Re: [arr] Sakkarkatti review - blogger Qalandar
dazzle music by ar.rahman in this film --- On Fri, 7/25/08, Anil Nair [EMAIL PROTECTED] wrote: From: Anil Nair [EMAIL PROTECTED] Subject: Re: [arr] Sakkarkatti review - blogger Qalandar To: arrahmanfans@yahoogroups.com Date: Friday, July 25, 2008, 6:10 PM Bharath, For the updated and confirmed listing you can always go to ARR's official site http://arrahman. com/ - check the discography section - these are the ones where ARR has signed the dotted line. The site lists these as the forthcoming projects . Hindi Yuvraaj Ghajini Dilli 6 Blue Tamil Sultan Chennaiyil Oru Mazhaikalam Robot Marmayogi Telegu Puli Apart from these I think the Wikipedia page will list some more projects - but those are all unconfirmed http://en.wikipedia .org/wiki/ A_R_Rahman -A On Fri, Jul 25, 2008 at 2:53 AM, bharath kumar bharath_kumar469@ yahoo.com wrote: Hi All, Can any body please tell the feature projects of gurujiplzzz zzz --- On Thu, 7/24/08, Anil Nair rhythmcalls@ gmail.com wrote: From: Anil Nair rhythmcalls@ gmail.com Subject: [arr] Sakkarkatti review - blogger Qalandar To: arrahmanfans@ yahoogroups. com Date: Thursday, July 24, 2008, 10:43 PM I like this person's reviews his reviews feature on naachgaana.com as well the last line especially is a gem of a line .But why compare, when, like all good Rahman fans, one ought to have both? Music Review: SAKKARAKATTI (Tamil; 2008) As I arrived home today to find the Sakkarakatti CD waiting in my mailbox, I was struck by the fact that even thirteen years after I first encountered the sound of A.R. Rahman, even when the soundtrack in question is not associated with a Mani Ratnam film, and promises to be, most assuredly, a minor work in the context of Rahman's oeuvre, my excitement when unwrapping the album remains undimmed. Some of that is obviously because Rahman -- even lesser Rahman -- speaks to me in a way no other Hindi or Tamil composer does. But much of that is also due to the fact that even minor Rahman contains gems, the sort of musical passage that rears up to dazzle the listener when least expected. And much of the excitement is undoubtedly due to the fact that it is often precisely in Rahman's lesser work that one encounters the nimble sense of play, the occasional cheekiness, that once made him the most light-footed of all of Indian popular cinema's titanic presences. On that front, Sakkarakatti does not disappoint: it isn't pathbreaking music, but it is, quite simply (and provisionally, given these are early days for me where the album is concerned), an immensely enjoyable, even satisfying, album. That the master should have it in him to compose a soundtrack so high on the fun quotient just a few months after the ultra-sober (perhaps even staid) Jodha-Akbar speaks volumes about not just Rahman's versatility, but indeed to the composer's need for smaller projects. These days, these projects might be among his few opportunities (Shankar's films always excepted) to let his hair down. [Aamir and Murugadoss, I hope you are paying attention.] Taxi...Taxi. .. is on the face of it downright silly, a pastiche of neo-hip hop, ragamuffin, and some desi tapori. But its ponderous percussive beat, in contrast to the somewhat drunk quality of the vocals here, that is to say its sheer catchiness, makes it downright irresistible. And there are some moments of genuine zaniness here: from Viviane's French lyrics (delivered in a voice that is nothing if not saucy) to the childishly high-pitched Mamamamamamamamamam aMAMA refrain, to the incongruous Middle Eastern strains littered over the song. This will never be a great song, but its refreshing to see Rahman hasn't lost the ability to poke some fun at himself. Marudaani following on the heels of Taxi...Taxi. .. seems to be the sort of formula that had Munbe Vaa follow the catchy Kummi Aadi on the Sillunu Oru Kaadal soundtrack. But irritation at creative laziness aside, Marudaani is a surprisingly enjoyable song. There's certainly nothing new about this Madhushree (for the most part) solo, and we've heard Rahman croon many many times before -- and yet I was simply unable to resist this song as much as my brain felt I needed to. Old wine in a new bottle? Assuredly. But stale? Far from it: more like one that becomes familiarly mellow with age. The third song on the album is a rarity in Rahman's recent Tamil work, namely a relatively quiet, almost reflective nocturnal song -- or at least as reflective as a song called I Miss You Da can be. For those who found Sillunu Oru Kaadal's Machakaari too busy, and the same film's Majaa too, well, silly, I Miss You Da is the perfect antidote: it is far simpler than many of Rahman's nighttime songs, but nevertheless one takes it seriously, even on a first listen -- perhaps the result of Indai Haza's forlorn Yevanay refrain that recurs over
[arr] Sakkarkatti review - blogger Qalandar
I like this person's reviews his reviews feature on naachgaana.com as well the last line especially is a gem of a line .*But why compare, when, like all good Rahman fans, one ought to have both*? Music Review: SAKKARAKATTI (Tamil; 2008) As I arrived home today to find the Sakkarakatti CD waiting in my mailbox, I was struck by the fact that even thirteen years after I first encountered the sound of A.R. Rahman, even when the soundtrack in question is not associated with a Mani Ratnam film, and promises to be, most assuredly, a minor work in the context of Rahman's oeuvre, my excitement when unwrapping the album remains undimmed. Some of that is obviously because Rahman -- even lesser Rahman -- speaks to me in a way no other Hindi or Tamil composer does. But much of that is also due to the fact that even minor Rahman contains gems, the sort of musical passage that rears up to dazzle the listener when least expected. And much of the excitement is undoubtedly due to the fact that it is often precisely in Rahman's lesser work that one encounters the nimble sense of play, the occasional cheekiness, that once made him the most light-footed of all of Indian popular cinema's titanic presences. On that front, Sakkarakatti does not disappoint: it isn't pathbreaking music, but it is, quite simply (and provisionally, given these are early days for me where the album is concerned), an immensely enjoyable, even satisfying, album. That the master should have it in him to compose a soundtrack so high on the fun quotient just a few months after the ultra-sober (perhaps even staid) Jodha-Akbar speaks volumes about not just Rahman's versatility, but indeed to the composer's need for smaller projects. These days, these projects might be among his few opportunities (Shankar's films always excepted) to let his hair down. [Aamir and Murugadoss, I hope you are paying attention.] Taxi...Taxi... is on the face of it downright silly, a pastiche of neo-hip hop, ragamuffin, and some desi tapori. But its ponderous percussive beat, in contrast to the somewhat drunk quality of the vocals here, that is to say its sheer catchiness, makes it downright irresistible. And there are some moments of genuine zaniness here: from Viviane's French lyrics (delivered in a voice that is nothing if not saucy) to the childishly high-pitched MamamamamamamamamamaMAMA refrain, to the incongruous Middle Eastern strains littered over the song. This will never be a great song, but its refreshing to see Rahman hasn't lost the ability to poke some fun at himself. Marudaani following on the heels of Taxi...Taxi... seems to be the sort of formula that had Munbe Vaa follow the catchy Kummi Aadi on the Sillunu Oru Kaadal soundtrack. But irritation at creative laziness aside, Marudaani is a surprisingly enjoyable song. There's certainly nothing new about this Madhushree (for the most part) solo, and we've heard Rahman croon many many times before -- and yet I was simply unable to resist this song as much as my brain felt I needed to. Old wine in a new bottle? Assuredly. But stale? Far from it: more like one that becomes familiarly mellow with age. The third song on the album is a rarity in Rahman's recent Tamil work, namely a relatively quiet, almost reflective nocturnal song -- or at least as reflective as a song called I Miss You Da can be. For those who found Sillunu Oru Kaadal's Machakaari too busy, and the same film's Majaa too, well, silly, I Miss You Da is the perfect antidote: it is far simpler than many of Rahman's nighttime songs, but nevertheless one takes it seriously, even on a first listen -- perhaps the result of Indai Haza's forlorn Yevanay refrain that recurs over the course of the song; or perhaps because Chinmayi's vocals are recorded at a louder level than one might expect, almost as if she were insisting in one's ear. If handsome could be a song, then surely the dashing Elay would be it: part tribute to the now-past Urvashi Urvashi era of Rahmania, yet all very much contemporary Rahman in its lush orchestration and assured instrumentation, Elay displays whiffs of a younger, more playful Rahman, but for the most part the urge to experiment is represented here with relative abstraction, reflected in the composer's easy assimilation of a wide array of influences into a recognizably Rahman signature, rather than by means of the instinctive energy of his younger days. There's no reason to complain: the season might be different, but the clarity of the Master's voice shines through just the same. Rahman covers a surprising amount of terrain here, from the peppy opening that brings to mind Roobaroo from Rang De Basanti, but veers off into a more raw vocal direction, while introducing jazzy riffs and even fiddler strains with seeming carelessness. Krish and Naresh Iyer's stolid vocals ground this song, but the music suffusing their words is of a different mind: it wants to soar. Last but not least, the album recycles two songs from
Re: [arr] Sakkarkatti review - blogger Qalandar
Hi All, Can any body please tell the feature projects of gurujiplzz --- On Thu, 7/24/08, Anil Nair [EMAIL PROTECTED] wrote: From: Anil Nair [EMAIL PROTECTED] Subject: [arr] Sakkarkatti review - blogger Qalandar To: arrahmanfans@yahoogroups.com Date: Thursday, July 24, 2008, 10:43 PM I like this person's reviews his reviews feature on naachgaana.com as well the last line especially is a gem of a line .But why compare, when, like all good Rahman fans, one ought to have both? Music Review: SAKKARAKATTI (Tamil; 2008) As I arrived home today to find the Sakkarakatti CD waiting in my mailbox, I was struck by the fact that even thirteen years after I first encountered the sound of A.R. Rahman, even when the soundtrack in question is not associated with a Mani Ratnam film, and promises to be, most assuredly, a minor work in the context of Rahman's oeuvre, my excitement when unwrapping the album remains undimmed. Some of that is obviously because Rahman -- even lesser Rahman -- speaks to me in a way no other Hindi or Tamil composer does. But much of that is also due to the fact that even minor Rahman contains gems, the sort of musical passage that rears up to dazzle the listener when least expected. And much of the excitement is undoubtedly due to the fact that it is often precisely in Rahman's lesser work that one encounters the nimble sense of play, the occasional cheekiness, that once made him the most light-footed of all of Indian popular cinema's titanic presences. On that front, Sakkarakatti does not disappoint: it isn't pathbreaking music, but it is, quite simply (and provisionally, given these are early days for me where the album is concerned), an immensely enjoyable, even satisfying, album. That the master should have it in him to compose a soundtrack so high on the fun quotient just a few months after the ultra-sober (perhaps even staid) Jodha-Akbar speaks volumes about not just Rahman's versatility, but indeed to the composer's need for smaller projects. These days, these projects might be among his few opportunities (Shankar's films always excepted) to let his hair down. [Aamir and Murugadoss, I hope you are paying attention.] Taxi...Taxi. .. is on the face of it downright silly, a pastiche of neo-hip hop, ragamuffin, and some desi tapori. But its ponderous percussive beat, in contrast to the somewhat drunk quality of the vocals here, that is to say its sheer catchiness, makes it downright irresistible. And there are some moments of genuine zaniness here: from Viviane's French lyrics (delivered in a voice that is nothing if not saucy) to the childishly high-pitched Mamamamamamamamamam aMAMA refrain, to the incongruous Middle Eastern strains littered over the song. This will never be a great song, but its refreshing to see Rahman hasn't lost the ability to poke some fun at himself. Marudaani following on the heels of Taxi...Taxi. .. seems to be the sort of formula that had Munbe Vaa follow the catchy Kummi Aadi on the Sillunu Oru Kaadal soundtrack. But irritation at creative laziness aside, Marudaani is a surprisingly enjoyable song. There's certainly nothing new about this Madhushree (for the most part) solo, and we've heard Rahman croon many many times before -- and yet I was simply unable to resist this song as much as my brain felt I needed to. Old wine in a new bottle? Assuredly. But stale? Far from it: more like one that becomes familiarly mellow with age. The third song on the album is a rarity in Rahman's recent Tamil work, namely a relatively quiet, almost reflective nocturnal song -- or at least as reflective as a song called I Miss You Da can be. For those who found Sillunu Oru Kaadal's Machakaari too busy, and the same film's Majaa too, well, silly, I Miss You Da is the perfect antidote: it is far simpler than many of Rahman's nighttime songs, but nevertheless one takes it seriously, even on a first listen -- perhaps the result of Indai Haza's forlorn Yevanay refrain that recurs over the course of the song; or perhaps because Chinmayi's vocals are recorded at a louder level than one might expect, almost as if she were insisting in one's ear. If handsome could be a song, then surely the dashing Elay would be it: part tribute to the now-past Urvashi Urvashi era of Rahmania, yet all very much contemporary Rahman in its lush orchestration and assured instrumentation, Elay displays whiffs of a younger, more playful Rahman, but for the most part the urge to experiment is represented here with relative abstraction, reflected in the composer's easy assimilation of a wide array of influences into a recognizably Rahman signature, rather than by means of the instinctive energy of his younger days. There's no reason to complain: the season might be different, but the clarity of the Master's voice shines through just the same. Rahman covers a surprising amount of terrain here, from the peppy opening
Re: [arr] Sakkarkatti review - blogger Qalandar
Bharath, For the updated and confirmed listing you can always go to ARR's official site http://arrahman.com/ - check the discography section - these are the ones where ARR has signed the dotted line. The site lists these as the forthcoming projects . *Hindi* Yuvraaj Ghajini Dilli 6 Blue *Tamil* Sultan Chennaiyil Oru Mazhaikalam Robot Marmayogi *Telegu* Puli Apart from these I think the Wikipedia page will list some more projects - but those are all unconfirmed http://en.wikipedia.org/wiki/A_R_Rahman -A On Fri, Jul 25, 2008 at 2:53 AM, bharath kumar [EMAIL PROTECTED]wrote: Hi All, Can any body please tell the feature projects of gurujiplzz --- On *Thu, 7/24/08, Anil Nair [EMAIL PROTECTED]* wrote: From: Anil Nair [EMAIL PROTECTED] Subject: [arr] Sakkarkatti review - blogger Qalandar To: arrahmanfans@yahoogroups.com Date: Thursday, July 24, 2008, 10:43 PM I like this person's reviews his reviews feature on naachgaana.comas well the last line especially is a gem of a line .*But why compare, when, like all good Rahman fans, one ought to have both*? Music Review: SAKKARAKATTI (Tamil; 2008) As I arrived home today to find the Sakkarakatti CD waiting in my mailbox, I was struck by the fact that even thirteen years after I first encountered the sound of A.R. Rahman, even when the soundtrack in question is not associated with a Mani Ratnam film, and promises to be, most assuredly, a minor work in the context of Rahman's oeuvre, my excitement when unwrapping the album remains undimmed. Some of that is obviously because Rahman -- even lesser Rahman -- speaks to me in a way no other Hindi or Tamil composer does. But much of that is also due to the fact that even minor Rahman contains gems, the sort of musical passage that rears up to dazzle the listener when least expected. And much of the excitement is undoubtedly due to the fact that it is often precisely in Rahman's lesser work that one encounters the nimble sense of play, the occasional cheekiness, that once made him the most light-footed of all of Indian popular cinema's titanic presences. On that front, Sakkarakatti does not disappoint: it isn't pathbreaking music, but it is, quite simply (and provisionally, given these are early days for me where the album is concerned), an immensely enjoyable, even satisfying, album. That the master should have it in him to compose a soundtrack so high on the fun quotient just a few months after the ultra-sober (perhaps even staid) Jodha-Akbar speaks volumes about not just Rahman's versatility, but indeed to the composer's need for smaller projects. These days, these projects might be among his few opportunities (Shankar's films always excepted) to let his hair down. [Aamir and Murugadoss, I hope you are paying attention.] Taxi...Taxi. .. is on the face of it downright silly, a pastiche of neo-hip hop, ragamuffin, and some desi tapori. But its ponderous percussive beat, in contrast to the somewhat drunk quality of the vocals here, that is to say its sheer catchiness, makes it downright irresistible. And there are some moments of genuine zaniness here: from Viviane's French lyrics (delivered in a voice that is nothing if not saucy) to the childishly high-pitched Mamamamamamamamamam aMAMA refrain, to the incongruous Middle Eastern strains littered over the song. This will never be a great song, but its refreshing to see Rahman hasn't lost the ability to poke some fun at himself. Marudaani following on the heels of Taxi...Taxi. .. seems to be the sort of formula that had Munbe Vaa follow the catchy Kummi Aadi on the Sillunu Oru Kaadal soundtrack. But irritation at creative laziness aside, Marudaani is a surprisingly enjoyable song. There's certainly nothing new about this Madhushree (for the most part) solo, and we've heard Rahman croon many many times before -- and yet I was simply unable to resist this song as much as my brain felt I needed to. Old wine in a new bottle? Assuredly. But stale? Far from it: more like one that becomes familiarly mellow with age. The third song on the album is a rarity in Rahman's recent Tamil work, namely a relatively quiet, almost reflective nocturnal song -- or at least as reflective as a song called I Miss You Da can be. For those who found Sillunu Oru Kaadal's Machakaari too busy, and the same film's Majaa too, well, silly, I Miss You Da is the perfect antidote: it is far simpler than many of Rahman's nighttime songs, but nevertheless one takes it seriously, even on a first listen -- perhaps the result of Indai Haza's forlorn Yevanay refrain that recurs over the course of the song; or perhaps because Chinmayi's vocals are recorded at a louder level than one might expect, almost as if she were insisting in one's ear. If handsome could be a song, then surely the dashing Elay would be it: part tribute to the now-past Urvashi Urvashi era of Rahmania, yet all very
