Shamitabh | Maestro | Amitabh | Dhanush | Balki | P. C. Sreeram

[JamesDap]

I actually don't particularly disagree with IR's views on the usage of computer technology in IFM. But just saying that the 80s IR probably wouldn't have given a shit about what the other composers were doing. With Shamitabh, there are indications that he may be getting back to that frame of mind. But it may be a one off and I could be wrong, let's see.

[mappi]

You guys have to check Santosh Narayanan (orchestra/intruments/etc.). With my limited knowledge, but still I conclude that after IR I see only him using the Bells efficiently. He is just fabulous in both the production and setup. For me a wait was terminated by his arrival and I often seem to pick several new arrangements and recording techniques in his work.

[JamesDap]

Could you suggest specific tracks? I was checking out a few of his compositions and cannot say I found the arrangements particularly complex but maybe I didn't hear the right ones.

[irir123]

You guys have to check Santosh Narayanan (orchestra/intruments/etc.). With my limited knowledge, but still I conclude that after IR I see only him using the Bells efficiently. He is just fabulous in both the production and setup. For me a wait was terminated by his arrival and I often seem to pick several new arrangements and recording techniques in his work.

In terms of quality of melody, Santosh Narayanan is heads and shoulders above many, including ARR - and perhaps even IR wrto to some of IR's recent compositions.

SN complements his basic melody with excellent orchestration, that is more in whole/holistic than any from his generation.

[mappi]

Crimson King,

I recomend songs from the movie Cuckoo. The songs are basically an extended hangover with IR songs through Santosh Narayanan. I found the rythms quite complex (eventhough my knowledge on the metrics and formulas is close to none). I found the meters quite complex viz à viz the presentation of the songs. For instance (just a few) :

'Potta Pulla', the flute quite syncing in with the varying rythms.

'Agasatha', with Sean Roland vocals and the keys interrupting the violins.

'Manasula Soora Kathey', again a charming flute included with computer music which you don't get to notice atall.

'Yenda Mapla', Santosh is the only person who uses Gana Bala intelligently (Listen to the Dhinakutha from Pizza). I like folk songs, and this one was unique with unconventional rhythm and suprisingly the use of jazzy keys inbetween. Ofcoarse bringing in an auto tune will be quite obvious that permits anyone to see the difference.

'Kodaiyile Mazha Pole' with amazing vocals and the tune changing within itself.

'Kalyana Kalyanam', I liked Anthony Dassan vocals, the heavy beat and the nadaswaram - a mixture that asks for attention.

I was suprised with this album coming out from nowhere having all the qualities of IR. With limitations of vocabularies, I cannot efficiently express more about this quality product. But I feel Santosh Narayanan does peak my interest a lot, only next to IR.

[JamesDap]

I have heard Cuckoo songs and frankly they didn't hold my interest much. But I am willing to try again, sometime soon. Let's see. Likewise, while I thought the music of Thegidi was nice, I wasn't overwhelmed again. The melodies are nice, maybe, but harmonically not very interesting.

[JamesDap]

OK, heard Potta Pulla through to Manasula. Good stuff, but as was my initial impression also, no real surprises for me. I don't listen to IR's music so much for just melody but also his ability and willingness to throw off the listener with unexpected changes.

If this was an IR album, it would have been labelled dated, stuck in the 80s, etc etc. Unfortunately, Raja's capacity to keep churning out great music like a machine is taken for granted by now and perhaps that's bound to happen with anybody who composes for a 1000 films. However, yes, I am happy to hear another composer trying to emulate IR's style with some original input and not blind imitation.

[irir123]

OK, heard Potta Pulla through to Manasula. Good stuff, but as was my initial impression also, no real surprises for me. I don't listen to IR's music so much for just melody but also his ability and willingness to throw off the listener with unexpected changes.

If this was an IR album, it would have been labelled dated, stuck in the 80s, etc etc. Unfortunately, Raja's capacity to keep churning out great music like a machine is taken for granted by now and perhaps that's bound to happen with anybody who composes for a 1000 films. However, yes, I am happy to hear another composer trying to emulate IR's style with some original input and not blind imitation.

Its not that there are complaints abt IR being dated.

its more to do with the fact that SN is proving himself to be a refreshing change amongst the current generation of composers (besides Ghibran and to some extent, YSR).

SN's focus on the production quality irrespective of the genre he is handling, makes every track very nice on the ears.

We need a director who will stand his ground in demanding some eclectic stuff from IR that is also brand new - along with top notch production quality.

The next time a director approaches IR and instead of adamantly insisting on something new and creative, is either content with whatever IR gives, or requests for a repeat of an earlier tune, that director should be sent to Mars as a test subject - with a collection of Justin Bieber CDs - as punishment, ahead of future Mars human missions.

[JamesDap]

I am not making those comments specific to anything said on this thread but a general observation on how listeners seem to react to IR's music. It was said even of NEPV that it was just 80s IR dressed up in modern production. And yet Kumki was widely hailed as the album of the year, even though Aiyayo evokes 80s IR more blatantly than any track on NEPV. Perplexing to say the least. I think people need to step back and ponder whether it is really all the accumulated baggage of memories of past IR classics, more than anything, that gets in the way of appreciating what he does these days. Sure, production may at times be an issue as also the singer selection but I don't seem to remember either of these getting in the way of hailing a composition like En Vaaniley or Deiviga Raagam, any number of Jency tracks really. Malaysia is hailed as 'unique' or 'inimitable' instead of simply calling it like it is but hey, it's the 80s factor at work again. People may rave about a track like Thendral Vanthu Theendum Pothu now but the reception it received at the time of its release was far more mixed. History repeats.

[Dragun]

Synths, computers, loops, etc. are just tools that can either be used well or used poorly, depending on who is using them. They're not magic boxes that automatically produce great music. In the hands of capable composers and programmers, electronics are capable of producing some evocative sounds and soundscapes not possible with acoustic instruments.

I think people need to step back and ponder whether it is really all the accumulated baggage of memories of past IR classics, more than anything, that gets in the way of appreciating what he does these days. Sure, production may at times be an issue as also the singer selection but I don't seem to remember either of these getting in the way of hailing a composition like En Vaaniley or Deiviga Raagam, any number of Jency tracks really.

I didn't grow up listening to a ton of 80s IR music, so I am still discovering a lot of those gems, but there are some 80s albums that I have recently heard for the first time and listened to over and over as if they were brand new albums. Perhaps I have the baggage of liking the overall 80s IR sound, even if don't have the baggage of those specific albums.