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1. "Ishq E Phillum" Swanand Kirkire Suraj Jagan 04:30
2. "Sha Sha Sha Mi Mi Mi" Kausar Munir Caralisa Monteiro 05:20
3. "Piddly Si Baatein" Swanand Kirkire Amitabh Bachchan 05:09
4. "Stereophonic Sannata" Swanand Kirkire Shruti Haasan 04:59
5. "Thappad" Swanand Kirkire Suraj Jagan & Earl D'Souza 04:07
6. "Lifebuoy" Swanand Kirkire Suraj Jagan 01:54
Piddly Official Full Song Video | Shamitabh | Amitabh Bachchan
https://www.youtube.com/watch?v=ag5ZP6r5i5s
SHAMITABH Official Video Trailer
https://www.youtube.com/watch?v=CzJfGRrHlxY
1. "Ishq E Phillum" Swanand Kirkire Suraj Jagan 04:30
2. "Sha Sha Sha Mi Mi Mi" Kausar Munir Caralisa Monteiro 05:20
3. "Piddly Si Baatein" Swanand Kirkire Amitabh Bachchan 05:09
4. "Stereophonic Sannata" Swanand Kirkire Shruti Haasan 04:59
5. "Thappad" Swanand Kirkire Suraj Jagan & Earl D'Souza 04:07
6. "Lifebuoy" Swanand Kirkire Suraj Jagan 01:54
https://www.youtube.com/watch?v=bB8zxsHFUm0
Amitabh Bachchan will honor Ilaiyaraaja at Mumbai : Balki | Shamitabh Press Meet | Songs
https://www.youtube.com/watch?v=IZqfThDZ98w
Thanks for the youtube link Venkiram.
Songs in youtube link are in mono (bitrate sounds decent though...not sure what bitrate it is). Not sure why they upload songs in mono. I think they can upload samples in good bitrate in stereo instead of mono full song. That would do more justice to clarity and would help in appreciating (especially when the music is layered) the music better.
http://gaana.com/song/sannata
You can listen to the songs in stereo in gaana website. Not sure what is the bitrate though.
On first listening, the album sounds amazing. Lots of surprises. Quick review is that I liked Sha Sha, piddly, thappad, ishe e phillum and more probably. This man (IR) is unbelievable for the quality and innovativeness he gives in his music even at this age. A real inspiration!
Will write more on this album later...
thanks,
Krishnan
Shamitabh album from gaana.com link provided by Krish244. Thank you Krish.
Stereophonic Sannata - Was aghast initially when Raja himself mauled his own baby. But this ultra modern rework has sure grown on me after few times.
Well. I can admit the same feeling i had , about Raja's audacity in the entire Shamitabh album.
My top 3 in that order goes like 1, sha sha sha - Love the way every stanza ends with that sweet, surprising melodic drawl. Also the second interlude is so rich that one wished if it were with real ensemble of instruments.
2. Thappad - Incredible energy in the interludes that defy Raja's age , is all I can say.
3, piddly - By now it seems all over in TV channels and had the time to grow. Smooth and suave which is easy on the ears.
Particularly do note that delightful guitar bit that follows the first two lines in the stanzas.
For me, Shamitabh > Paa > Cheenikum
"நான் எப்படியெல்லாம் இசையமைப்பேன் என எனக்கே தெரியாத நிலையில் மற்றவர்களுக்கு எப்படி அது தெரியும்?" - என கொஞ்ச மாதங்களுக்கு முன்பு ராஜா ஒரு பேட்டியில் சொல்லியிருந்தார். அதைத்தான் ஷமிதாப்பில் பார்க்கிறேன்.
Piddly Si Baatein :
Look at the way he just makes the ongoing catchy rhythm freeze and brings one heavenly feel second interlude! Typical Maestro! இந்த ஆல்பத்தில் உச்சமாக நான் கருதும் பாடல் இது. எளிதான மெட்டு போல தெரிந்தாலும்.. ஆரம்ப இசை முதல் கடைசிவரை ராஜா அதற்கு அமைத்திருக்கும் பின்னணி இசை.. அவரால் மட்டுமே முடியும் என சொல்லக் கூடிய ஒன்று. மேலும், அமிதாப்பின் குரல்வளம் இப்பாடலை எங்கேயோ கொண்டு போய் நிறுத்துகிறது.
Thappad
தப்பட் தப்பட் Making பார்க்கணும். அதன் வேகமான தாளக்கட்டிற்கு வேஷ்டியில் ராஜாவின் உடல் அசைவை கண்டு ரசிக்கணும். ஒரு "கொம்புல பூவசுத்தி" போல. "தும் ஆ தும் ஆ தும் தப்பட் தப்பட்"! இப்படியா ஆச்சர்யத்தில் ஆழ்த்துவது! ராஜாவின் லீலைகளில் இதுவும் ஒன்று!
Stereophonic Sannata
What a prelude Raja came up for this song! The mixing of voices forming the rythm is simply genius effort! உச்சத்திலும் சுருதியின் குரல் எவ்வளவு கம்பீரமா நடைபோடுது.. உச்சரிப்பின் தொனி அருமை. தனித்துவமான குரல் வடிவம்!
Sha Sha Sha Mi Mi Mi
Caralisa Monteiro தேர்வை பாராட்டனும். இங்கேயும் இரண்டாவது இடையிசை அதகளம். முழுப்பாடலும் ஐஸ்கிரீம் போல கரைகிறது. நேரம் போவதே தெரியல.
"இந்தக்கால இளைஞர் போடும் ஆட்டத்திற்கு இளையராஜா எந்தன் பாட்டிருக்கு" - ன்னு ராஜாவே பாடுற மாதிரி இருக்கு
Shamitabh. தெரிமாஸ். பொடிமாஸ்.
:notworthy:
Shamitabh : Unveiling of an Anarchist
https://onlyraja.wordpress.com/2015/...-an-anarchist/
Well written review.
adikka varadheenga!
this album is not a patch on 'Neethane en pon vasantham', but more along the lines of 'om shanthi om' (telugu). NEPV (like Pazhassi raaja, Nan kadavul etc) was/is a landmark album with had drum patterns with live instruments (the second interlude of 'ennodu vaa vaa' being an exception) - this album no 'organic' feel with live instruments.
impressive (for me) at the outset were the interludes: 2nd interludes of 'sha sha mi mi', 'piddly' (almost half way to the height achieved by 'saaindhu' NEPV second interlude).
'sha sha mi mi' sounds/feels like a cross between a modern version of some Nazia Hassan song from the 1980s and a Shankar Mahadevan song - the rendition, singers' voice et al give the same feel - its the arrangements that have the IR feel.
IR's strings and the brass sections in the interlude make it standout.
Bappi da might have done something like this in his heydey, but the strings, brass and bass sections are definitely IR territory.
'piddly' is vintage IR strings ensemble - AB does some justice with some effort to this cousin of "konjam theera" (oru naal oru kanavu).
'ishq phillum' is a different version of 'katrai konjam' from NEPV!
'sannata' - Shruthi's voice def adds value to this rehash - the synth prelude motif is a counterpoint melody to the 'aasaiya katthula' tune and Balki could have insisted that counterpoint itself as a separate melody - IR evvalavu thadavai sonnaalum, ivinga pechha kekkaama, pazhaiya pattaayey thiruppi venumnu ketta yenna artham?
all the melodies sound truncated - maybe to suit a different audience spectrum
IMHO, after listening to Ghibran and Santosh Narayanan's output in recent years, IR's recording still sounds outdated - not on par with those of other younger guys around - maybe its coz the others dont have such intricate/complex strings arrangement as IR does in his compositions, so theirs are easier to mix - am not an audio engineer.
Santosh can give a 'aasai oru pulveli' or 'mogathirai' or Ghibran can give 'vaagai sooda vaa' with the sounds crystal clear, why doesnt IR's albums have the same production quality ?
My ranking of Shamitabh songs
1. Sha sha mi mi... what a voice and orchestration!
2. Stereophonic sannata ....(if I take the fact out that it has been rehashed).
3. Piddly ..... (Amitabh has sung very well....especially the way he pronounces raadthey etc)
Sannata will appeal to North Indians as they haven't heard the tamil version.
As usual sound recording is horrible. Unable to make out the different instruments in many places.
https://www.youtube.com/watch?v=TgaNSKv6k2M
Dhanush sings four lines of "Naan Thedum" and "Thenpandi". May not be perfect, but did not mess up
Looking at Kamal, Sridevi and Rajini together was a sight!
https://www.youtube.com/watch?v=SLEO2HKSXgY
Chat between Rajini, Kamal and Amitabh.
https://www.youtube.com/watch?v=R8nRsmebLwE
Introduction by Amitabh and mini performances by Shreya (Jaane do na...total surprise she ended with Tamil version) and at the end it has a little of video of "Stereophonic Sannaata" song
I am not sure if IR spoke anything in this celebration (apart from giving feedback about performances)
https://www.youtube.com/watch?v=V3sSZ6c0UlY
Initial crowd gathering video. I was wondering if KR had accompanied IR and he did.
and some more videos...
https://www.youtube.com/channel/UCkn...spptFcD1CVKUZA
thanks,
Krishnan
Trust Kamal to come up with gems like, " I knew that he would do his 1000th film and I am glad that his 786th film was with me."
One of the many tactics for ensuring his alignment to a particular community, now that Vishwaroopam 2 needs to make money?
SVN - explain pls ?! what was IR's 786th film, what is with which community and what has that got to do with VR-2 ?
Amitabh Bachchan's Live Performanve - Piddly Song…: http://youtu.be/E26zahX6gwg
Amitabh on stage for piddly song. I think he lip synched
SHAMITABH Title Track Full Song LIVE | Amitabh Ba…: http://youtu.be/lIA_pT_bPlQ
Caralisa for title song and it is not lip synched and almost nicely reproduced
thanks,
Krishnan
Looks like SJ, Lata ji all missing....
Irir123, That number has a significance. Please look up. Bollywood actors have often exploited it over and over again to appeal to a community, especially in the Subcontinent (examples: Amitabh's amulet number in Deewar and many other films like Coolie, Shah Rukh's jail inmate number in Veer Zaara! Akshay Kumar's movie titled Khiladi 786, car number plates of heroes etc.)
I guess almost is the key word here. :D In the first iteration of the pallavi, she could barely execute that Aaaaa vocalise. Her next attempts were better but still nowhere near the smoothness of the studio recording. Benefit of doubt: maybe she didn't get enough time to rehearse and/or there were problems with the equipment set up. Be that as it may, just going by this performance, NEPV launch performances seem to have been a much better advertisement of the album.Quote:
Originally Posted by krish244
What was the point in doing a grand audio release... and not using his music wise in the movie..Hope Balki doesn't disappoint in the way the music is utilized...Quote:
Originally Posted by crimson king
Anyday a super hit movie with the music would be better than the Audio-Gala celebration...
I don't disagree with that. Just saying that if the music launch was supposed to help create interest in the music and, consequently, the film, I am not sure that purpose is served with such shoddy performances. And Monteiro has done some great live jazz singing, which I am listening to as I write, so it is safe to say that not enough preparation went into the launch and it may well have been a last minute mess up. I hope Balki understands that musical performances, unlike ad events, cannot be put together impromptu without the risk of reputation loss.Quote:
Originally Posted by svaisn
Quote:
Originally Posted by irir123
Actually, it sounds just fine on CD. A somebody else said, maybe the youtube mix was mono and that can't do justice to IR's intricate compositions. Gaana.com mix may have been low bitrate, idk. NEPV also sounded dense on youtube samples but was fine on CD. Also, it's a larger 'music philosophical' question whether one wants the music to sound dynamic and alive or whether one just wants clear, well separated sounds. IR usually gets the former right, which most other composers today don't seem to attach much importance to. Personally, I also would like the music to be recorded such that the varying intensity draws me in and throws me back in turns. I don't usually get that quality anymore in film music because it's so robotic in its finish but IR almost always seems to evoke that reaction.
Balki is being very very silly - he is just not articulate or knowledgeable enough to speak about IR's genius.
the Shamitabh audio release function was an absolute damp squib - that was not how IR's genius ought to have been showcased to the mumbai film industry.
I expected the Mumbai orchestra guys who played IR's many intricate compositions (Sadma, Thoongathey thambi thoongadhey, thalapathy) to have been invited, and given the chance to share their experiences.
Instead Bappida, Anu Malik - EKSI.
neither Amitabh (despite his very dignified presence) nor Rajini seemed to have even remotely grasped what IR has done in their own films - Kamal repeated the Hey Ram story ad nauseam!
In fact, I find other than the musicians (like Prabhakar, Napoleon) and SPB, most of them don't have anything interesting to say. AB repeated the same story in his interview about how IR resonates purity, etc.Quote:
Originally Posted by irir123
Some reason why Lata did not participate...Quote:
Originally Posted by buggle
http://www.bollywoodhungama.com/news...a%27s-function
Quote:
Originally Posted by sivasub
very generous of AB to do this despite not having worked extensively with IR.
there ought to have been a function in Chennai to commemorate the occasion - not just some stale praise but something musical like a workshop - I guess India is far from doing such things and IR himself is eccentric enough for ppl to be scared of suggesting something like this to him!
There was sort of a workshop like arrangement in the behind the scenes chat between IR and the musicians for the Malaysia show. Some of the insights were fantastic...like IR's rather anti climactic revelation that the charanam of Poove Ilaya poove was based on a thalaatu his mother used to sing for him and not a conscious effort at Western-Carnatic fusion. But you'd need musicians of a certain stature to hold that discussion without IR wanting to throw them out out of irritation at their question (he was pretty close to that stage when Anita asked if SJ improvised the Nila Kayudhu vocalise of her own :D).
nila kayuthu, ponmeni uruguthey, meendum meendum vaa - all of them had some vivagaaramaana SJ sounds - I don't see whats wrong in asking IR abt them - though its fairly obvious those sounds could not have been SJ's own additions!
Just that he seems to be bewildered at the very thought that it was not he who told SJ how and what to sing. It may be a reasonable question to pose to a normal person but we can safely say he is not. It's not just IR, usually such workshop type discussions with genius artists don't work unless they are conversing with other artists of a certain wavelength. And then, how much appeal to the public at large would such a convo hold. I think it was probably VH1 that did a "making of" series for classic albums. Stevie Wonder didn't have much to say about Songs in the Key of Life whereas the more calculating and workman-like Donald Fagen and Walter Becker shared a lot more about Aja. IR doesn't sweat the mundane stuff and his answers may perhaps make his methods appear too facile to whet the appetite that the audience has for myth making. He said about Ammavai Azhaikaadha that P Vasu wanted a song similar to Janani Janani for the film and he got it. From the media's point of view, a phoney answer about IR recollecting his mom and shedding copious tears would work better but he doesn't come across as someone with the patience for that game.
I was not impressed either. Though Amitabh had less working experience with Raja sir, he spoke better in a nice accent compared to the USELESS inputs given by Rajini and Kamal. Did you guys see Dhoni, Ulavacharu Briyani and Sri Ramajeyam audio releases? Telugu film industry never misses any opportunity to honor our man.Quote:
Originally Posted by irir123
Having briefly topped the I Tunes album charts, Shamitabh is still at no.4 and Piddly is at no.8 on the songs chart. Can't say I expected this, notwithstanding the success of the NEPV and Megha albums, given that this is a Bollywood album.
https://www.apple.com/in/itunes/charts/songs/
https://www.apple.com/in/itunes/charts/albums/
rajaramsgi - even those functions were singing eulogies of IR without going in-depth about why and how IR's music is special.
It is IR's strange situation that his music defies the generic 'aahaa oho' appreciation and deserves a more deeper scope in its need for exploration - which the Indian film industry is incapable of doing IMHO
irir123,
Agree. We either eulogize en masse or don't say anything relevant at all.
There's a real dearth of personalities who can express any deep appreciation for an MD's musical output. After Balu Mahendra, perhaps the last man standing is Mahendran, who can express their appreciation of the nuances.
Ironically, the actors in Indian film industry are one of the worst when it comes to communication skills/ public speaking. Even the so-called intelligent actors like Kamal seem to come with zero preparation when they are invited to events. Have you watched George Clooney in some events where he is giving an impromptu speech?
Even on TV/ reality shows, hardly any one is able to talk beyond simple expressions like, 'Super music', 'touching music', 'semma beattu', 'ayyo, chaance illai'..
Long time no see everybody! Ignoring the audio function, the songs have evoked different type of responses from many fans.
I was listening to the songs on youtube and when i looked at the comment box, you can see some fans berate thalaivar for composing using synth, techno etc and some who believe he is only composing such songs to reach to the younger generation and normally never deals with such "music". It is quite interesting as thalaivar is one of very few and rare composers who have fans catered to different sides of his output such as one group who purely prefer his simple and soulful melodies, one that loves his use of western classical music especially strings, one that loves the way he experiments with raagams in his songs and many more.
Personally i love the way he composes where regardless of what kind of instrument or genre he uses, they always sound like they are brought up in the thalaivar way. To quote, just listen to the single interlude that comes in the Lifebuoy song. The rhythm and the beats are far from the usual mish-mash of sounds most composers use for such electric/techno genres and thalaivar highlights a simple and addictive melodic rhythm interlaced by techno beats before the techno beats change into a more vibrant mixture of rapid drum beats. This can be easily replaced by a celtic violin, tabla and conga drum yet none of us will notice the difference because they are all members of the thalaivar genre.
Thalaivar has basically shown the past, present and future music composers that it does not matter whether he is using thavil, synthesizer, electric guitar, veenai or sound samples. All forms and instruments of music will adapt to the thalaivar genre as long as they can play seven notes. If his critics had any doubts about his style of composition or his adaptation to various genres of music, this is one big middle finger to all of them. Best still, he composed this hugely complicated album in 45 minutes. Goodness gracious me. They should just ban him from composing music since he is making the english and tamil dictionary run out of superlatives to describe him.
Oh and my favourite song from this album is Lifebuoy. Short but stunning :D
Quote:
Originally Posted by SVN
I have a sneaking suspicion bordering on conviction that Kamal is very much capable of articulating about IR much better than what he is doing now - but is restraining himself for reasons only known to him. Gautam Menon, Mysskin & Bala (to some extent) come across as the other directors who are capable of speaking about IR's music much better than most others.
As for the others, even Bharathiraja is incapable of speaking abt IR's music the way it deserves to be spoken about; Mani Rathnam is all 'vazha vazhaa kozha kozhaa' - I or any other decent IRfan can speak much better abt IR's music impact in Geethanjali or Nayagan, than MR can.
Quote:
Originally Posted by Hulkster
Well, there's a good reason for the catering to the youth argument. IR himself used to lament how easy composition had apparently become with the advent of computer technology. Even as late as 2012, he told an audience that the violin is a very difficult instrument and nobody wants to take it up when all it would take is pushing a few buttons on the keyboard to win accolades (even imitating the words used in music reality shows like "unbelievable"/"fantastic"). Dripping with sarcasm, in short. I am not sure how much his own rhetoric would have resonated with the IR who composed the title track of Vikram. He had boxed himself into a bit of an elitist corner. This album MAY be an indication that he is coming out of it. He has tried to keep the flag flying for orchestral music because no new composer really has taken over the baton from him in that regard. Maybe he finally got fed up of waiting.
I see 'நேற்று எந்தன் கனவில் வந்தாய் நூறு முத்தம் தந்தாயே' (காற்றை கொஞ்சம் நிற்க சொன்னேன் of NEPV) in Chaal Phillum Hai Dhaal Phillum Hai Fully Phillum Hai Yeh Ada (Ishq E Phillum). Raja magic rules!
Ishq Phillum video
http://erosnow.com/#!/music/watch/10...ial-video-song
I feel that the papers have misquoted him. Thalaivar is not against computer technology. In fact he appreciates how much it has helped in terms of music composition and is always constantly looking at the latest technology in terms of how it can be used in his compositions.Quote:
Originally Posted by crimson king
The issue here is that composers are using computer technology for every single situation where live instruments have been almost erased from the composing map of India. Consequently, this has reduced the composers' understanding of various composition techniques related to live instruments (which means that they will never grasp the beauty and difficulty of composing using a live orchestra) and has made them over dependent on technology. That is what thalaivar is completely against.