Re: [arr] From Melody to Dev D
Ella Pughazum iraivanuke!!! ( Non tamils shd also understand this by now :) ) Also, AR is perhaps the only film personality who doesnt have any fights/any rifts with anyone. Staying in the industry for so long and being loved by all is next to impossible which AR has managed to do. That goes to show how far a persons good nature/character can go. Long live ARRji!!! --- In arrahmanfans@yahoogroups.com, V S Rawat vsra...@... wrote: A line from the article after Roja (1992), every year can just as easily be called the âyear of A R Rahmanâ. Heck, if the 2000s were to belong to a musician, it would be called the decade of Rahman. what a pleasure to read it. No sweater words have ever been written. :-) -- Rawat On 1/1/2010 9:08 AM India Time, _$ Pavan Kumar $_ wrote: http://www.hindustantimes.com/From-Melody-to-Dev-D/H1-Article1-492354.aspx Conventional âmelodiesâ were replaced by experimental music, as Bollywood became âcoolâ. *2000 The end of âmelodyâ *Nadeem-Shravan had cracked it. The â90s had belonged to the composer duo, who churned out chartbuster tunes, one album after another. After a brief hiatus, the duo had come back to Bollywood in 2000 with Dhadkan. Almost instantly, the music created new records. But with /Taal/ in the last year, A R Rahman had proved that conventional Bollywood melodies were giving way to a new sound â where experimentation would lead the way. The dawn of music directors like Vishal-Shekhar and Shankar-Ehsaan-Loy on the scene, who gave equal importance to music production, as they did to composition, all signified a complete overhaul of âconventionalâ Bollywood music. *2001 The Bhatt film formula *The signs were there, right from the time of /Kasoor/. A high-pitched romantic number with a catchy hook (âKitni bechain ho keâ), a male sad song with deep vocals (âMohabbat ho na jaayeâ), and a female sad song about unrequited love (âZindagi man gaye ho tumâ). Mahesh and Mukesh Bhattâs films had worked out a distinct music formula at the time of /Kasoor,/ that theyâd replicate every year, in every movie, even if the composer and singers changed. So, in the years that followed, Anu Malik gave a similar sound in /Murder/, Pritam in /Gangster/, right up to Toshi-Sharib in /Jashn/. You could identify a Bhatt-film song from a mile away, but thatâs not a bad thing. *2002 Kaanta laga *If the Bollywood music industry was ever in peril, it was in 2002, when remixes threatened to replace the âmukhadasâ and âantarasâ with different variations of the phrase âLetâs partyâ, and some turntable effects thrown in for good measure. Shefali Zariwala became the face ... or.. err.. butt of the remix revolution, when she starred in the music video of /Kaanta laga/, thong firmly in place. Pristine Hindi songs like /Chadhti jawani /acquired a new meaning, the moral police had a field day, and DJs minted money with Non-stop remix albums. And we found out that even Bappi Lahiri can be plagiarised, when he sued R ânâ B singer, Truth Hurts for remixing his song /Kaliyon ka chaman /in his single, /Addictive/! *2003 The Return of R D* It had to happen. After RD Burman passed away in 1994, his mad orchestrations, wacky experiments, and penchant for using unusual musical instruments to create songs that broke out of the typical rhythm-based Bollywood routine, could never be recreated by any other composer. A lot of remixes came and went, but the Panchamda sound had been lost forever. Until /Jhankaar Beats /and /Dil Vil Pyaar Vyaar /came. Vishal-Shekharâs break out album, /Jhankaar Beats /was an ode to the legacy of Panchamda, and was rooted in his sound. And /Dil Vil Pyaar Vyaar /went the whole mile, recreating 14 of Burmanâs best songs, in the voice of the present generation. The Pancham flavour was back! *2004 Zip, zoom, dhoom* Move your body, shake your assâ, did you say? That was the domain of the âforeignâ singers, that we caught glimpses of, on late night shows on MTV. Music videos, did you say? Only the Indipop world of Sunita Rao and Baba Sehgal had that. Car music, did you say? Well, unless you call /Kanta laga /car music... In 2004, Pritam changed all that with /Dhoom machale/. With Thai singer Tata Young at its helm, the song was singularly responsible for the zipping âHinglishâ songs we hear on every track now, the trend of music videos, and the much-abused phrase, âinternational collaborationâ. *2005 Kajra re *Thereâs something about /Kajre re /(/Bunty Aur Babli/). Maybe it is the sight of a droolsome Aishwarya Rai performing trademark Bollywood âthumkasâ, in a ravishing, sexy avatar, that men had so-far only dreamed about. Maybe it is the father-son duo dancing with abandon. Or
[arr] From Melody to Dev D
http://www.hindustantimes.com/From-Melody-to-Dev-D/H1-Article1-492354.aspx Conventional ‘melodies’ were replaced by experimental music, as Bollywood became ‘cool’. 2000 The end of ‘melody’ Nadeem-Shravan had cracked it. The ’90s had belonged to the composer duo, who churned out chartbuster tunes, one album after another. After a brief hiatus, the duo had come back to Bollywood in 2000 with Dhadkan. Almost instantly, the music created new records. But with Taal in the last year, A R Rahman had proved that conventional Bollywood melodies were giving way to a new sound – where experimentation would lead the way. The dawn of music directors like Vishal-Shekhar and Shankar-Ehsaan-Loy on the scene, who gave equal importance to music production, as they did to composition, all signified a complete overhaul of ‘conventional’ Bollywood music. 2001 The Bhatt film formula The signs were there, right from the time of Kasoor. A high-pitched romantic number with a catchy hook (‘Kitni bechain ho ke’), a male sad song with deep vocals (‘Mohabbat ho na jaaye’), and a female sad song about unrequited love (‘Zindagi man gaye ho tum’). Mahesh and Mukesh Bhatt’s films had worked out a distinct music formula at the time of Kasoor, that they’d replicate every year, in every movie, even if the composer and singers changed. So, in the years that followed, Anu Malik gave a similar sound in Murder, Pritam in Gangster, right up to Toshi-Sharib in Jashn. You could identify a Bhatt-film song from a mile away, but that’s not a bad thing. 2002 Kaanta laga If the Bollywood music industry was ever in peril, it was in 2002, when remixes threatened to replace the ‘mukhadas’ and ‘antaras’ with different variations of the phrase ‘Let’s party’, and some turntable effects thrown in for good measure. Shefali Zariwala became the face ... or.. err.. butt of the remix revolution, when she starred in the music video of Kaanta laga, thong firmly in place. Pristine Hindi songs like Chadhti jawani acquired a new meaning, the moral police had a field day, and DJs minted money with Non-stop remix albums. And we found out that even Bappi Lahiri can be plagiarised, when he sued R ‘n’ B singer, Truth Hurts for remixing his song Kaliyon ka chaman in his single, Addictive! 2003 The Return of R D It had to happen. After RD Burman passed away in 1994, his mad orchestrations, wacky experiments, and penchant for using unusual musical instruments to create songs that broke out of the typical rhythm-based Bollywood routine, could never be recreated by any other composer. A lot of remixes came and went, but the Panchamda sound had been lost forever. Until Jhankaar Beats and Dil Vil Pyaar Vyaar came. Vishal-Shekhar’s break out album, Jhankaar Beats was an ode to the legacy of Panchamda, and was rooted in his sound. And Dil Vil Pyaar Vyaar went the whole mile, recreating 14 of Burman’s best songs, in the voice of the present generation. The Pancham flavour was back! 2004 Zip, zoom, dhoom Move your body, shake your ass’, did you say? That was the domain of the ‘foreign’ singers, that we caught glimpses of, on late night shows on MTV. Music videos, did you say? Only the Indipop world of Sunita Rao and Baba Sehgal had that. Car music, did you say? Well, unless you call Kanta laga car music... In 2004, Pritam changed all that with Dhoom machale. With Thai singer Tata Young at its helm, the song was singularly responsible for the zipping ‘Hinglish’ songs we hear on every track now, the trend of music videos, and the much-abused phrase, ‘international collaboration’. 2005 Kajra re There’s something about Kajre re (Bunty Aur Babli). Maybe it is the sight of a droolsome Aishwarya Rai performing trademark Bollywood ‘thumkas’, in a ravishing, sexy avatar, that men had so-far only dreamed about. Maybe it is the father-son duo dancing with abandon. Or maybe it is the reinvention of the qawwali by Shankar-Ehsaan-Loy and Gulzar, that helped the song pip Omkara’s Beedi (2006) as the item number of the decade. We think it’s Aishwarya! 2006 The phenomenon called Himesh He came, he sang, he conquered. In 2005, Himesh Reshammiya was unwittingly encouraged to sing title song for hisAashiq Banaya Aapne. The song, which had a ‘sufi flavour’, became a rage across India. And an idea was born – that took shape in the form of a 23-song debut private album, Aap Ka Suroor, by Reshammiya, who exploited his nose to sing, swallowed his tears for beautiful models, who ditched him in music videos, and wore a cap to hide his bald patch. The sale of caps reached an unprecedented high, Reshammiya was signed on for a big-budget movie that would explain ‘why he doesn’t smile in music videos’ and ‘nasal singing’ found a synonym. And a phenomenon was born. 2007 Chak De India Last decade, India never really had a sports movie that set our pulses racing and made us bite our nails in excitement.Lagaan, in 2003, changed that. But though Lagaan became
Re: [arr] From Melody to Dev D
A line from the article after Roja (1992), every year can just as easily be called the ‘year of A R Rahman’. Heck, if the 2000s were to belong to a musician, it would be called the decade of Rahman. what a pleasure to read it. No sweater words have ever been written. :-) -- Rawat On 1/1/2010 9:08 AM India Time, _$ Pavan Kumar $_ wrote: http://www.hindustantimes.com/From-Melody-to-Dev-D/H1-Article1-492354.aspx Conventional ‘melodies’ were replaced by experimental music, as Bollywood became ‘cool’. *2000 The end of ‘melody’ *Nadeem-Shravan had cracked it. The ’90s had belonged to the composer duo, who churned out chartbuster tunes, one album after another. After a brief hiatus, the duo had come back to Bollywood in 2000 with Dhadkan. Almost instantly, the music created new records. But with /Taal/ in the last year, A R Rahman had proved that conventional Bollywood melodies were giving way to a new sound – where experimentation would lead the way. The dawn of music directors like Vishal-Shekhar and Shankar-Ehsaan-Loy on the scene, who gave equal importance to music production, as they did to composition, all signified a complete overhaul of ‘conventional’ Bollywood music. *2001 The Bhatt film formula *The signs were there, right from the time of /Kasoor/. A high-pitched romantic number with a catchy hook (‘Kitni bechain ho ke’), a male sad song with deep vocals (‘Mohabbat ho na jaaye’), and a female sad song about unrequited love (‘Zindagi man gaye ho tum’). Mahesh and Mukesh Bhatt’s films had worked out a distinct music formula at the time of /Kasoor,/ that they’d replicate every year, in every movie, even if the composer and singers changed. So, in the years that followed, Anu Malik gave a similar sound in /Murder/, Pritam in /Gangster/, right up to Toshi-Sharib in /Jashn/. You could identify a Bhatt-film song from a mile away, but that’s not a bad thing. *2002 Kaanta laga *If the Bollywood music industry was ever in peril, it was in 2002, when remixes threatened to replace the ‘mukhadas’ and ‘antaras’ with different variations of the phrase ‘Let’s party’, and some turntable effects thrown in for good measure. Shefali Zariwala became the face ... or.. err.. butt of the remix revolution, when she starred in the music video of /Kaanta laga/, thong firmly in place. Pristine Hindi songs like /Chadhti jawani /acquired a new meaning, the moral police had a field day, and DJs minted money with Non-stop remix albums. And we found out that even Bappi Lahiri can be plagiarised, when he sued R ‘n’ B singer, Truth Hurts for remixing his song /Kaliyon ka chaman /in his single, /Addictive/! *2003 The Return of R D* It had to happen. After RD Burman passed away in 1994, his mad orchestrations, wacky experiments, and penchant for using unusual musical instruments to create songs that broke out of the typical rhythm-based Bollywood routine, could never be recreated by any other composer. A lot of remixes came and went, but the Panchamda sound had been lost forever. Until /Jhankaar Beats /and /Dil Vil Pyaar Vyaar /came. Vishal-Shekhar’s break out album, /Jhankaar Beats /was an ode to the legacy of Panchamda, and was rooted in his sound. And /Dil Vil Pyaar Vyaar /went the whole mile, recreating 14 of Burman’s best songs, in the voice of the present generation. The Pancham flavour was back! *2004 Zip, zoom, dhoom* Move your body, shake your ass’, did you say? That was the domain of the ‘foreign’ singers, that we caught glimpses of, on late night shows on MTV. Music videos, did you say? Only the Indipop world of Sunita Rao and Baba Sehgal had that. Car music, did you say? Well, unless you call /Kanta laga /car music... In 2004, Pritam changed all that with /Dhoom machale/. With Thai singer Tata Young at its helm, the song was singularly responsible for the zipping ‘Hinglish’ songs we hear on every track now, the trend of music videos, and the much-abused phrase, ‘international collaboration’. *2005 Kajra re *There’s something about /Kajre re /(/Bunty Aur Babli/). Maybe it is the sight of a droolsome Aishwarya Rai performing trademark Bollywood ‘thumkas’, in a ravishing, sexy avatar, that men had so-far only dreamed about. Maybe it is the father-son duo dancing with abandon. Or maybe it is the reinvention of the qawwali by Shankar-Ehsaan-Loy and Gulzar, that helped the song pip /Omkara/’s /Beedi/ (2006) as the item number of the decade. We think it’s Aishwarya! *2006 The phenomenon called Himesh *He came, he sang, he conquered. In 2005, Himesh Reshammiya was unwittingly encouraged to sing title song for his/Aashiq Banaya Aapne/. The song, which had a ‘sufi flavour’, became a rage across India. And an idea was born – that took shape in the form of a 23-song debut private album, /Aap Ka Suroor/, by Reshammiya, who exploited his nose to sing, swallowed his tears for
Re: [arr] From Melody to Dev D
Strange that HT lets someone who thinks NS's music is melody write about music. The ARR phase started with Rangeela and it has been 15 strong years and he is still the number 1. Others are still playing the catching up. Quite an achievement. On Fri, Jan 1, 2010 at 3:38 AM, $ Pavan Kumar $ pawancum...@yahoo.comwrote: http://www.hindustantimes.com/From-Melody-to-Dev-D/H1-Article1-492354.aspx Conventional ‘melodies’ were replaced by experimental music, as Bollywood became ‘cool’. *2000 The end of ‘melody’ *Nadeem-Shravan had cracked it. The ’90s had belonged to the composer duo, who churned out chartbuster tunes, one album after another. After a brief hiatus, the duo had come back to Bollywood in 2000 with Dhadkan. Almost instantly, the music created new records. But with *Taal* in the last year, A R Rahman had proved that conventional Bollywood melodies were giving way to a new sound – where experimentation would lead the way. The dawn of music directors like Vishal-Shekhar and Shankar-Ehsaan-Loy on the scene, who gave equal importance to music production, as they did to composition, all signified a complete overhaul of ‘conventional’ Bollywood music. *2001 The Bhatt film formula *The signs were there, right from the time of *Kasoor*. A high-pitched romantic number with a catchy hook (‘Kitni bechain ho ke’), a male sad song with deep vocals (‘Mohabbat ho na jaaye’), and a female sad song about unrequited love (‘Zindagi man gaye ho tum’). Mahesh and Mukesh Bhatt’s films had worked out a distinct music formula at the time of *Kasoor,* that they’d replicate every year, in every movie, even if the composer and singers changed. So, in the years that followed, Anu Malik gave a similar sound in *Murder*, Pritam in *Gangster*, right up to Toshi-Sharib in * Jashn*. You could identify a Bhatt-film song from a mile away, but that’s not a bad thing. *2002 Kaanta laga *If the Bollywood music industry was ever in peril, it was in 2002, when remixes threatened to replace the ‘mukhadas’ and ‘antaras’ with different variations of the phrase ‘Let’s party’, and some turntable effects thrown in for good measure. Shefali Zariwala became the face ... or.. err.. butt of the remix revolution, when she starred in the music video of *Kaanta laga*, thong firmly in place. Pristine Hindi songs like *Chadhti jawani *acquired a new meaning, the moral police had a field day, and DJs minted money with Non-stop remix albums. And we found out that even Bappi Lahiri can be plagiarised, when he sued R ‘n’ B singer, Truth Hurts for remixing his song *Kaliyon ka chaman *in his single, *Addictive*! *2003 The Return of R D* It had to happen. After RD Burman passed away in 1994, his mad orchestrations, wacky experiments, and penchant for using unusual musical instruments to create songs that broke out of the typical rhythm-based Bollywood routine, could never be recreated by any other composer. A lot of remixes came and went, but the Panchamda sound had been lost forever. Until *Jhankaar Beats *and *Dil Vil Pyaar Vyaar *came. Vishal-Shekhar’s break out album, *Jhankaar Beats *was an ode to the legacy of Panchamda, and was rooted in his sound. And *Dil Vil Pyaar Vyaar *went the whole mile, recreating 14 of Burman’s best songs, in the voice of the present generation. The Pancham flavour was back! *2004 Zip, zoom, dhoom* Move your body, shake your ass’, did you say? That was the domain of the ‘foreign’ singers, that we caught glimpses of, on late night shows on MTV. Music videos, did you say? Only the Indipop world of Sunita Rao and Baba Sehgal had that. Car music, did you say? Well, unless you call *Kanta laga *car music... In 2004, Pritam changed all that with *Dhoom machale*. With Thai singer Tata Young at its helm, the song was singularly responsible for the zipping ‘Hinglish’ songs we hear on every track now, the trend of music videos, and the much-abused phrase, ‘international collaboration’. *2005 Kajra re *There’s something about *Kajre re *(*Bunty Aur Babli*). Maybe it is the sight of a droolsome Aishwarya Rai performing trademark Bollywood ‘thumkas’, in a ravishing, sexy avatar, that men had so-far only dreamed about. Maybe it is the father-son duo dancing with abandon. Or maybe it is the reinvention of the qawwali by Shankar-Ehsaan-Loy and Gulzar, that helped the song pip *Omkara*’s *Beedi* (2006) as the item number of the decade. We think it’s Aishwarya! *2006 The phenomenon called Himesh *He came, he sang, he conquered. In 2005, Himesh Reshammiya was unwittingly encouraged to sing title song for his*Aashiq Banaya Aapne*. The song, which had a ‘sufi flavour’, became a rage across India. And an idea was born – that took shape in the form of a 23-song debut private album, *Aap Ka Suroor*, by Reshammiya, who exploited his nose to sing, swallowed his tears for beautiful models, who ditched him in music videos, and wore a cap to hide his bald patch. The sale
