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// IR not compose yet another album with 5 songs in a jiffy and throw at GVM //
Exactly !
That is my concern too..
IR cannot just go with his "at the moment" tunes/music and complete this album..
Whether IR cares or not,
Gowtham comes to IR with a fantastic history of musicals with Harris and ARR.
If IR-Gowtham combine fails to deliver that standard, fingers are already ready to point to IR ( again irrespective of IR cares or not )..
Either Gowtham has to be bold enough to extract stuff from IR or IR has to take his time to do the job..
When I think of Gowtham-Harris hits like Vaaranam Aayiram, I get nervous if IR can catch young minds like that..
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Btw,,I read somewhere that Gowtham had already said the music director of NEP will be a surprise anouncement.
And that the film is already 50% shooting completed..
Probably Goutham wanted to complete the film to some point and then show IR to get the feel while composing ?
When can we expect the release ?
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KV , thats a fantastic idea
I have posted your wishlist in the official FB page of Gowtham Menon.
https://www.facebook.com/GauthamVasudevMenons
Hope Gowtham Menon reads it and gets inspired :)
Will post the same in Twitter , lets start putting the pressure on GM.
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I guess there's nothing to worry about IR delivering goods to Gautam.
He knows what's at stake and Gautam also knows what he should get.
Nice thoughts, KV!
Did you take out the 'tsk-tsk' thingy here? :-)
skr, can you please add that one :lol2:
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http://vinaiooki.blogspot.in/2012/02/blog-post.html
தமிழ் அல்லாத சூழல், இந்தியா என்றாலே பாலிவுட் என்று மட்டுமே அறிந்திருக்கும் சராசரியான ஐரோப்பியச் சூழல், எனது கைபேசி ஒலிக்கிறது. குறைந்தது 5 பேராவது, திரும்பிப்பார்க்கிறார்கள், மூன்று பேராவது இது என்ன இசை, யார் இசைத்தது, எனக் கேட்கின்றார்கள்... ஒருவராவது இதனின் எம்பி3 வடிவத்தை எனக்கு அனுப்புகின்றாய எனக் கேட்பதுண்டு.... ஸ்வீடன், போலாந்து, பின்லாந்து தற்பொழுது இத்தாலி எனத் தொடருகின்றது... அது, பல்லவி அனுப்ல்லவி என்ற கன்னடப் படத்தில் இளையராஜாவால் போடப்பட்ட சின்ன இசைத்துணுக்கு...
சிலமாதங்களுக்கு முன்னர் ஓர் இந்திப் பேசும் மாணவன்,”வடக்குத் தெற்கு இடைவெளியால் நாங்கள் இழந்தது இளையராஜாவின் இசையை” சீனிகம் , பா படப்பாடல்களைக் கேட்டப்பின்னர் சொன்னான்.
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App , i have already posted it and 2 people have liked it and one has mentioned that he totally agrees with this.
Unfortunately you cant edit posts in FB :(
I request ppl to come like the status and even posts comments to ensure it stays on top and GM reads it.
Namma muyarchi seyivom :)
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Well, Sathyan Anthikad went to Raja for the first for 'Kochu Kochu Santoshangal'. He says in an interview that he went at 7 am to tell him the story. He told the story, Raja gave him the tunes and everything was done by 11 am!! Sathyan, who was used to MDs taking a minimum of one day to come with a tune or even more was stunned. He had expected the whole thing to go for a week or more. And here he was, less than half a day has passed and Raja says all songs are done. He gets nervous and calls director Fazil, who was the one who recommended Raja to him. Fazil laughs and says once Raja's hands touch the harmonium tunes just flow. Sathyan then goes on to say that the songs of 'Kochu Kochu Santoshagal' went on to be great hits. And what lovely songs they were: 'koda manjin', 'sivakara damaruka' and 'ghanashyama vrindaranyan'. There is no evidence that Raja took three days for 'andhi mazhai' or 10 days for 'Poonkadhave' or one month for 'panivizhum malarvanam'. All were done with the same speed. So as app says we don't need to worry.
Second, it was the same Raja who gave 'Cheeni Kum' and 'Paa'. Was 'mudi mudi' not youthful. And he would have given lot more in that movie had Balki not asked him to reuse 'thumbi vaa'. Again he gave a wonderful 'chinna polike' for the movie 'Om Shanthi' (Telugu) and 'Edaya Baagilu' for the movie "Suryakanthi' (Kannada). 'Sihigaali' still continues to be a favorite amongst Kannadigas and 'rangu rangu' (Prem Kahani) is often played on the FM Channels. It is just that he has been getting all village based subjects in Tamil and so you have to content with the music which suits the subject. Now that he has got an urban subject, he will work his magic here. I have no doubts about it.
As for giving our requests, I would have done it had Raja stuck to one style. But he has been changing his style constantly and surprising me with different things. I mean I am blow by the jazz work in 'vangum panathikkum' in Dhoni as much as I am by the rhythmic and symphonic work in 'Chengkadir'. So I will probably let him take a call. For he will not repeat himself and I am very confident he will give something new and fresh. Lets wait and watch.
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And always remember, whenever the stakes have been high, Raja has delivered everytime without fail: 'Dhalapathi', 'Kaala Pani', 'Guru', 'Oru Yatra Mozhi', 'Hey Ram', 'Virumandi', 'Tiruvasagam' 'Paa', 'Pazhassiraja'. As app says, Raja very well knows about Gautham and what this means. So just chillax. We are in for a treat.
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R_F, for once, I'm gonna agree with you!
skr, thanks for posting it in fb, but that could do with some editing! (don't know if he'd be able to follow 'Raagams of new age IR aadhangams', ER concert discussions,etc!)
Sureshji, I was expecting this response from you! :-). Enna, ungalukku contentment jaasthi, enakku konjam kammi! (like vadivel says, avar isai avalo kEtturkkOmla, andha poorippu! :grin:)
While I too agree that Raaja's style is more on-the-fly regardless of how complex/lovely a song can be, lemme try and explain my POV.
True, the tunes generally gush out of the man's finger tips... but my concern, though being about the tunes as well, is more pertaining to the orchestration. Now, I don't think he writes the entire score/orchestration during the session with the director. It's probably only the tunes that get okayed by the director in these sessions. The orchestration probably then happens in the later phases. This, like what we've discussed so many times before, depends on the story, the director's musical demands, Raaja's state of mind at that time, budget, etc. If the man isn't really 'inspired' in anyway, it'd mostly result in ordinary/get-the-job-done orchestration. A director with a clear 'vision' about his film and its music would, IMO, gain more attention and respect from Raaja (contrary to the belief that he'd be snobbish to such guys), thereby driving him to work on giving something special/fresh. This is what probably has happened with Paa, Pazhasi, ASK etc.
As to what's on Raaja's mind when he does the composing, none of us can guess. If we are to assume, he probably thinks that this kinda orchestration and tunes are perfectly ok with his directors and fans (considering that this is what most MDs churn out nowadays that get lapped up so well, becoming chartbusters/cashcows). Maybe he's of the opinion that this current junta has no liking for acoustic/real music or complex/classical tunes (like in the 70s/80s). We're (adhaavadhu, naan) simply trying to send a smoke signal that there's a bunch of us who's willing to see him explore more of this kind and who are not looking at cutting edge synth sounds/loops. If he could give us some albums in this style, I'm sure a majority of us would welcome it wholeheartedly. Simply imagining the extent of the musical beauty of such an album gives me so much thrill! Why not try a shot in the dark nu thOnuchu, post pannEn, avalo dhaan.
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Curiosity question - how many TF directors have come to work with IR AFTER they did a movie with ARR?
And who are they?
(To my knowledge, there is none...the directors who left IR and went to ARR never came back, even when ARR was not available or wasn't interested anymore to work with their duds, they went to Deva / VS / GVP kinds but never back to rAsA. Same case with people who started with ARR.)
That way, is Gautam taking a rare step :roll:
Ofcourse he never "left IR for ARR" or "started with ARR" but still coming to IR after working with ARR...