Thread started by venkkiram on 17th January 2015 10:14 AM
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
on 17th February 2015 07:58 AM
crimson king - am copy pasting my posting from another thread, since we are discussing the change in IR's style post Nayagan
some IR's telugu songs from 1990 onwards
they are just out of this world stuff!
only make sure you shut your eyes while listening.
(year 1991-92 - the bass line is badass and the second interlude frenzy is something he has not done anytime before or after)
(valai osai redux - the interludes particularly the second interlude is goosebumps)
('yemma andhi mayakkamaa's richer and lusher cousin with BADASS guitar riffs and an outrageously creative version of some ragam!)
- Songs 4 and 6 are outright masterpieces - 6 is Dharmavathy, and song 1 is still a great one despite sounding similar to 'priyasakhi' from Gopura Vasaliley, no.5 has some brilliant violin motifs.
- 'chamakku' and 'kolo kolamma' are marana mass maya mayagowlas which shot Chiranjeevi to heights even he wouldn't have imagined of! 'shubhalekha' is a riot with a percussion for a horse ride song, and the interludes are therichufying bombs and again the second interlude -OMG!
From: crimson king
on 17th February 2015 09:44 AM
Will check out these at leisure, won't have access to internet on the computer for the next couple of days sadly. To sum it up, my view is that IR has always had a subversive streak tempered by the need to please listeners with his music. He doesn't want to get too far out where his work won't be understood. In the early 80s he was particularly subversive with songs like endrendrum anandhame. This began to get more balanced by mid late 80s. In the 90s fans felt disappointed that he was supposedly diluting his experimentation but songs like Vanakuyile, Nil nil, Thendral (Avatharam) stand out for their complexity and audacity. And so the story goes. Fans interpret the moderation of his experiments in recent years as him running out of ideas but it is more likely an adjustment to the prevailing music culture. Nobody else in Bollywood is going to use baroque piano in a disco track. That's classic IR.
on 17th February 2015 08:00 PM
spoton crimson king - am not the one who will ever accuse IR of running out of ideas - no way - am rather accusing those approaching him not to use his genius adequately enough - Balki is all gaga abt him but continues to ask for earlier tunes when IR has said repeatedly he gets annoyed ad nauseum when someone asks for an older tune or something like something else!
I appreciate Gautam for extracting an NEPV from IR
on 17th February 2015 08:30 PM
Originally Posted by irir123
Am not sure why going too much on Balki's decision. We already witnessed many times that IR's once composed tune for one language movie situation been utilized for another language movie situation. I like very much Cheeni Kum's songs. Its fresh.
on 17th February 2015 08:40 PM
Originally Posted by venkkiram
Cheeni kum was great! but to request IR to do the same with every other film is nonsense, IMHO - our man is brimming with ideas and creativity - not to use that is criminal - in Paa, the 'mudi mudi' tune was reused thrice in the same album - the versions had different interpretations but thats far lesser than what one can get from IR.
am hoping for something super in thaarai thappattai
on 18th February 2015 11:13 PM
Balki's making use of a Hanuman like IR is akin to employing a world class sculptor to perform ammi aattukkal kothifying.
Why go as far as devadhai for organic, rousing drumming , we had them even in as recent as Mumbai Express
on 20th February 2015 08:10 AM
While i understand the gripes about cheeni kum and to a certain extent Paa, i certainly do not understand the gripes for Shamitabh as only one song has been reused (reused is a wrong statement, more of modified). In fact Shamitabh has shown me more of thalaivar's composing styles than any of his other albums and i commend Balki for bring out the best in him here. I always thought that the way he uses electronic music was very unique as it never sounded like the way other composers use it and Shamitabh is the strongest highlight which shows that his composing style is on a genre of its own. Every time i listen to this album i can see that the orchestration is completely his style and the instruments are just children following to the music of the pipe.
From: crimson king
on 24th February 2015 09:12 PM
While Shamitabh may get harsh flak from some fans, it is also not overwhelming, musically. NEPV is way more complex, emotional and nuanced. As I said in another forum, NEPV has stoked our expectations too much. It will be remembered as one of his all time masterpieces in hindsight. Not many of Raja's creations are going to match it. Shamitabh following in this wake of an Athu oru kanakaalam would have been better received.
on 25th February 2015 05:35 PM
Even "adhu oru kanAkAlam" which came out after the wake of Thiruvasagam was not well received by many music pundits in this very forum. Subbudu like vijayr also had good words to say only for the short song "kAttu vazhi".
From: crimson king
on 25th February 2015 08:39 PM
I know. That's why I said IF hypothetically Shamitabh had followed that film.