Maestro ilaiyaraaja news & titbits

[raja_fan]

SoftSword,

Yohan is not the right example.
GVM does not wait for one film to be completed, to plan the next.
He multi tasks - NEVP, Yohan and Ek Deewana thaa, all at same time.
I think Yohan was anounced before or more or less same time as NEVP.

[SoftSword]

raja_fan,

heck, even GVM *might* repeat (though he did not repeat ARR) IR in his subsequent films.

my post was a reply to that as GVM announced Yohan with ARR after VTV.

[krish244]

GVM's movie in malayalam after NEPV and Yohan:

http://www.kollyinsider.com/2012/03/...alam-film.html

http://expressbuzz.com/entertainment...od/371099.html

The below site says, music is by ARR.

http://www.kottaka.com/blog/2012/03/...gautham-menon/

Suraj Jagan says about his songs in NEPV:

http://www.deccanchronicle.com/tablo...jagan-roll-749

"...“An opportunity of a life time,” is how he describes the recording, for which the background music will be composed in London.

“I’ve no clue how it’s gonna turn out as I could hear only the keyboard pad playing while I was singing,” says the voice behind many jingles including the popular Hutch one, You and I In This Beautiful World..."

thanks,

Krishnan

[MumbaiRamki]

Suraj Jagan says about his songs in NEPV:

http://www.deccanchronicle.com/tablo...jagan-roll-749

“I’ve no clue how it’s gonna turn out as I could hear only the keyboard pad playing while I was singing,” says the voice behind many jingles including the popular Hutch one, You and I In This Beautiful World..."

thanks,

Krishnan

Interesting way of raaja composition !

[kiru]

aakarsh.. you got a point on "hit" vs "fan's favorites". I guess "hit" is defined in commercial terms and probably dictated by current demographics (more youth in the indian population now) and music trends and access to other sources of music (cable tv, internet etc). A "fan's favorite" would be for listeners who prefer a certain style or genre of music and mostly dictated by the composer's choice of musical instruments, techniques etc. Got it. Only point I have (going by my own personal preference) is that - I am not musically savvy to know raagams or chords. I listen to classical music much less (especially indian). Most songs of IR that I like are usually "hits" . I also like hits from ARR and other MDs. With that in context, I believe, that many recent songs of IR could have been hits if the the movie had succeeded in the box office. I do have doubts on IR appealing to the current young generation with fun/trendy music (which affects his commercial value). But he should be doing fine on neutral/situational and happy songs. With classic rock/jazz (without much electronica/trendy loops etc) style arrangements maybe it will even appeal to the youth. And yes, thanks for conforming that we are all on the same page on the musical value of his work.

[Gregorysab]

I believe, that many recent songs of IR could have been hits if the the movie had succeeded in the box office.

True. Thats why, his output is not a question or subject here (barring a kadhal kathai or 1 or 2 albums). His choice of channelling (read choice of films) that output is what the issue is, for me. And that has always been the issue. 70% of his film career is probably characterized by that. I know a composer cannot really have much control on the craftsmanship of a director. But in raaja's case, it appears as if Raaja had complete disregard for where his (gem) song was going. Just an example: Shenbaghame Shenbaghame is such a fine composition, that even Asha Bhonsle quoted it as her best song ever in south films. That song is transported to telugu, to a film called "Aa Okkati Adakku" - a film, that will never be remembered for its music. In tamil, probably half of tamil-nadu will remember that song today. But raaja sacrifices such a gem, to a not-worthy film - a wasted effort. Then, he does the same in Hindi as well, in a film called Mahadev (which has a phenomenal "Dilwale" song). Nobody remembers that song today. My point is - why waste gems like that in such films? or let me flip the question - when you have gems in your kitty, why sign Jaganmohinis and Kadhal Kathais?

I dont know how many raaja fans enjoy Ponmani Theril from Jaganmohini. I thoroughly enjoy it. It is unlike any raaja song actually. If you erase my memory selectively, to remove all traces of Jaganmohini album and play this song afresh.. and if you separate Ponmani Theril into instrumental layers (interludes etc) and vocal layers (melody), I cannot ever say that the instrumental layers are by Raaja. The vocal tracks bear his signatures... but the instrumental stuff in the song resembles closely to a.r.rahman's style (i felt)... and thats amazing... because i think raaja got as much contemporary as possible in that song, with such instrumental portions... and yet, his own signature is all through the song, in its melody. It is amazing song. and he donates it mercilessly to Jaganmohini pch!

[NormalMan]

I’ve no clue how it’s gonna turn out as I could hear only the keyboard pad playing while I was singing,” says the voice behind many jingles including the popular Hutch one, You and I In This Beautiful World..."

Synth use panni sothappama irundha seri. I'm really nervous about this album - I should not be - but I'm.

[V_S]

aakarsh,
Nice points. I see the hunger in you and raja_fan that our Maestro should have bigger number of hits (recently). I have only couple of questions. If you say Ponmani ThEril is donated mercilessly to Jaganmohini, what film this song should have been associated to? Even if this song would have featured in bigger hit films, today nobody would have cared to listen even the best of the songs repeatedly (I am excluding the fans here). Take for example VTV/Paa/Sri rama rajyam. I have asked many telugu friends about SRR songs. They were not much interested, just saying it was good, that's it. Every song of these films are gems and a big hit, how many of today's generation like to listen to those again and again, leave alone the fans. Those times are gone. They want new songs every day and as far I know most of them never go back even if the song is one year old, saying that's an old song. That's the sad situation today. That's why I keep telling what is point of giving hit, if it is going to be listened only for few times and trashed. We can only be happy for sometime, ah.. yes that song was hit that time. What's the point? The meaning of "hit' is completely different nowadays compared to yesteryears. No one values good music nowadays. Nowadays the music scenario completely lost its credentials, each day we hear a new music director. Is music making that simple?

If you ask today's young generation about Rajini, they are saying Rajini's best is Thalapathi. When I asked them about MuLLUm Malarum or Bhuavana Oru Kelvikkuri or netrikaN, they don't even have a clue that these films exist. That is understandable, but what irks is they don't even want to search for these films and watch. Sameway I asked some my hindi friends (late 20s and early 30s) about old composers like Naushad or Shankar Jaikishan, they don't even know these composers. They are happy with chamak chalo and kolaveri di. Such is the sad situation.

Another question. Except for Manirathnam whom IR ignored during Iruvar (due to personal reasons), I don't remember IR ignoring any other directors. May be I am missing, if you or anyone please name whom all approached Raja and he declined. If he is accepting Kathal kathai director, imagine how he would have declined any big directors with a good script. Even if Mani was with him till today, you mean to say he will be in the market. I don't think so. Remember other directors and actors like KB, BR, Kamal, Rajini all left him on their own and IR never declined them. Another important aspect which I need to highlight here is there were other successful directors that time like Manivannan, Sunderraajan, RV Udayakumar, RK Selvmani, Balu Mahendra, Mahendran, Rajkiran, Vamsi and many directors either stopped or make very few films nowadays which is also one main reason that the songs didn't reach many. Also many directors of today's generation not even preferring IR or ARR and sticking with new music directors. Just like new music directors are coming, new directors are also born every day. Why they would chose IR, unless they really value good music? Again many producers doesn't want to work with him now that is also another important aspect. So he does go all the way and ignore the directors. It is the other way round happening. That's why I agree with Jai here. It has to happen that way and it happened. That's all. Ellaam poyyindi sir! We are atleast lucky to have grown with his music!

my two cents...

[app_engine]

makkaLE, why pulambal at celebration time

NEPV will be great...kaiyezhuththuppOttu ezhudhiththarREn

Cheer up!

[Gregorysab]

V_S,

As for ponmani Theril - I dont know which film would that song fit into. But i just felt that this song deserved much better film. and if no film can really fit that song, then it would have made an excellent instrumental track, if he really thought about it. It fits into World Music. So why not a World Music album. I mean, if one really thinks... there are endless possibilities... and that too for a composer like him. If there are 2 choices - one where a cylinder-drum-lady is dancing to this song in an obscure film and other where such a composition is from a World Music album by a genius composer, I will pick the latter. and I believe the latter can be marketed much better than the former.

I completely agree with you that the people are now tough beasts to tame. Even one year old song is actually old for them, while a song in 2000 is pretty recent for us (raaja fans). And yes, the meaning of hit is now different. Hit in music is now associated with hit movie only. I am not expecting Raaja to forecast Hits and then allot songs. All i want, for his own image, is to not associate with films such as Kadhal Kathai.

And just one director Maniratnam is not the point of contention here, especially when he makes a film once in 2-3 years (although the exposure raaja gets if he agrees to a Mani's film is more and totally different - which is a different topic). Generally speaking, I'd like a composer of his calibre to not associate himself with tier-2 films. Not completely atleast. I am fine if Nandalaala is a tier-2 film (with no stars and offbeat director). But offlate raaja's films have been completely tier-2 kind. I have written about this earlier - that there is a risk of he being slotted into "Village/town based films" OR "devotional albums" perception, when people start looking at his recent output. Thats why I get excited when he signs up a Paa with Balki or Rama Rajyam with Bapu or this film with NEPV. Ultimately, it is good to have a right mix, in the repertoire.

He has bundles of knowledge. tomorrow, if no good director comes to him (god forbid), it does not mean he should take whichever filmmaker(who makes films like Kadhal Kathai) approaching him. He can instead take a break and channelize all his good compositions to albums like HTNI, NBW.

Vamsee is still making films. No idea why he doesn't take IR. I have heard about few telugu directors (in last 12 years) for whom, Raaja was a choice; but raaja declined. But yes, I get the point what you are saying. There have been more cases of people not approaching him rather than the no. of cases where he declined them. Thats bad luck!!!

again, before people pounce on me with accusation that I am arrogant enough to tell raaja what he should do and what he shouldnt - This is purely the wishful thinking of the fan inside me, who wants Raaja to be selective in signing films so that his image doesn't erode due to his association with some films. Sign films that show some promise (or with promising film-makers or established film-makers who can justify his scores). for everything else, consider instrumental/private albums. I dont want him to retire from films. No. But i am fine even if he does 1 film per year. One remarkable film (or film-maker), which can assure the same respect and market-visibility. I believe he is doing this in Malayalam (in films with Sathyan anikkad).