the 'generation' gap herewhoa !! and to think the only generation gap was between elders who used to listen to MSV and others and us lot who rediscovered film music with A R R..a lot of people who have tuned in to A R R s music should go back and listen to ALL his stuff between 92 and 97 I tried hard to replay all the songs in my mind and came up with these 3 for now..PAROTA PAROTA from Vandi Cholai Chinrasu, YEDUKU PONDATI from Keezaku Cheemayile and KOKU SAIDE KOKU from Muthu.all 3 are very very situational but very very 'different'..there was a phase where moviemakers and lyricists tried to overdo the jeans pant baggy pant bit (started from gentleman and then hit the pits with the track onu rendu moona da...from pudhiya manargal...notice the 1st stanza where the words jeans and baggy are used and the tune seems so completely in contrast !) and also overdose of elderly voices (again started from roja and then the track in muthu which ive mentioned above). On a different note, i ve been literally humming IN LAMHON KE DAMAN..from jodhaa and accidentally slipped into the interlude of SITIRA NILAVU from Vandi Cholai..if someone could mix and match and cut and paste, id love to hear how it would sound...me thinks it would fit perfectly atleast before the stanza where Madhushree starts off -Vijay On Jan 27, 2008 11:12 AM, Ranojoy [EMAIL PROTECTED] wrote: Let me try to explain. For the first 5 years, between 1992 and 1996, almost none of the people here or ANYWHERE will be able to find 5 A R songs that they didn't like. Out of 25-30 albums. That's a high standard. Every phrase, every intro, every verse is astounding from that period. In Guru, the first interlude from Barso Re is phenomenal and no other composer is capable of that kind of music, and many fans think that A R is capable of sustaining that sort of quality over the length of the entire album, which may or may not happen because the songs are extremely situational nowadays. It is RIDICULOUS for anyone here to say that one cannot criticize this aspect of Rahman's music or that, because there are many many fans who have been there since the first song of A R R ever aired and before, and have a right to express their feelings. I am curious to know how old some of you are, because there seems to be a generational gap developing in this group :) --- In arrahmanfans@yahoogroups.com, Chord [EMAIL PROTECTED] wrote: I hear this phrase over and over and over in reviews. What does that mean exactly? Is it purely subjective or are there elements of Rahman's best works that can be operationalized? If ARR is a progressive artist who doesn't stick to formulas, what exactly are his standards that people expect him to adhere to album after album? I think it's the same dilemma for all suuccessful artists. You take rock bands from the west, you hear so many comments about how their earlier works outshine later works. Oh, this group's music back in the 70s was so much better than their work now. Their own success haunts them down the road, if they let it. Let's take JA. If you want to compare elements of JA to his most highly rated soundtracks of the past, there is good melody, amazing musicianship, crystal clear sound, beautiful ornamentation and attention to musical detail, haunting chords ahd harmonies, catchy rhythms, and innovativeness. So, what's the problem? I get the feeling that no matter how objectively good an ARR soundtrack will be, there will ALWAYS be folks who say the phrase above. And I guarantee you that these same folks would say he is repetitive if Rahman were indeed to go back to the Dil Se or Taal mode or whatever mode they wish for. - Sent from Yahoo! - a smarter inbox. - Support the World Aids Awareness campaign this month with Yahoo! for Good
[arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
wow.. I have seen ARR's music in one angle...that is ARR angle you have shown me n number of angles...still some of them are not digesting...so many new concepts...uhh... but still..excellent writeup... --- In arrahmanfans@yahoogroups.com, arr_raghu [EMAIL PROTECTED] wrote: Dasun The writeup is beautiful. If only we have any scientific journal of rahman's music, we cd have published few good articles. OR at least how about some any music journal..search if there are any which suit our discussions in this group. Raghu --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera dtdja@ wrote: Aesthetic Judgment (Taste) I don't have to tell you that ARR's taste is of the highest possible kind compared with composers of all time. I mean how many composers the world-over has ever had the privilege of being compared to the ideal of Mozart, let alone being called one? Not even the kings of melody of the West Richard Rogers (of The Sound of Music (59) fame) Sir Francis Lai (Love Story (1970)), Maurice Jarr (Dr. Zhivago (1965)), or even Ennio Morricone, who have written some of the most soulful and moving music I have ever heard, have been told they are like Mozart, at least not to my knowledge. Most music lovers, and all great minds, Leo Tolstoy and Albert Einstein among them, have acknowledged unanimously that Mozart's music is the most perfect and the most universal imagined, no, let me use the word conjured, by any human being; because imagination, to many, could still mean there's some conscious involvement in that process of creation; perhaps, it is still a conscious process, but it is a far superior sense of consciousness that, by average human standards, it cannot be called one. If anybody here has seen the Oscar-winning movie Amadeus (84) by Milos Forman, you can see why it is so: Mozart's music, to use a phrase Einstein once used, seems like have simply been `plucked out of the universe'; the great scientist who adored Mozart and used to play his Sonatas on his little violin when he wanted a break from his scientific pursuits, says that compared to Mozart, Beethoven's music feels `too personal, almost naked.' Tolstoy, in his polemical book `What is Art?' destroys the kind of conscious creativity that he believes Beethoven and the followers of the Romantic movement that he charted, Richard Wagner, for example, brought about to Europe, overthrowing the musical dominance of the spontaneous and universal music of Mozart. In essence, Mozart's music and its perfection are not a result of conscious processing, they come from a superior sense of natural harmony and an extremely rare capability of letting go of one's self and connecting with the universal spirit and listening to it in all its infinite beauty. There cannot be a more fitting description of ARR's music and how he has conjured his magical output over the years; and it is no accident that the West would offer up their ideal for comparison with the best the East has offered to date. That sort of taste, a sincere kinship with the natural harmony and beauty of the universe, with God, if you will, years in an industry cannot fade away or dilute, and, if anything, I can confidently say that ARR's taste has, over the years, been refined like fine old wine, and I have not witnessed an instance where his aesthetic judgment, given the proper opportunities, has faltered beyond identification. In his choice of movies, directors, and lyrics, there maybe exceptions, but I will address these in a later category. It is difficult to pin down one or two works from the 92-96 period in which, like Rano said, beauty oozed out of every single phrase that he weaved, but I will pick two of my favorite songs `Kannalane' from Bombay (95) and `Uyirum Neeye' from Pavitra (94) in which I think ARR achieves the highest form of perfection. Sometime back, I analyzed the beauty of the song Uyirum Neeye from a conceptual viewpoint, so if anybody is interested, let me know and I will send it to you or post it on the forum. Kannalane (or Kehna Hai Kya), I hear, has entered the music textbooks in certain parts of the world (Canada, if I recall correctly)! Yes, these are songs of superior beauty that they have that universal appeal that Tolstoy hailed as the finest ingredient of the greatest of art. What about now? What are the ARR compositions within the past 5 years which evoke the same feelings in me? Piya Ho from Water (2005) and Do Kadam from Meenaxi (2004) for sure are my favorites from this period with Tere Bina from Guru not too far off. When I refer to the perfection of these songs, I mean that I don't feel that I need to remove any part, any phrase, any instrument, sound or note, everything is in the right place at the right time! If anybody felt differently about these songs, I would be curious to know which parts destroy the perfection of these songs. I can write an essay on
[arr] In Lamhon
the first few seconds of in lamhon me is phenomenal. ARR set perfect mood within those 20 odd secs. very pure music this is. see the flute and strings just before madhusri starts. Some here thinking that this JA is inferior to meenaxi etc. I dont think they need to be so eager to jump to such conclusion.
[arr] Website for ARR Foundation ?
Guys. please give me the exact WebSite for ARR Foundation (is there one ?) I want to ask my friends' help for the PFMB Coloring books. Would like to give all the needed information. Thanks.
Re: [arr] Re: Soul of a Profession
i think so but i m pretty sure that ARR said in a recent interview that he might have became a software engineer if his mom didnt show him the musical path. On Jan 28, 2008 4:34 PM, arr_raghu [EMAIL PROTECTED] wrote: Is this some made up material? --- In arrahmanfans@yahoogroups.com arrahmanfans%40yahoogroups.com, Vithur [EMAIL PROTECTED] wrote: Amitabh Bachchan was a corporate executive before he shifted to films; director Shekhar Kapur and singer Abhijeet were chartered accountants.*Music composers AR Rahman and Shanker shifted from civil and software engineering respectively. * ** *http://wplay.wordpress.com/2008/01/28/soul-of-a-profession-2/ *-- regards, Vithur A.R.RAHMAN - MY BREATH LIFE FORCE
Re: [arr] ARR's Standard Deviation - Part II - Aesthetic Judgment
Hi Dasun, You were talking about having written something on Kehna hi kya? I would love to read that. Padmini On 1/28/08, Dasun Abeysekera [EMAIL PROTECTED] wrote: Aesthetic Judgment (Taste) I don't have to tell you that ARR's taste is of the highest possible kind compared with composers of all time. I mean how many composers the world-over has ever had the privilege of being compared to the ideal of Mozart, let alone being called one? Not even the kings of melody of the West – Richard Rogers (of The Sound of Music (59) fame) Sir Francis Lai (Love Story (1970)), Maurice Jarr (Dr. Zhivago (1965)), or even Ennio Morricone, who have written some of the most soulful and moving music I have ever heard, have been told they are like Mozart, at least not to my knowledge. Most music lovers, and all great minds, Leo Tolstoy and Albert Einstein among them, have acknowledged unanimously that Mozart's music is the most perfect and the most universal imagined, no, let me use the word conjured, by any human being; because imagination, to many, could still mean there's some conscious involvement in that process of creation; perhaps, it is still a conscious process, but it is a far superior sense of consciousness that, by average human standards, it cannot be called one. If anybody here has seen the Oscar-winning movie Amadeus (84) by Milos Forman, you can see why it is so: Mozart's music, to use a phrase Einstein once used, seems like have simply been 'plucked out of the universe'; the great scientist who adored Mozart and used to play his Sonatas on his little violin when he wanted a break from his scientific pursuits, says that compared to Mozart, Beethoven's music feels 'too personal, almost naked.' Tolstoy, in his polemical book 'What is Art?' destroys the kind of conscious creativity that he believes Beethoven and the followers of the Romantic movement that he charted, Richard Wagner, for example, brought about to Europe, overthrowing the musical dominance of the spontaneous and universal music of Mozart. In essence, Mozart's music and its perfection are not a result of conscious processing, they come from a superior sense of natural harmony and an extremely rare capability of letting go of one's self and connecting with the universal spirit and listening to it in all its infinite beauty. There cannot be a more fitting description of ARR's music and how he has conjured his magical output over the years; and it is no accident that the West would offer up their ideal for comparison with the best the East has offered to date. That sort of taste, a sincere kinship with the natural harmony and beauty of the universe, with God, if you will, years in an industry cannot fade away or dilute, and, if anything, I can confidently say that ARR's taste has, over the years, been refined like fine old wine, and I have not witnessed an instance where his aesthetic judgment, given the proper opportunities, has faltered beyond identification. In his choice of movies, directors, and lyrics, there maybe exceptions, but I will address these in a later category. It is difficult to pin down one or two works from the 92-96 period in which, like Rano said, beauty oozed out of every single phrase that he weaved, but I will pick two of my favorite songs 'Kannalane' from Bombay (95) and 'Uyirum Neeye' from Pavitra (94) in which I think ARR achieves the highest form of perfection. Sometime back, I analyzed the beauty of the song Uyirum Neeye from a conceptual viewpoint, so if anybody is interested, let me know and I will send it to you or post it on the forum. Kannalane (or Kehna Hai Kya), I hear, has entered the music textbooks in certain parts of the world (Canada, if I recall correctly)! Yes, these are songs of superior beauty that they have that universal appeal that Tolstoy hailed as the finest ingredient of the greatest of art. What about now? What are the ARR compositions within the past 5 years which evoke the same feelings in me? Piya Ho from Water (2005) and Do Kadam from Meenaxi (2004) for sure are my favorites from this period with Tere Bina from Guru not too far off. When I refer to the perfection of these songs, I mean that I don't feel that I need to remove any part, any phrase, any instrument, sound or note, everything is in the right place at the right time! If anybody felt differently about these songs, I would be curious to know which parts destroy the perfection of these songs. I can write an essay on the song Do Kadam and will do soon so that I can back up my feelings just like I did with Uyirum Neeye. Do Kadam is so personal for me that I don't want to hold it up as universal! This song symbolizes what ARR and I share in silence without speaking a single word with each-other, but by connecting to the same universal spirit that we both trust wholeheartedly and by whose mysterious ways we are awed day in and day out. The highest taste, as Immanuel
Re: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
Hi Dasun, Amazing.. Fantastic. I can understand how you enjoy our BOSS music. Its an amazing article I've ever read in the forum. Please keep posting such stuffs. Thanks for sharing. Cheers, Siraj On 1/28/08, Vithur [EMAIL PROTECTED] wrote: Dear Dasun , Your write up speaks abt yourself.. The way you have experienced ARR 's music right from the beginning days till now. Very neatly written. Fantastic piece . Hats off On 1/28/08, Chord [EMAIL PROTECTED] wrote: Fantastic writeup. Good choice of words and you are obviously very educated and well read. I esp. like your last paragraph, about sharing that unsaid silence with ARR and paying tribute to the harmony and divinity around us. I can TOTALLY relate. You expressed yourself very beautifully and poignantly. I'm going to save your writeup --- In arrahmanfans@yahoogroups.com arrahmanfans%40yahoogroups.com, Dasun Abeysekera [EMAIL PROTECTED] wrote: Aesthetic Judgment (Taste) I don't have to tell you that ARR's taste is of the highest possible kind compared with composers of all time. I mean how many composers the world-over has ever had the privilege of being compared to the ideal of Mozart, let alone being called one? Not even the kings of melody of the West – Richard Rogers (of The Sound of Music (59) fame) Sir Francis Lai (Love Story (1970)), Maurice Jarr (Dr. Zhivago (1965)), or even Ennio Morricone, who have written some of the most soulful and moving music I have ever heard, have been told they are like Mozart, at least not to my knowledge. Most music lovers, and all great minds, Leo Tolstoy and Albert Einstein among them, have acknowledged unanimously that Mozart's music is the most perfect and the most universal imagined, no, let me use the word conjured, by any human being; because imagination, to many, could still mean there's some conscious involvement in that process of creation; perhaps, it is still a conscious process, but it is a far superior sense of consciousness that, by average human standards, it cannot be called one. If anybody here has seen the Oscar-winning movie Amadeus (84) by Milos Forman, you can see why it is so: Mozart's music, to use a phrase Einstein once used, seems like have simply been `plucked out of the universe'; the great scientist who adored Mozart and used to play his Sonatas on his little violin when he wanted a break from his scientific pursuits, says that compared to Mozart, Beethoven's music feels `too personal, almost naked.' Tolstoy, in his polemical book `What is Art?' destroys the kind of conscious creativity that he believes Beethoven and the followers of the Romantic movement that he charted, Richard Wagner, for example, brought about to Europe, overthrowing the musical dominance of the spontaneous and universal music of Mozart. In essence, Mozart's music and its perfection are not a result of conscious processing, they come from a superior sense of natural harmony and an extremely rare capability of letting go of one's self and connecting with the universal spirit and listening to it in all its infinite beauty. There cannot be a more fitting description of ARR's music and how he has conjured his magical output over the years; and it is no accident that the West would offer up their ideal for comparison with the best the East has offered to date. That sort of taste, a sincere kinship with the natural harmony and beauty of the universe, with God, if you will, years in an industry cannot fade away or dilute, and, if anything, I can confidently say that ARR's taste has, over the years, been refined like fine old wine, and I have not witnessed an instance where his aesthetic judgment, given the proper opportunities, has faltered beyond identification. In his choice of movies, directors, and lyrics, there maybe exceptions, but I will address these in a later category. It is difficult to pin down one or two works from the 92-96 period in which, like Rano said, beauty oozed out of every single phrase that he weaved, but I will pick two of my favorite songs `Kannalane' from Bombay (95) and `Uyirum Neeye' from Pavitra (94) in which I think ARR achieves the highest form of perfection. Sometime back, I analyzed the beauty of the song Uyirum Neeye from a conceptual viewpoint, so if anybody is interested, let me know and I will send it to you or post it on the forum. Kannalane (or Kehna Hai Kya), I hear, has entered the music textbooks in certain parts of the world (Canada, if I recall correctly)! Yes, these are songs of superior beauty that they have that universal appeal that Tolstoy hailed as the finest ingredient of the greatest of art. What about now? What are the ARR compositions within the past 5 years which evoke the same feelings in me? Piya Ho from Water (2005) and Do Kadam from Meenaxi (2004) for sure are my favorites from this
[arr] JA Pet Peeves (sort of)
I've gone on and on about how much I love the soundtrack. Here's my list of what I wished, but didn't happen 1) More songs! It's a little over 39 minute soundtrack, just a few minutes under Lagaan's soundtrack length. But, there's this nagging feeling that some songs were cut or there's just not enough material here. 2) Why not a pure classical song? Classical music is heavy in this soundtrack, but I would have loved something more traditional, like a Kathak dance thumri or something of the sort. Did anyone listen to Chale O Saiyaan from Khoya Khoya Chaand? It's got complex tabla, ghungru, pure classical melody. Perhaps the film's story didn't allow for such a dance, but I sure wish it did..ala Devdas but better! 3) I am missing a female solo love song. There is a male solo romantic song and a female solo devotional, but I wish there was a female solo song too. Just my wish. Again, the story probably didn't allow it. 4) Man, as much as I love the instrumentals based on the main songs, I sure wish ARR had done a pure theme instrumental, ala 1947 Earth Theme. I really miss this! 5) There is a distinct absence of Tanpura in this soundtrack. Listen to Naina Neer and Bangari Marori from Water or Ishwar Allah from Earth..feel the magic of the divine Tanpura as the drone backdrop. I wish at least one song had it. Also miss the Sarangi. It fleetingly appeared for 2-3 seconds beautifully in the beginning of the In Lamho song, but never to be heard again! Also wished more Sitar was used other than the brief interlude in In Lamho. Ok, I admit, I am basically wishing for my fantasy album! I'm not really upset or bothered too much that these wishes didn't come to pass. I am more than happy with what ARR delivered for us, and like I said in my review, JA went beyond my expectations!
Re: [arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
Very well written indeed. Not in so many words, but I share a similar feeling with you. Keep writing. I am so glad I joined this group. Keeps me close to my heart!!! Padmini On 1/28/08, Chord [EMAIL PROTECTED] wrote: Fantastic writeup. Good choice of words and you are obviously very educated and well read. I esp. like your last paragraph, about sharing that unsaid silence with ARR and paying tribute to the harmony and divinity around us. I can TOTALLY relate. You expressed yourself very beautifully and poignantly. I'm going to save your writeup --- In arrahmanfans@yahoogroups.com arrahmanfans%40yahoogroups.com, Dasun Abeysekera [EMAIL PROTECTED] wrote: Aesthetic Judgment (Taste) I don't have to tell you that ARR's taste is of the highest possible kind compared with composers of all time. I mean how many composers the world-over has ever had the privilege of being compared to the ideal of Mozart, let alone being called one? Not even the kings of melody of the West – Richard Rogers (of The Sound of Music (59) fame) Sir Francis Lai (Love Story (1970)), Maurice Jarr (Dr. Zhivago (1965)), or even Ennio Morricone, who have written some of the most soulful and moving music I have ever heard, have been told they are like Mozart, at least not to my knowledge. Most music lovers, and all great minds, Leo Tolstoy and Albert Einstein among them, have acknowledged unanimously that Mozart's music is the most perfect and the most universal imagined, no, let me use the word conjured, by any human being; because imagination, to many, could still mean there's some conscious involvement in that process of creation; perhaps, it is still a conscious process, but it is a far superior sense of consciousness that, by average human standards, it cannot be called one. If anybody here has seen the Oscar-winning movie Amadeus (84) by Milos Forman, you can see why it is so: Mozart's music, to use a phrase Einstein once used, seems like have simply been `plucked out of the universe'; the great scientist who adored Mozart and used to play his Sonatas on his little violin when he wanted a break from his scientific pursuits, says that compared to Mozart, Beethoven's music feels `too personal, almost naked.' Tolstoy, in his polemical book `What is Art?' destroys the kind of conscious creativity that he believes Beethoven and the followers of the Romantic movement that he charted, Richard Wagner, for example, brought about to Europe, overthrowing the musical dominance of the spontaneous and universal music of Mozart. In essence, Mozart's music and its perfection are not a result of conscious processing, they come from a superior sense of natural harmony and an extremely rare capability of letting go of one's self and connecting with the universal spirit and listening to it in all its infinite beauty. There cannot be a more fitting description of ARR's music and how he has conjured his magical output over the years; and it is no accident that the West would offer up their ideal for comparison with the best the East has offered to date. That sort of taste, a sincere kinship with the natural harmony and beauty of the universe, with God, if you will, years in an industry cannot fade away or dilute, and, if anything, I can confidently say that ARR's taste has, over the years, been refined like fine old wine, and I have not witnessed an instance where his aesthetic judgment, given the proper opportunities, has faltered beyond identification. In his choice of movies, directors, and lyrics, there maybe exceptions, but I will address these in a later category. It is difficult to pin down one or two works from the 92-96 period in which, like Rano said, beauty oozed out of every single phrase that he weaved, but I will pick two of my favorite songs `Kannalane' from Bombay (95) and `Uyirum Neeye' from Pavitra (94) in which I think ARR achieves the highest form of perfection. Sometime back, I analyzed the beauty of the song Uyirum Neeye from a conceptual viewpoint, so if anybody is interested, let me know and I will send it to you or post it on the forum. Kannalane (or Kehna Hai Kya), I hear, has entered the music textbooks in certain parts of the world (Canada, if I recall correctly)! Yes, these are songs of superior beauty that they have that universal appeal that Tolstoy hailed as the finest ingredient of the greatest of art. What about now? What are the ARR compositions within the past 5 years which evoke the same feelings in me? Piya Ho from Water (2005) and Do Kadam from Meenaxi (2004) for sure are my favorites from this period with Tere Bina from Guru not too far off. When I refer to the perfection of these songs, I mean that I don't feel that I need to remove any part, any phrase, any instrument, sound or note, everything is in the right place at the right time! If anybody felt differently about these songs, I would be curious to know which parts
[arr] Marhaba Mustapha new ARR song !
I just heard a song from a movie Al Risalah. It's credited to ARR (both singer and composer) The singer sounds like ARR and the tune is Rahmanesque. Is this stale news or am i the first to hear this? you can hear it at http://www.musicindiaonline.com/music/hindi_bollywood/s/movie_name.9550 your thoughts please
Re: [arr] JA Pet Peeves (sort of)
I miss Mann Mohana flute version. Mann Mohana is a call to Krishna, and I wonder how Ashutosh Gowariker missed on this! It would really have been apt to add a flute version of the song. (Maybe as an answer from Krishna to the call from Jodhaa?!) - On Jan 29, 2008 6:34 AM, Chord [EMAIL PROTECTED] wrote: I've gone on and on about how much I love the soundtrack. Here's my list of what I wished, but didn't happen 1) More songs! It's a little over 39 minute soundtrack, just a few minutes under Lagaan's soundtrack length. But, there's this nagging feeling that some songs were cut or there's just not enough material here. 2) Why not a pure classical song? Classical music is heavy in this soundtrack, but I would have loved something more traditional, like a Kathak dance thumri or something of the sort. Did anyone listen to Chale O Saiyaan from Khoya Khoya Chaand? It's got complex tabla, ghungru, pure classical melody. Perhaps the film's story didn't allow for such a dance, but I sure wish it did..ala Devdas but better! 3) I am missing a female solo love song. There is a male solo romantic song and a female solo devotional, but I wish there was a female solo song too. Just my wish. Again, the story probably didn't allow it. 4) Man, as much as I love the instrumentals based on the main songs, I sure wish ARR had done a pure theme instrumental, ala 1947 Earth Theme. I really miss this! 5) There is a distinct absence of Tanpura in this soundtrack. Listen to Naina Neer and Bangari Marori from Water or Ishwar Allah from Earth..feel the magic of the divine Tanpura as the drone backdrop. I wish at least one song had it. Also miss the Sarangi. It fleetingly appeared for 2-3 seconds beautifully in the beginning of the In Lamho song, but never to be heard again! Also wished more Sitar was used other than the brief interlude in In Lamho. Ok, I admit, I am basically wishing for my fantasy album! I'm not really upset or bothered too much that these wishes didn't come to pass. I am more than happy with what ARR delivered for us, and like I said in my review, JA went beyond my expectations!
Re: [arr] JA Pet Peeves (sort of)
Good point, Amit! Notice, however, there is a lot of flute playing in the songs during the interludes. Perhaps these interludes are a part of Krishna's dialogues with Jodhaa! --- In arrahmanfans@yahoogroups.com, Amith Chandhran [EMAIL PROTECTED] wrote: I miss Mann Mohana flute version. Mann Mohana is a call to Krishna, and I wonder how Ashutosh Gowariker missed on this! It would really have been apt to add a flute version of the song. (Maybe as an answer from Krishna to the call from Jodhaa?!) - On Jan 29, 2008 6:34 AM, Chord [EMAIL PROTECTED] wrote: I've gone on and on about how much I love the soundtrack. Here's my list of what I wished, but didn't happen 1) More songs! It's a little over 39 minute soundtrack, just a few minutes under Lagaan's soundtrack length. But, there's this nagging feeling that some songs were cut or there's just not enough material here. 2) Why not a pure classical song? Classical music is heavy in this soundtrack, but I would have loved something more traditional, like a Kathak dance thumri or something of the sort. Did anyone listen to Chale O Saiyaan from Khoya Khoya Chaand? It's got complex tabla, ghungru, pure classical melody. Perhaps the film's story didn't allow for such a dance, but I sure wish it did..ala Devdas but better! 3) I am missing a female solo love song. There is a male solo romantic song and a female solo devotional, but I wish there was a female solo song too. Just my wish. Again, the story probably didn't allow it. 4) Man, as much as I love the instrumentals based on the main songs, I sure wish ARR had done a pure theme instrumental, ala 1947 Earth Theme. I really miss this! 5) There is a distinct absence of Tanpura in this soundtrack. Listen to Naina Neer and Bangari Marori from Water or Ishwar Allah from Earth..feel the magic of the divine Tanpura as the drone backdrop. I wish at least one song had it. Also miss the Sarangi. It fleetingly appeared for 2-3 seconds beautifully in the beginning of the In Lamho song, but never to be heard again! Also wished more Sitar was used other than the brief interlude in In Lamho. Ok, I admit, I am basically wishing for my fantasy album! I'm not really upset or bothered too much that these wishes didn't come to pass. I am more than happy with what ARR delivered for us, and like I said in my review, JA went beyond my expectations!
[arr] Re: Can someone define living up to ARR's own standards?
ottagathe from kuyiline? this been beaten to death in this group.. why do we dig up the same thing again and again..? [EMAIL PROTECTED] wrote: Sorry. Another good example: Ottagathe thattiko - Gentleman (1993) Kuyiline Thedi - Neelakkuyil (1954) Ottagathe thattiko was directly lifted from Neelakuyil.The music director of Neelakkuyil, Raghavan master was a close friend of Rahman's father K.A. Sekhar. Both songs were huge hits in kerala. --- In arrahmanfans@yahoogroups.com, Shah Navas shahnavas.arr@ wrote: All these discussions are signs that ARR will go down in the history as a Legend.. We just need to look at history to realise that. . Good discussion..I am enjoying it a lot. On Jan 28, 2008 2:48 PM, jamshid TC jamshid_tc@ wrote: *Vande Mataram* was released in 1997 on India's 50th anniversary of independence . -Jamshid --- On *Sun, 1/27/08, shanavas.chemmamkuzhi shanavas.chemmamkuzhi@* wrote: From: shanavas.chemmamkuzhi shanavas.chemmamkuzhi@ Subject: [arr] Re: Can someone define living up to ARR's own standards? To: arrahmanfans@yahoogroups.com Date: Sunday, January 27, 2008, 10:27 PM I disagree here.Time won't affect the quality of music.Rahman used the same tune in 1994 and 2000 ,and both songs were appreciated. Porale Ponnuthayi - Karuthamma (1994) Chanda Suraj Lakhon Tare - Vande Matharam (2000) -- Looking for last minute shopping deals? Find them fast with Yahoo! Search.http://us.rd.yahoo.com/evt=51734/*http://tools.search.yahoo.c om/newsearch/category.php?category=shopping
[arr] Re: Can someone define living up to ARR's own standards?
Sorry. Another good example: Ottagathe thattiko - Gentleman (1993) Kuyiline Thedi - Neelakkuyil (1954) Ottagathe thattiko was directly lifted from Neelakuyil.The music director of Neelakkuyil, Raghavan master was a close friend of Rahman's father K.A. Sekhar. Both songs were huge hits in kerala. --- In arrahmanfans@yahoogroups.com, Shah Navas [EMAIL PROTECTED] wrote: All these discussions are signs that ARR will go down in the history as a Legend.. We just need to look at history to realise that. . Good discussion..I am enjoying it a lot. On Jan 28, 2008 2:48 PM, jamshid TC [EMAIL PROTECTED] wrote: *Vande Mataram* was released in 1997 on India's 50th anniversary of independence . -Jamshid --- On *Sun, 1/27/08, shanavas.chemmamkuzhi [EMAIL PROTECTED]* wrote: From: shanavas.chemmamkuzhi [EMAIL PROTECTED] Subject: [arr] Re: Can someone define living up to ARR's own standards? To: arrahmanfans@yahoogroups.com Date: Sunday, January 27, 2008, 10:27 PM I disagree here.Time won't affect the quality of music.Rahman used the same tune in 1994 and 2000 ,and both songs were appreciated. Porale Ponnuthayi - Karuthamma (1994) Chanda Suraj Lakhon Tare - Vande Matharam (2000) -- Looking for last minute shopping deals? Find them fast with Yahoo! Search.http://us.rd.yahoo.com/evt=51734/*http://tools.search.yahoo.c om/newsearch/category.php?category=shopping
Re: [arr] JA Pet Peeves (sort of)
i really really miss jashn ke baharra piano version.. it wud be extremely sweet like hum isae pal yahaan piana version from Kisna. On Jan 28, 2008 6:43 PM, Amith Chandhran [EMAIL PROTECTED] wrote: I miss Mann Mohana flute version. Mann Mohana is a call to Krishna, and I wonder how Ashutosh Gowariker missed on this! It would really have been apt to add a flute version of the song. (Maybe as an answer from Krishna to the call from Jodhaa?!) - On Jan 29, 2008 6:34 AM, Chord [EMAIL PROTECTED] wrote: I've gone on and on about how much I love the soundtrack. Here's my list of what I wished, but didn't happen 1) More songs! It's a little over 39 minute soundtrack, just a few minutes under Lagaan's soundtrack length. But, there's this nagging feeling that some songs were cut or there's just not enough material here. 2) Why not a pure classical song? Classical music is heavy in this soundtrack, but I would have loved something more traditional, like a Kathak dance thumri or something of the sort. Did anyone listen to Chale O Saiyaan from Khoya Khoya Chaand? It's got complex tabla, ghungru, pure classical melody. Perhaps the film's story didn't allow for such a dance, but I sure wish it did..ala Devdas but better! 3) I am missing a female solo love song. There is a male solo romantic song and a female solo devotional, but I wish there was a female solo song too. Just my wish. Again, the story probably didn't allow it. 4) Man, as much as I love the instrumentals based on the main songs, I sure wish ARR had done a pure theme instrumental, ala 1947 Earth Theme. I really miss this! 5) There is a distinct absence of Tanpura in this soundtrack. Listen to Naina Neer and Bangari Marori from Water or Ishwar Allah from Earth..feel the magic of the divine Tanpura as the drone backdrop. I wish at least one song had it. Also miss the Sarangi. It fleetingly appeared for 2-3 seconds beautifully in the beginning of the In Lamho song, but never to be heard again! Also wished more Sitar was used other than the brief interlude in In Lamho. Ok, I admit, I am basically wishing for my fantasy album! I'm not really upset or bothered too much that these wishes didn't come to pass. I am more than happy with what ARR delivered for us, and like I said in my review, JA went beyond my expectations!
Re: [arr] Website for ARR Foundation ?
[EMAIL PROTECTED] this my exact email id. pls send ar rahman photos to my email - Forgot the famous last words? Access your message archive online. Click here.
[arr] Black white Music video
http://www.bharatstudent.com/cafebharat/cafebharat1.php?fileid=nedjhdhpnigcat=1subcat=2filetype=1 The video link of ARR in Black white music launch -- regards, Vithur A.R.RAHMAN - MY BREATH LIFE FORCE
Re: [arr] Marhaba Mustapha new ARR song !
This is lil bit old news. More details are as follows :- Movie Name : Al Risalah Year : 2008 Music Director: A R Rahman, Liyakar Ajmeri, Raj Verma Producer: Yamshi Ahmed, Saad Ahmed Director: Mustapha Akkad Lyrics: Hazrat Khaja Sayeed Sha Ameenulla Hussainy R A, Abid Imtiyaz, Syed Ahmed Singers: A R Rahman, Mohd Salamat Track Name : Marhaba Mustapha - A R Rahman On 1/29/08, smjaswani [EMAIL PROTECTED] wrote: I just heard a song from a movie Al Risalah. It's credited to ARR (both singer and composer) The singer sounds like ARR and the tune is Rahmanesque. Is this stale news or am i the first to hear this? you can hear it at http://www.musicindiaonline.com/music/hindi_bollywood/s/movie_name.9550 your thoughts please -- regards, Vithur A.R.RAHMAN - MY BREATH LIFE FORCE
Re: [arr] JA Pet Peeves (sort of)
Chord, I agree with you on most of the points. Actually I was wondeing that something was definitely lacking with this album. All the songs are tremendously beautiful in themselves, but they dont seem to complement each other. A thread perhaps is missing and I just cannot figure out what's wrong! But there's something wrong as I just cannot be satisfied with the album. I wish there were one or two more songs or at least one song that would stand apart as the identity of the album. Any movie soundrack usually have one or two songs that actually pull the identity of an album. This is not always true but in most of the cases the OST of a movie contains a song that promises to be a 'hit' song both among the classes and masses. It may or may not be a fast peppy number. For example in Guru, Tere Bina is such a song that stands by its own. A compelete song that is neither bounded by situation nor handicapped by the use of instruments. I miss such a powerful song in JA. All the songs in JA seem more situational than eternal. Azeem or Khwaja are too type specific to be a stand alone songs. Mann Mohana is a bhajan, cant serve the purpose. That leaves Jashn-e-Bahara and Inn Lamhon. I found Inn Lamhon very mutch situational as it has actually four phases of composition. That leaves Jashn e bahara, which is too mellow to be an out and out hit. I can't forget how ARR has done wonders before with even more stringent situations. For example his composition in Zubeidaa, Lagaan, Mangal pandey, 1947 Earth, Water, WOHE (I'm considering the period dramas only) etc are classics. Then what is the problem with JA? For myself my answer is that there's some difference of vision between the director and music director. I know different people will have different opinions. And I was also terribly mising sarangi, sitar and mohan veena. I wish there was at least one instrumental composition in the album. Durba Chord [EMAIL PROTECTED] wrote: Good point, Amit! Notice, however, there is a lot of flute playing in the songs during the interludes. Perhaps these interludes are a part of Krishna's dialogues with Jodhaa! --- In arrahmanfans@yahoogroups.com, Amith Chandhran [EMAIL PROTECTED] wrote: I miss Mann Mohana flute version. Mann Mohana is a call to Krishna, and I wonder how Ashutosh Gowariker missed on this! It would really have been apt to add a flute version of the song. (Maybe as an answer from Krishna to the call from Jodhaa?!) - On Jan 29, 2008 6:34 AM, Chord [EMAIL PROTECTED] wrote: I've gone on and on about how much I love the soundtrack. Here's my list of what I wished, but didn't happen 1) More songs! It's a little over 39 minute soundtrack, just a few minutes under Lagaan's soundtrack length. But, there's this nagging feeling that some songs were cut or there's just not enough material here. 2) Why not a pure classical song? Classical music is heavy in this soundtrack, but I would have loved something more traditional, like a Kathak dance thumri or something of the sort. Did anyone listen to Chale O Saiyaan from Khoya Khoya Chaand? It's got complex tabla, ghungru, pure classical melody. Perhaps the film's story didn't allow for such a dance, but I sure wish it did..ala Devdas but better! 3) I am missing a female solo love song. There is a male solo romantic song and a female solo devotional, but I wish there was a female solo song too. Just my wish. Again, the story probably didn't allow it. 4) Man, as much as I love the instrumentals based on the main songs, I sure wish ARR had done a pure theme instrumental, ala 1947 Earth Theme. I really miss this! 5) There is a distinct absence of Tanpura in this soundtrack. Listen to Naina Neer and Bangari Marori from Water or Ishwar Allah from Earth..feel the magic of the divine Tanpura as the drone backdrop. I wish at least one song had it. Also miss the Sarangi. It fleetingly appeared for 2-3 seconds beautifully in the beginning of the In Lamho song, but never to be heard again! Also wished more Sitar was used other than the brief interlude in In Lamho. Ok, I admit, I am basically wishing for my fantasy album! I'm not really upset or bothered too much that these wishes didn't come to pass. I am more than happy with what ARR delivered for us, and like I said in my review, JA went beyond my expectations! - Download prohibited? No problem. CHAT from any browser, without download.
Re: [arr] JA Pet Peeves (sort of)
hi durba.. long time no mail :) ok, i can understand ur feeling of dearth in JA. but when the director wants a only 5 songs in a movie we cant have more. probab;y after watching the movie, we can understand the context of music even better i guess. lets wait two more weeks for that. On Jan 28, 2008 9:09 PM, durba bhattacharjee [EMAIL PROTECTED] wrote: Chord, I agree with you on most of the points. Actually I was wondeing that something was definitely lacking with this album. All the songs are tremendously beautiful in themselves, but they dont seem to complement each other. A thread perhaps is missing and I just cannot figure out what's wrong! But there's something wrong as I just cannot be satisfied with the album. I wish there were one or two more songs or at least one song that would stand apart as the identity of the album. Any movie soundrack usually have one or two songs that actually pull the identity of an album. This is not always true but in most of the cases the OST of a movie contains a song that promises to be a 'hit' song both among the classes and masses. It may or may not be a fast peppy number. For example in Guru, Tere Bina is such a song that stands by its own. A compelete song that is neither bounded by situation nor handicapped by the use of instruments. I miss such a powerful song in JA. All the songs in JA seem more situational than eternal. Azeem or Khwaja are too type specific to be a stand alone songs. Mann Mohana is a bhajan, cant serve the purpose. That leaves Jashn-e-Bahara and Inn Lamhon. I found Inn Lamhon very mutch situational as it has actually four phases of composition. That leaves Jashn e bahara, which is too mellow to be an out and out hit. I can't forget how ARR has done wonders before with even more stringent situations. For example his composition in Zubeidaa, Lagaan, Mangal pandey, 1947 Earth, Water, WOHE (I'm considering the period dramas only) etc are classics. Then what is the problem with JA? For myself my answer is that there's some difference of vision between the director and music director. I know different people will have different opinions. And I was also terribly mising sarangi, sitar and mohan veena. I wish there was at least one instrumental composition in the album. Durba *Chord [EMAIL PROTECTED]* wrote: Good point, Amit! Notice, however, there is a lot of flute playing in the songs during the interludes. Perhaps these interludes are a part of Krishna's dialogues with Jodhaa! --- In arrahmanfans@yahoogroups.com arrahmanfans%40yahoogroups.com, Amith Chandhran [EMAIL PROTECTED] wrote: I miss Mann Mohana flute version. Mann Mohana is a call to Krishna, and I wonder how Ashutosh Gowariker missed on this! It would really have been apt to add a flute version of the song. (Maybe as an answer from Krishna to the call from Jodhaa?!) - On Jan 29, 2008 6:34 AM, Chord [EMAIL PROTECTED] wrote: I've gone on and on about how much I love the soundtrack. Here's my list of what I wished, but didn't happen 1) More songs! It's a little over 39 minute soundtrack, just a few minutes under Lagaan's soundtrack length. But, there's this nagging feeling that some songs were cut or there's just not enough material here. 2) Why not a pure classical song? Classical music is heavy in this soundtrack, but I would have loved something more traditional, like a Kathak dance thumri or something of the sort. Did anyone listen to Chale O Saiyaan from Khoya Khoya Chaand? It's got complex tabla, ghungru, pure classical melody. Perhaps the film's story didn't allow for such a dance, but I sure wish it did..ala Devdas but better! 3) I am missing a female solo love song. There is a male solo romantic song and a female solo devotional, but I wish there was a female solo song too. Just my wish. Again, the story probably didn't allow it. 4) Man, as much as I love the instrumentals based on the main songs, I sure wish ARR had done a pure theme instrumental, ala 1947 Earth Theme. I really miss this! 5) There is a distinct absence of Tanpura in this soundtrack. Listen to Naina Neer and Bangari Marori from Water or Ishwar Allah from Earth..feel the magic of the divine Tanpura as the drone backdrop. I wish at least one song had it. Also miss the Sarangi. It fleetingly appeared for 2-3 seconds beautifully in the beginning of the In Lamho song, but never to be heard again! Also wished more Sitar was used other than the brief interlude in In Lamho. Ok, I admit, I am basically wishing for my fantasy album! I'm not really upset or bothered too much that these wishes didn't come to pass. I am more than happy with what ARR delivered for us, and like I said in my review, JA went beyond my expectations! -- Download prohibited? No problem.
[arr] Re: ARR's Standard Deviation - Part II - Aesthetic Judgment
Dear Dasun Keep posting, keep posting !! Don't ever stop !!! This is something I can say as an analytical study of art. I share and agree with your feelings. Having introduced with Rahman since 1992 ROJA and meeting him in MUSIC form, I have find myself a totally changed person. It is exactly what you mentioned as conversation in silence with our GURU. I hope, your postings give a meaningful insight to many of us in writing some better postings instead of cluttering the yahoo group with simple mono-comments like SOOOPER to good excellent and all that. Dasun, how about coming up with a series of postings wherein we take one movie of Rahman per month and express our own feelings / understanding / effect of each song ? You have really stirred me out of slumber. best regards Dinesh Vaidya Pune --- In arrahmanfans@yahoogroups.com, Dasun Abeysekera [EMAIL PROTECTED] wrote: Aesthetic Judgment (Taste) I don't have to tell you that ARR's taste is of the highest possible kind compared with composers of all time. I mean how many composers the world-over has ever had the privilege of being compared to the ideal of Mozart, let alone being called one? Not even the kings of melody of the West Richard Rogers (of The Sound of Music
Re: [arr] Chennai Concert Picture
Thanks for confirming, Gopal. I was very much curious to know about this photo. -Siraj On Jan 26, 2008 8:12 PM, Gopal Srinivasan [EMAIL PROTECTED] wrote: 2003, it is. - Original Message From: Kalimuthu [EMAIL PROTECTED] To: arrahmanfans@yahoogroups.com Sent: Sunday, January 27, 2008 1:06:55 AM Subject: Re: [arr] Chennai Concert Picture I have no idea. 2003? Gopal, any idea? On Jan 25, 2008 8:43 PM, Siraj K [EMAIL PROTECTED] comcutesiraj%40gmail.com wrote: wow... Amazing and rare photo... Thnx for sharing, Kalimuthu. Can you please tell me in which year this phots has been taken??? -Siraj On Jan 25, 2008 7:48 PM, Kalimuthu [EMAIL PROTECTED] comkalimuthu%40gmail.com wrote: Don't remember the source. It's been there in my system for a while...
[arr] Jodhaa Akbar New Posters....
Superb Posters : http://jodhaaakbar.com/poster/9.html http://jodhaaakbar.com/poster/11.html http://jodhaaakbar.com/poster/10.html - Download prohibited? No problem. CHAT from any browser, without download.
Re: [arr] Jodhaa Akbar New Posters....
nice posters, where is our boss name in the poster? even in cinema theater poster i couldn;t find his name on the poster? what is happening? Regards S.Sunder - Original Message From: Aaditya(Addy) *COOL* [EMAIL PROTECTED] To: arrahmanfans@yahoogroups.com Sent: Tuesday, 29 January, 2008 10:02:44 AM Subject: [arr] Jodhaa Akbar New Posters Superb Posters : http://jodhaaakbar. com/poster/ 9.html http://jodhaaakbar. com/poster/ 11.html http://jodhaaakbar. com/poster/ 10.html Download prohibited? No problem.. CHAT from any browser, without download. Forgot the famous last words? Access your message archive online at http://in.messenger.yahoo.com/webmessengerpromo.php
