A MUSICAL AFFAIR
Fifteen years after the Big Bang that was Roja, I thought I’d recall my transition to a new musical universe – and also remember my favourite AR Rahman compositions.
AUG 26, 2007 – IT WASN’T SUPPOSED TO last this long, this love affair with Allah Rakha Rahman. Even as late as the July of 1992, we were returning home to Ilayaraja, to a relationship that had just celebrated its fifteenth anniversary. It may have become a relationship that had outlived the hot-blooded passions of the early years, a relationship that had settled into a comfortable (if still comforting) routine – but then you don’t seek out a divorce because your spouse has packed on the pounds. You shake your head, perhaps, and then you remember the way things were. You remember the good times.
Then came August, and along with it, the siren calls of Roja. A new sound – young, hip, night to Ilayaraja’s day – had moved into town, and its hypnotic charms were proving irresistible. The singletons, the unattached, the ones who went about life with no concept of long-term commitments – they responded instantly, instinctively.
But the rest of us, we panicked. We dashed to our homes, shuttered the windows, bolted the doors. Mere jingles, we sneered while taking a cold shower – with the sneaking, sinking realisation that this contempt wasn’t real, that it was simply a desperate attempt to stave off temptation. But it just didn’t feel right. You don’t cheat on someone who’s taken care of your every musical need for so long – that too for what would surely be a mere fling, what writers of pulp fiction would term a couple of hot, sweaty afternoons in an anonymous motel.
Oh, but you sometimes do. Roja was followed by Gentleman and Pudhiya Mugam, and our resolve cracked just a wee bit. We’d stray, we told ourselves. Who was going to know? Besides, how long could this last anyway? We’d be tired of it before we knew it. But then Thiruda Thiruda happened, along with Kaadhalan, Duet, Indira and Bombay – and even without realising it, we fell in love all over again.
How liberating it felt, after all these years, to rediscover the pleasures in getting to know someone over a casual cup of coffee. That’s what it felt like, AR Rahman’s music. It wasn’t intimidating, it didn’t require scholarly levels of comprehension (at least in the early days), and it felt so light on its feet. AR Rahman made us feel young again. And he made at least some of us see, possibly for the first time, that the only natural relationship state in the appreciation of art is polyamory.
Ilayaraja – the colossus that he was – had made my generation forget that. He was the one, the only one, ever since we could remember – and apparently ever since time began. The ties that bound him to us were so strong – and felt so predestined, like all great love – it seemed inconceivable that our eyes would one day wander. And when they finally did, we understood the conflict that must have played out in our elders when Ilayaraja eased out MS Viswanathan, when the new nudged out the old.
But slowly – and just like us – they must have seen that this was no betrayal. They must have seen the greater cause, that of Tamil film music, and they must have realised that the torch had merely passed from one genius to another. And, after fifteen years of AR Rahman, that’s what we see today. It may have taken some time – perhaps a little more time for some of us – but we’ve all come home to AR Rahman now.
FAVOURITES FROM…
The First Five Years
1. Kangalil enna eeramo (Uzhavan, 1993): Because Rahman’s music today, people claim, needs several listens to fully get, whereas this – the first song of his that I completely fell for – posed no such problem. I was instantly hooked by the soaring melody lines tethered to a bouncy, pizzicato percussion.
2. Usilampatti penkutti (Gentleman, 1993): Because with this number – along with Nee kattum selai (Pudhiya Mannargal) and Aathangara marame (Kizhakku Cheemayile) – Rahman proved that it was possible to rustle up a rustic ambience without invoking Ilayaraja. Heck of a catchy tune, too.
3. July maadham vandhaal (Pudhiya Mugam, 1993): Because I can’t listen to this song without smiling, if only for the images of the flamenco-inflected choreography executed rather hilariously by Vineeth and a girl whose name escapes me now. Rahman may be partly to blame, for who could resist snapping their fingers to that spirited opening, one part Spanish guitar base, one part clicking castanets!
4. Senthamizhnaattu Thamizhachiye (Vandicholai Chinraasu, 1994): Because, its chauvinism apart, it’s hands-down one of the funniest songs ever written. And Rahman jacks up the men-teasing-women mischief with a driving beat that suggests nothing less than a pelvic thrust. Listen to it again and tell me I’m wrong!
5. Ennavale (Kaadhalan, 1994): Because, despite music critic Subbudu’s contentions that grievous bodily harm was sustained by the raga Kedaram (thanks to Rahman’s non-traditional deviations), this is the gorgeous cry of a lover so filled with love, it constricts his throat. This, of course, means he shouldn’t be able to speak, but that’s why they invented song.
6. Nila kaaigiradhu (Indira, 1995): Because Hariharan has never sounded better under Rahman, nor more expressive of emotions. (Yes, yes, I know all about Uyire from Bombay, and in my book, it’s a mere pretender in comparison.) The heartbreakingly beautiful tune swells and subsides, keeping you guessing… Hymn? Love song? Lament? Probably all.
7. Kya kare kya na kare (Rangeela, 1995): Because it tells you why Rahman persists with Udit Narayan, despite the latter’s notoriety as the man who unleashed genocide on the lyrical population of Kuluvalile (Muthu). Udit captures perfectly the tossed-off angst of a tapori torn between being in love and admitting to being in love.
8. C’mon c’mon O Kamatchi (Love Birds, 1996): Because every listing exercise is allowed a guilty pleasure, and for me, it was a toss up between this bagpipe-driven lark and Lucky lucky (Ratchagan). C’mon c’mon won because… um, because… Hey, I said it was a guilty pleasure.
9. Strawberry kanne (Minsaara Kanavu, 1997): Because it showcases Rahman’s facility with symphonic arrangements, and because it doesn’t display an iota of strain in the process (unlike, say, Veerapandi kottayile from Thiruda Thiruda, which tries really, really hard). The song’s operetta texture is just right for the battle-of-the-sexes banter.
10. Kannai katti kollaadhey (Iruvar, 1997): Because it’s possibly the loveliest instance of swing in a film music culture that’s (quite understandably) wary of jazz. With the triumphant arrangements (from the irresistible guitar that kicks off the song to the delightful percussion that changes colour on alternate sets of a four-count beat), it wouldn’t be surprising if the thundering chorus of Viduthalai is actually a celebration of freedom from traditional ways of making film music.
The Next Five Years
11. Rut aa gayi re (1947 Earth, 1998): Because it’s the standout track in an album full of standout tracks. And if I’m picking this over the almost-as-affecting Raat ki daldal and Yeh jo zindagi hai, it’s because of that second interlude, a magnificent passage with borderline-menacing strings that evokes Prokofiev’s Montagues and Capulets.
12. Ae ajnabee (Dil Se, 1998): Because it’s quite simply the most mournful song in the Rahman oeuvre, a howl from a heart so filled with unfulfilled desire, it needs to traverse entire octaves to unburden itself. Udit Narayan is superb. So is the album, which came at a time Rahman could apparently do no wrong.
13. Varaha nadhikkarai oram (Sangamam, 1999): Because dud movies with great soundtracks deserve recognition too (see also No. 14), and because if there’s anything that epitomises the zest-for-life that Shankar Mahadevan brings to his singing, this qawwali-folk song cross-breed is it. Just watch him soar to Kaaveri karayil in the first stanza… You could power a small-sized nuclear reactor for a week with that energy.
14. Thirakkaadha kaattukkulle (En Swaasa Kaatre, 1999): Because of the synthesiser birdcalls (birdcalls, right?) which kick off a number full of charming outdoorsy imagery. A babbling brook in the first interlude, darting deer in the second… And in the midst of all this calming nature, a plaintive, high-pitched cry of a man-made emotion, with Unnikrishnan going kaadhal, kaadhal, kaadhal, kaadhal, kaadhal… Because saying it out loud five times feels so much better than just once.
15. Khamosh raat (Thakshak, 1999): Because of the opening that sounds as if a guitar is being tuned before a performance – as if the player is getting a feel of the tightness of the strings, the acoustics of the room and, most importantly, the mellow mood of the song to follow. It’s like being a fly on the wall of a garage band, with the lead singer rehearsing his impending declaration of love.
16. Nahin saamne (Taal, 1999): Because, despite that stretch at the beginning where a vise is apparently being tightened on Hariharan’s unmentionables (a.k.a. a falsetto hitherto matched only by Barry Gibb of the Bee Gees), this is as wistful a sad song as you’ve listened to. A gentle tom-tom rhythm adds to the melancholy, as if even the percussion were too drained for anything more animated.
17. Kizhakke nandavanam (Taj Mahal, 1999): Because it’s the culmination of a journey that began with Usilampatti penkutti. Where the former was trying to keep a rustic feel going merely on the surface – and what a happy surface that was – what we have here is the real deal, a beautifully-tuned “village song‿ that features, appropriately enough, in a Bharatiraja movie.
18. Kurukku siruthavale (Mudhalvan, 1999): Because flutes and dholaks aren’t what we’re used to hearing at the beginning of romantic numbers, and because there’s very little of the Rahmanesque techno-frippery that sometimes subtracts rather than adds to emotions as delicate as the ones expressed in this lovely love duet.
19. Snehidhane (Alaipaayuthey, 2000): Because this song is about a husband who is a secret friend, and because Rahman pours his soul into delineating the sweet sorrow inherent in this relationship, where man and woman are united by marriage and yet separated by distance. And because of the complicity in Sadhana Sargam’s voice as she courses through nee sollaadhadhum iravile puriven. Oh that lucky Madhavan!
20. Sarfaroshi ki tamanna (The Legend of Bhagat Singh, 2002): Because of how singers (Hariharan, Sonu Nigam) and composer can infuse fresh life into the oldest of patriotic rousers. Homesick NRIs especially beware: by the time the dirge-like early half of the number gives way to the chest-thumping optimism of Khushboo banke mehka karenge, you’ll be a sobbing mess.
The Past Five Years
21. Dating (Boys, 2003): Because that Rahmanesque techno-frippery I was knocking a little earlier is put to delightful use in a song aimed at the young ‘uns. From the eerie xylophone-on-helium mood that kicks off the number to the scream-dying-out-in-space end, every single sound seems to have been piped out of machines yet to be invented.
22. Thee kuruviyil (Kangalaal Kaidhu Sei, 2003): Because sometimes it’s just nice to watch a gifted vocalist (Harini in this case) showing off. The way Rahman layers her alaaps towards the end, each quivering leap across an octave appears to be possessed by extraterrestrial life. What brings the song to earth is a relaxingly basic rock beat.
23. Do qadam aur sahi (Meenaxi, 2004): Because, as if mindful of the words, the song seems to move forward in beats of two, and because the minimalism of the arrangements is an ideal counterpoint to the ornateness of the lyrics that talk about a slow, long slog to a far-off utopia. Had the music been as rich, the composition would have probably collapsed under its own weight.
24. Yeh jo des hai tera (Swades, 2004): Because goosefleshy neo-patriotic songs are hard to come by. Accompanied by a shehnai playing at near-monotone, along with what sounds like exhalations from men who’ve burned their tongues with hasty spoonfuls of hot soup, Rahman belts out this perfect anthem for our dispossessed times.
25. Kaalayil dhinamum (New, 2004): Because it’s really tough to craft odes to motherhood without coming off sappy or overearnest or just plain creepy. Rahman’s elegantly sinuous melody is roughened up a little, given a bit of texture by Unnikrishnan’s little-boy whine, and the effect is just right for a movie about a man-child.
26. Rasiya (Mangal Pandey, 2005): Because this musical equivalent of a heaving bosom is a tragically underrated song in a tragically underrated soundtrack. Of course, the picturisation didn’t help. The gypsies writhing around a makeshift campfire seemed to suggest that this number is simply about sex, when it’s actually about something far more thrilling: passion.
27. Bangari marori (Water, 2005): Because it’s the quietest of songs I’ve heard in recent times. Sukhwinder Singh tones down his characteristic energy to infuse this number with the spirit of prayer, despite the Radha-Krishna shringar-ras imagery, and Rahman graciously recedes so far into the background, it’s as if the song weren’t formed so much as found.
28. Khoon chala (Rang De Basanti, 2006): Because its initial piano runs remind me of what would result if Billy Joel flew down to Bollywood. (They’re just a musical hop-step-jump away from Don’t Ask Me Why.) The conversational nature of the opening verse deepens as a mournful cello makes itself felt, and by the closing crescendos, you’re not sure whether to be sad at the blood being shed or happy that it’s being shed for a cause.
29. New York nagaram (Sillunu Oru Kaadhal, 2006): Because it’s got to be one of the most stylish, least sentimental boy-misses-girl ballads ever. From the masterful use of the female backup singers to the soulful sax interludes, not a thing is out of place. The only discordant note came from seeing it on screen.
30. Ae hairat-e-aashiqui (Guru, 2007): Because it brings back a long-ago era where passion meant poetry, poetry meant passion. Full of inspired touches like a very local dam tara chorus exchanging notes with a free-flowing Euro-accordion, this is Rahman’s contribution to the contention that few things in life are as satisfying as a beautifully composed love song.
Copyright ©2007 The New Sunday Express
nevermind
August 25, 2007
Beautiful. The poetry and prose just flow into each other.
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Gopal Srinivasan
August 25, 2007
Exquisitely penned, as heartwarming as Rahman’s music itself. Thanks!
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F e r r a r i
August 25, 2007
Wonderful post. Am glad many of my favorites are there in this list.
In Thirakaadha Kaatukulle I liked the interlude ‘megam poal kaatai nesi meendum naam adhivaasi yosi yosi yosi yosi’ better than the kaadhal kaadhal part 😉
Its a pleasure reading you Baradwaj. Feels so nice when you write about Rahman. Thanks for the post. You made my day 🙂
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Nandita
August 25, 2007
Thank you very much!!!This post was as goosefleshy as the songs you’ve mentioned.I have been checking your blog obsessively everyday for this post..ever since you promised someone in the comments section that this was coming:D You are fantastic..I’m a big fan!
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Sriram
August 26, 2007
Bang on Baddy!
Thanks! To see unique songs like “Kizhakke Nandhavanam” and stuff like “Rasiya”! To pen down 30 songs from a body of work of AR is tough! This one is also excitingly written!
Thia one is certainly a masterpiece article!
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Shankar
August 26, 2007
Baddy, very well written and wonderful selection of songs too!! Most of my favorites are covered in this list. I also love “Putham puthu bhoomi” from Thiruda Thiruda. The melodious tune, cinematography and Chitra with her lilting voice make this a terrific number.
In the past 15 years, the most striking transformation in Rahman is the complex structure of songs now. His songs run into layers and layers of sounds now,which is awesome. There’s also increased live instruments compared to earlier days. The man has remained humble and controversy free, which is highly appreciable.
Hey, are you also going to do “30 years of Raja” sometime? 🙂 I would love to see a list (atleast for the first 15 years) for him too…
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Jesse
August 26, 2007
Beautiful post Baradwaj.
Just wondering, how did you get your hands on Bangari Marori from Water?
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Ani
August 26, 2007
Wow …..thats one amazing post sire. As wonderful and amazing as the man’s music or rather hsi magic itself. Thete is so much to learn and hear in each and every song of this man ..that it just makes me terribly happy and feel blessed to be born in his era.
-A
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srinath
August 26, 2007
mani m speechless…hats off…a true tribute to rahman’s accomlpishments…i salute u!
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Ravi K
August 26, 2007
What a wonderful entry! I am of a younger generation than you, having been only a child when Roja came on the scene. My parents’ friends came back from India with a dubbed tape of Roja, which I, of course, made a copy of for myself. Oddly enough, I had the Roja songs one one side and the Anjali songs on the other 🙂 Of course, I did not know who AR Rahman was, but I visited India in 1994 and fell in love with Thiruda Thiruda and Gentleman. It was only later I found out that ARR had composed Roja as well. Even though I lived in the US, I would keep track of ARR’s latest albums through various friends of my parents who had visited India and brought back CDs. Later I could listen to ARR’s latest albums myself through the Internet.
Before ARR, practically every cassette I’d brought back from my visit to India was composed by Ilayaraja, with the occasional Annamalai or Indhu by Deva. I definitely loved those albums, and many of them are still genuinely good music, but I think ARR appealed to the young kid in me (well, I was a young kid at the time) who listened to Michael Jackson and other Western pop. He brought some hipness and freshness to Indian film music.
ARR has an uncanny ability to conjure up images musically. The first note of “Yeh Jo Des Hai Tera” is a combination of a bass line, soaring strings, and an earthy percussion (ghatam?), evoking to me earth (the bass) and sky (strings). The male “hai” vocalizations and shaker sound (I don’t know what that is) bring to my mind men working in the fields and grain being threshed. ARR’s singing is extremely heartfelt. Its a really evocative song and has almost brought me to tears.
Great list of songs, Baradwaj. I liked that you picked Ae Ajnabi from Dil Se instead of the more obvious Chaiyya Chaiyya. You picked some songs that even I had forgotten about! I also like the very delicate rendition of Nila Kaigiradhu by a young Harini.
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Tambi Dude
August 26, 2007
BR,
Great review but I dont like most of the songs you listed 😦
Also after 15 yrs Ilayaraja had composed 600 films, whereas ARR has just completed 100.
ARR is good, but suffers in comparison to Raja.
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satchit
August 26, 2007
Nice article and a very interesting metaphor!:-) but true. I still remember the evening I saw Roja in the theater, and coming back home knowing not what hit me. Although I’ve been disappointed at times by Rahman music at times (mostly because it was predictable), he continues to churn out remarkable compositions. But I think he’s now getting a tough competition from composers like Yuvan Shankar Raja and Harris Jayaraj.
Btw, although I know this article was about Rahman, but I would like to know where would you place composers like YSR and Harris Jayaraj? Thanks.
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Jeeva
August 26, 2007
Wow, thats a great compilation!
Will read again, as there is lot to!
Thanks
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karrvakarela
August 26, 2007
As popular as his songs are, I think ARR’s talent also includes background scores and the way he melds disparate sounds to create a hybrid aural image. Swades and Yuva, with individual themes for the three couples, are are some examples of that.
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Dreamer
August 26, 2007
Damn HTML killed my previous comment! Here goes…
(insert superlative adjective(s) of choice) post! Having gotten the redundant compliment out of the way, my favorite part is your opening paragraph, for even in a post where Rahman should hog centrestage, it is wonderful that you mention Ilayaraja. After seeing countless Raja v/s Rahman threads online, its nice to see my favorite reviewer lay facts about my two favorite music makers, out the way they really are- they are both kings albeit of different eras and both are beyond petty, pointless comparisions.
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Ravi
August 26, 2007
Reading this article is as good as listening to any of Rahman’s tracks. You have not even touched upon Yuva or Thiruda Thiruda though!
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Srivatsan
August 26, 2007
Good work Baradwaj,
just curios, nothing mentioned of Kannathil Muthamittal and Thiruda Thiruda (both had good BG score too!, though Rehman’s only sore point was that)
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Ravi K
August 26, 2007
“Also after 15 yrs Ilayaraja had composed 600 films, whereas ARR has just completed 100.
ARR is good, but suffers in comparison to Raja.”
Quantity isn’t everything.
ARR and IR took opposite approaches to composing. IR was renowned for the speed with which he composed the songs and background score for a film. Considering his speed it is even more remarkable that he produced so many great albums and songs.
ARR is notoriously methodical and slow, building his songs slowly like a layer cake.
There is nothing wrong with either approach, as long as the work produced is good. ARR had a huge impact and is still influential even with a smaller number of albums than other composers. We should be appreciating this fact instead of somehow equating his lower output with lower talent. How does that Rajini punch dialogue go? “Naan oru thadava sonna nooru thadava sonna mathiri” 🙂
Let’s not turn this into an IR vs. ARR contest. Both are great. There is no need to denigrate one to uplift the other.
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Shashi
August 26, 2007
Can’t add much to the praise already bestowed upon the post. Let me just leave it with a simple “Loved it.”
While I accept this is your personal list, I find one song missing. “Piya Haji Ali” from “Fiza” deserves in Rehman’s any-time top 5 list (though that’s the only composition of Rehman in the film.)
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Srini
August 26, 2007
Awesome compilation. You just made my day with this list. To select thirty songs out of a plethora of amazing songs is really difficult. And, so I am sure you are prepared for ppl to comment on a few songs that they hope would have made your list .here are mine 🙂
–kannathil muthamittal – Vellai pookal (the sheer guitar floors me everytime I listen. And Rehman shows what an awesome singer he is)
–Guru – Jaage hain (when Rehman hits that high note, you cannot help but admire his musical ingenuity)
–Piya Haji Ali rom Fiza
..and a couple of million more I guess 🙂
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Harish
August 26, 2007
Bravo! 🙂
Felt doubly glad to see many under-rated/unnoticed songs in the list. I’ve always rued the fact that so many of his beautiful songs never saw the light of the day.*
* No, his composing music at night may not have much to do with it 😛
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prakash
August 26, 2007
//choreography executed rather hilariously by Vineeth and a girl whose name escapes me now.//
Nirmala Shyam
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Shemil
August 26, 2007
its lovely.Thank u very much
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madhu
August 26, 2007
hats off to you, that is one fantastic compilation of arr’s gems, loved every word of it. keep up the good work.
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Pankaj
August 26, 2007
Thank you. For the article and for the list. Although I understand zilch of Tamil, I grew up listening to Roja, Pudhiya Mugam, Kaadhalan, Gentleman, Thiruda-Thiruda. Your list introduced me to so many other gems in Tamil that I would have surely missed otherwise.
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PG
August 26, 2007
Beautiful piece of writing, really loved it!
But I’m surprised that you have haven’t included a single song from arguably his best album ‘Roja’
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Deepa
August 27, 2007
Lovely, lovely, lovely (Saying it 3 times is better than once, no?)
I love Sarfarosh ki tamanna, but the song that, to me, is more potent at leaving NRIs in a sobbing mess is “Desh ki mitti” from Bose. It breaks my heart everytime.
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shaheen
August 27, 2007
Very well written….and i have started to listen some songs in the list that i havent in a while…
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Best Hamster Cages
August 27, 2007
Hi your article is amazing. I will definitely read your site.. ciao
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sanjayshankar
August 27, 2007
Thank you for that trip down memory lane. Thanks for the list of gems and lastly thanks for including a song from Love Birds that was (IMHO) shunned for no fault of ARR’s (damn you P. Vasu!).
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Navin
August 27, 2007
A great line up, and you Mr. B, really do make this journey thru the melody more and more intrigeing. As often its your instintive line-up with chick pop and rural melody to find some heart scanning Rahman’s rare gems. But where are the non-film album like Vande Matheram with the Gurus of Peace or the One from the same mega celebration for your fifty years of independence or the timeless collection Jana Gana Mana we all blogged son much. How come Maiel Erakka from Anbhey Aruiraa missed thy list. Anyway its almost like deja vu on hear some of his old BMGs, esp. that Kashmiri fowls syn-quak followed by the series of violent violins in the opening of the rose with sharp thrones, Roja.
Mr. B, so is Rahman a rose or a roja.
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Prabakar
August 27, 2007
Amazing post Bharadwaj.
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Prashanth
August 27, 2007
Fantastic… just the songs that instantly come to mind when you think of ARR. I guess you missed out songs from Roja from the first five years of ARR. We heard a different sound, differt kind of music, refreshing, something which we had never heard before. It surprised us..It had to be there.
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Lakshmi
August 27, 2007
First, what Srivatsan has said, how come you missed Kannathil Muthamittal…I thought both the title tracks and the Siriya Rettai Vaal Sundari were marvelous. After so many praises, i really do not know what to say of your posts. I dont think you need to be told how brilliant you are in your writing. 🙂
One mention about ARR here is that he has also done a lot of hanky panky stuff by happily transporting some of his already-hit-tunes to the northern region. Some of which that come to my mind immediately are the ones from the Akshaye Khanna starrer-“Doli sajake rakhna”. The songs were lifted from a Tamil film (name escapes me now!!) with Prashant and Simran in the leading roles. Even the songs in Takshak were re-used for some Tamil movies…., then the tunes from En Swaase Kaatre tunes were re-used for Hindi movies (one song was used in Pukaar — Naujawano…)Actually, I can just go on with the list.
No denial that ARR is brilliant…but after his these types of work, you just feel, complacency is part of his character too….
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Suresh Krishnamurthy
August 27, 2007
As usual evocatively written. I was an Ilayaraja fan who instantly fell in love with Rahman’s new music and new sounds. Duet and Thiruda-Thiruda in particular standout from the early days after the thrilling Roja and Gentleman double act. However, I do feel letdown. I personally feel that Rahman never climbed peaks that Raja did in his time. A simple exericise of listing out Raja’s top 30 and comparing it with Rahman’s top 30 would prove my point. This is not to belittle Rahman’s achievements. Just my feeling as a lay listener, a paamaran as they say in tamil.
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turrtle
August 27, 2007
Aha .. somebody actually (at last!) recognized the album “Mangal Pandey” for what it actually is.
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brangan
August 27, 2007
Thank you all, for the nice words, and especially to Zero.
Shankar: But 30 years of Raja would have been last year, no?
Jesse: Is that such an unavailable song? It’s all over the web, plus in a recording I have too.
Ravi K: Thanks for that bit of nostalgia. Wasn’t Indhu the album with a terrific gaana number, one set in the open amidst a lot of elephants?
satchit: I enjoy Yuvan (Paruthiveeran was a good score) and Harris too, but one composer who is very underrated is Karthik Raja. Though he just doesn’t get to do many films…
prakash: Ah, Nirmala Shyam. Thanks.
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Tambi Dude
August 27, 2007
Suresh, If one makes a list of good songs of Raja vs ARR, Raja wins it easily, even though there are lot of junk songs by Raja. I for one would put 80% of his songs as junk. But the rest 20% itself is a huge list, given that he has composed 800+ films. ARR, for his very low output, should have a higher % of good songs, but alast it isn’t. He has the same ratio of bad to good songs.
In the last 3 yrs, I noticed that I like less than 5 songs of him. That’s miserably low.
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Ravi K
August 27, 2007
Lakshmi, to his credit, the last time ARR reused tunes was in 2004, when he reused some Rhythm tunes in Lakeer. I think he has made a conscious effort to refuse when filmmakers ask him to recycle tunes. BTW, I think Doli Saja Ke Rakhna came first, then Jodi in Tamil, which had the same songs.
Baradwaj, I don’t remember any of the songs in Indhu having elephants in the picturization. But the songs were all the rage back then.
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Dips
August 27, 2007
Loved reading this while listening to all the songs. Helped fill in the gaps in my collection too. Thanks.
PS: Its also a good introduction to his tamil work. My brother got a few cassettes somewhere between Roja and ‘Urvashi Urvashi’, wore em down and lost them.
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Dips
August 27, 2007
Oh and somewhow you’re now reminding me of post-climax Anton Ego 🙂
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Kumar
August 27, 2007
Great post! Nothing more to add than what has been discussed before except that Andhimandharai would be in my top 5. It has to be the most underrated of Rahman’s albums. Swarnalatha is just brilliant in it.
Little off track, but it is amazing how Rahman’s career almost mirrors that of Sachin Tendulkar’s – entered with a bang in the early 90’s, Brilliant to flawless in the mid 90’s and constantly reinventing themselves in the 00’s!
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Vishnu
August 28, 2007
Great article..It brought back some nice memories for me..Thank you..
Considering the 15 year span, I guess the list obviously varies from person to person..Its nice to see you mention about songs from not-so-popular movies..Narumugaiye from Iruvar and Oh Venilla from Kadal Desam will be on my list..
Couple of comments about Rahman..
1) In the earlier days, 5 out of 6 songs in an album used to be hits..But in the recent years, that frequency has gone down a little..Ofcourse for every ‘Sillendru Oru Kadhal’ there is a ‘Rang De Pasanti’, but I still feel the difference..
2) Earlier he was not careful about whom he works with and some of his great songs didn’t get due recognition because of the commercial failure of the movies..He seems to have corrected that now, for the most part..
What’s your take on this ?
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satchit
August 28, 2007
BRangan, thanks. Going to check out some Karthik Raja’s works.
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Vinod Rajaram
August 28, 2007
Awesome!
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Babs
August 28, 2007
BRangan,
Simply genius…excellent write up.
Tambi Dude,
“If one makes a list of good songs of Raja vs ARR”
U called for it…why dont you compile a list?..u can justify ur stats.
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Aditya
August 28, 2007
Great to find ‘Rasiya’ in your list. I feel that’s a terribly underrated song.
I personally think that Rahman composes some great qawwalis, and was a bit disappointed not to find either Piya Haji Ali from Fiza or Ye Barq-e-Tajalli from Meenaxi. Anyway, that’s a matter of personal choice…
A great article, nevertheless.
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Srinivas
August 28, 2007
Wonderful post baddy! Glad that u mentioned ‘Khamosh Raat’, which most people wouldn’t have heard. (why dint they dub this song in tamil when they dubbed ‘Rang de’, ‘Bhoondon’ and the wonderful ‘Dheem Ta Dare’, although they were in a vetti film?). N, I thought both Strawberry and Veerapandi (don’t they rhyme well?:D) had super symphonic arrangements.
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Shankar
August 28, 2007
That’s true, 30 years would have been last year. Guess we all missed that landmark!! 🙂
BTW, I love Ooh la la la!! It’s a wonderful way for bands to display their talent and get an opportunity to record in Rahman’s awesome studio. It’s another feather on Rahman’s cap that he lent his name to this initiative!!
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Qalandar
August 28, 2007
What a superb piece indeed, in its own way a tribute to Ilaiyaraja almost as much as to AR Rahman. Never has list of ARR’s “top songs” differed so much from one I would have put together — and yet felt so right.
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Vijay
August 29, 2007
Baradwaj, a very enjoyable piece to read on Rahman. Reading through that list triggered off quite a few memories. Nice selection. (I am glad that there are many out there who enjoyed “Yeh jo des tera” as much as I did) But then, you are the kind who can probably easily do a writeup on Ajith’/Vijay’s movies or Deva’s songs and still make the reader empathize 🙂 So writing about an artist of Rahman’s stature is perhaps a cakewalk. Wish you could do this for some of the other greats too, whom you have enjoyed.
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Jenny
August 29, 2007
Will i fall utterly in love with Rahman’s music after reading this aritcle if i wasnt doting on it till now?? Sure i will!!
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Anand
August 29, 2007
Awesome post! And i now have some good listening material to go through in the next few days/weeks as I work through your list 🙂
I love the way the ‘ARR + Patriotism’ combination works, be it Swades, RDB, etc. He almost always cracks it. Also the way how, every now and then, he comes up with stuff which has this amazing ‘new age’ feel for its time – eg. ‘Shakalaka Baby’ (Mudhalvan), ‘Fanaa’ (Yuva – most of the other songs in this album as well), heck, even ‘Hello Mr Edhirkatchi’ (Iruvar)! One of my all-time faves from his earlier work is ‘Thee Thee’ from Thirudaa Thirudaa (is that Keith Peters on the bass?). I also like many of the songs he’s sung (in that typical high-pitch…key of F or F# i imagine!)
I however believe this guy can’t do BGM’s for nuts (though this is a conclusion I have reached after watching only a few of his films). His habit of using the melodic lines of a couple of the most catchy songs of the OST arranged and played back as BGM is konjam sad (case in point – Alaipaayudhe has ‘Snehidane’ played back in some arbit orchestral strings arrangement as part of the BGM, i remember how badly it rankled on the ear)
For some reason I always have believed that ARR has underplayed his music writing skills to achieve a simplistic mass-appeal effect. For instance, he writes a tune as good as ‘Kurukku Siruthavale’, and then the soporific flute interlude(s) … can put me to sleep in 60 seconds even today! I honestly believe the man is capable of much more!
I want to reiterate, though, that he is still a maestro in his own right. Very strong in melody, and an amazing imagination in using sound. Good stuff!
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Kalyan
August 29, 2007
Very nostalgic for a guy like me who has
been following ARR for the whole 15 years.
I read the article listing to most of the songs(Telugu in place of tamil) in parallel.
Excellent writeup,thank you,
Kalyan
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selva
August 29, 2007
// you are the kind who can probably easily do a writeup on Ajith’/Vijay’s movies or Deva’s songs //
vijay, how would it be if he stays away from commenting about WCM DEVA 🙂 whose trend was stopped by ARR 🙂
I think Baradwaj won’t have any problems in writing about Ajith movies like Vaali, Mugavari, KKKK, Varalaaru etc since he atleast has something in him 🙂 similiar to high-profile DEVA who copies things from WCM 😉
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karthik
August 31, 2007
“…karthik raja, blah blah…”
Amen to that baradwaj(or Rangan?whats your given name?). Very underrated and under-utilised. Ullaasam, Dum Dum Dum, and the lesser known Album, not to mention Grahan stand testimony to his potential. If only someone could tap that…
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sachita
August 31, 2007
huh….It isn’t really fair to make your readers suffer withdrawal symptoms, you know.
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Ravi K
September 1, 2007
Anand, I agree with you that ARR isn’t the greatest at background scores. But then again, background music was never really a strong suit of Indian films anyways. They’re usually too overbearing.
But have you heard ARR’s score for Warriors of Heaven and Earth? I haven’t heard it in the film, but as an album its very good.
He’s given a few good scores, like Lagaaa and RDB. IIRC Dil Se had a good score as well.
One bone I have to pick with ARR is his use of North Indian singers in Tamil films. He’s not the first South Indian composers to use North Indian singers, but he made it catch on in a big way with other composers. While Udit Narayan sounded good in Kadhalikkum Pennin, he sounds bad in just about every other Tamil/Telugu song he has sung. Same with Madhushree. Sadhna Sargam is hit or miss. ARR has ruined some otherwise good songs by using singers clearly uncomfortable in Tamil.
Baradwaj, when can we expect your review of RGV Ki Aag 🙂
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Hu
September 1, 2007
selva…if u meant ilaiyaraja as WCM deva…then is rahman WM deva??? No pnt in explaining to you…moreover “Ajith movies like Vaali, Mugavari, KKKK, Varalaaru etc”.and you talk about ilaiyaraja as high profile WCM deva…this is blasphemy…ajith is a mediocre actr while Ilaiyaraja, A R RAhman are legends,..yes they have inspirations from WCM, Carnatic, sufi, etc…but they improvise and produce brilliant soundtracks…while ajith is just a NOBODY…
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Lakshmi
September 1, 2007
Ravi: Thanks. I do remember that he stopped reusing the tunes. And, am glad he did so. 🙂
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Venkat
September 3, 2007
July Maadham Vandhal isn’t Spanish Guitar, it was played by “Guitar” Prasanna, the Carnatic musician, on his acoustic, and yes, it is just a fabulous opening!
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selva
September 4, 2007
Hu,
Huh >> ?? Yes, I referred to IR as “WCM DEVA” since Vijay was clubbing Ajith along Deva and that is weird.
Ajith is a mediocre actor for you. Like that, IR is a WCM Deva for me. 🙂 and he is just a NO BODY ! 😉
PERIOD
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Hu
September 5, 2007
No body? or Nobody..duh Learn to spell!
Yes..for you. IR is a No Body..anything that makes you happy, baby..
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Anonymous
September 7, 2007
Hu,
😉 Both are correct imo 😉 , and thanks for the spelling suggestion. Nobody & No Body = IR 😉 like high profile Deva 🙂
For u, IR is a legend and Ajith is not in that league ! For me, Ajit is in a diff league and IR is in the league of Deva (WCM) 😛
I hope both of us can be happy for our preferences 😛 and move on
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rama
September 7, 2007
i would have rated ‘yengai yenadu kavithai’ from kandukonden as the most mournful song instead of ae ajnabi.
sadly ‘thee thee’ and ‘rasathi’ from thiruda thiruda and may madham didn’t catch your fancy.
But thanks a lot for the list 🙂
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selva
September 7, 2007
oops,
sorry baradwaj, posted it without my usual id 😳
Anyway,
Article is pretty good
I was pretty happy to SEE this line in your article
IMO, Ney York Nagaram is much better than Munbae Vaa.
Too bad that, it lacked the regular “cun* pleasing” stuffs like Munbae Vaa and thanks to the picturisation that raped the songs literally
Why no words on the next 10 years ? any predictions 😛 or I should redirect this to an astrologer ? 😛
// New York nagaram (Sillunu Oru Kaadhal, 2006): Because it’s got to be one of the most stylish, least sentimental boy-misses-girl ballads ever. From the masterful use of the female backup singers to the soulful sax interludes, not a thing is out of place. The only discordant note came from seeing it on screen. //
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Praveen Premchandran
September 9, 2007
Beautifully crafted essay (or blogpost..)
You have a knack to notice some of the lesser-knowns of Rahman, including Kangalaal Kaidhu Sei and En Swaasa Kaatre…
And the fact that you added some of those hindi numbers such as Yeh jo des hai tera from Swades in shows that you know ur Rahman pretty well… I would love to listen to a podcast if u decide to do one, featuring all of Rahman extraordinaire!!!
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Amol Tarte
September 12, 2007
Great Courtesy!
I’m also a big fan of A. R. Rahman.
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divyesh
September 27, 2007
hi
i want to know that a r rahman was related with haji ali dargah at mumbai?
when he first came to mumbai he had not get success but after praying at haji ali he changed his religion to muslim?
is this right & i want to fully description….
plz any know then reply me link..
thanks
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Anton Yelchin
October 25, 2007
Hi there…Thanks for the nice read, keep up the interesting posts..what a nice Wednesday
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ANISH
October 26, 2007
hey, superb picks mate, though i would have added some more songs like….
1,ishwar allah- 1947 EARTH
2,THEENDAI- TAJ MAHAL
3,vidai kodu engal naade- kannathil muthamittal
4,taal se taal mila – taal
5,kannodu kanpathellam- jeans
6,mere dil ka woh shehzada-kabhi na kabhi
7,dheeme dheeme- zubaida
8,khoyee khoyee aankhein- tehzeeb
9, khamosh raat- takshak
10,khamoshiyaan- one 2 ka 4
and many many more:)
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ANISH
October 26, 2007
sorry THEENDAI from EN SWAASA KATTAI
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Indraneel
November 2, 2007
What do I say, brangan..you have left me speechless…more than trying to remember all those songs, I went into raptures reading you..passion..that is the single word that comes to my mind reading you..I do not have too many passions myself but some of them are:
Frederick Forsyth, RDBurman, Kishore Kumar, Suketu Mehta, ARRahman, David Lynch, George Clooney, Naseeruddin Shah, Nishikant Kamat, Waheeda Rahman, Rekha, Satyajit Ray, Gulzar..
I add youto this list from today..You are up there with them..my friend!!
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Ashwin
November 10, 2007
A R Rehman Rocks..
I am soon going to upload many of his songs.. and many videos of him on my site..
Check it out in future for further releases..
http://www.theburningsoul.com/
And for all the critics and everyone out there if there is a god … its A R Rehman!
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Arun Kumar Mohan
January 7, 2008
Awesome! Awesome!
I think you missed out on…
Anbe Sugama from Paathale Paravasamey
and
Sonaalum ketpadhilai from Kadhal Virus..
and in Hindi Chinamma Chilakamma from Meenaxi! Also Kalbali from RDB.
Otherwise all ur songs match with mine 🙂
What Happened to Duet? Naan Padum Sandham..
And last but surely not the least.. Oruvan Oruvan Mudhalali from Padayappa ( Coolest Rajini intro ever!)
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EntertainMe
February 8, 2008
Just finished a rewatch of Lagaan because I had nothing better to do.
Is it just me or a lot of the impact of each of the scenes of the movie had a lot to do with the BGM.I mean it could be snippets of the songs but the way he renders them it is almost as if the scene demanded the music.
Also when it comes to pure melody without the instrumentation I think IR and ARR are on par.Again art being pretty subjective I think that is what I feel
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Mohan
May 13, 2008
Good article. I enjoyed reading it. I have just started blogging about TFM at: http://7swara.blogspot.com
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Mahesh.G
July 15, 2008
I don’t know what made you to bring A.R.Rahman along with legends like M.S.V. and an immaculate Illayaraja. May because of the popularity. He became more popular when the media was gaining momentum in India. Im not denying that A..R. Rahman is a good music director but he is not certailny not a legend at all. It’s an insult to legends.
Infact A.R. Rahman initiated the downfall of the richness of Indian music especially Tamil movies and music directors like Deva finished it off. Now with jokers like Immam,Srikanth Deva and Illayaraja’s own son Yuvan Shankar Raja the cine industry is likely to have a long starvation of finest musics. Music spoilers like Srikanth Deva compose noise which suits for slum people who drink and dance on the streets. Infact this was started by A.R.Rahman itself in the song PETTA RAP. That’s why I said that M.S.V and Illayaraja should not be compared with A.R. Rahman. May be you could have compared A.R.R with Deva and certainly not with M.S.V or Illayaraja or R.D. Burman or Naushad or Devarajan or Raveendran (The latter were finest Malayalam music directors).
Sorry for my critical comments. Though you have done a good job in describing M.S.V and Maeastro I feel offended when people compare A.R.R with legends like Illayaraja or Salil Chowdhry. To me his Vande Mataram song is the worst patriotic songs by any Indian music composer.
Anyway I welcome more such articles because everyone has the right to say their opinion and leave it open for discussion.
Bye for now and have a nice day.
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Messi mohammad (canada)
October 3, 2008
Hi….A R RAHMAN’s sucess says it all…no more discussion He is god of music….no comparison with IR.IR had experience for 600 films and ARR only 100..ARR Rocks and is going to rule music world as he is doing…Give him 600 films then see the comparision still no one is comparable with his sucess neither IR or anyone…A R RAHMAN is simply “GENIOUS”…
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Shaz
October 9, 2008
Excellent trip down the memory lane.. thnx…
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Kaushik Roy [kaushikroy22@gmail.com]
December 6, 2008
I am a huge fan of A.R. Rahman.Yesterday when i listen to the track of Lion King’s ” Who do you love? who do u need when you come undone….” found similarities in opening tune of “Guzarish…” of Ghajini and theme and also background score of the total album.I have heard it several times before come to conclusion ARRahman has copied the tune of “Guzarish…”of the film Ghajini from Lion Kings track.
Now i can say most of the track of the film were inspired by the song of Lion king like “kaise mujhe..”-a track of Ghajini but Rahman somewhere used different tempo & also used different instruments to make it bollywood type.
Some variation was made by putting some new tune and feelings to it.
But it fails to prove original. This may be the work load that made him doing that. But a legend like him should not do this.
Just follow the link>>>>>>>>Listen to it and beleave it…
http://in.youtube.com/watch?v=krTQI8WFY5U
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archana
December 6, 2008
great post! the list of songs gave me goosebumps and now i am lookin for my ipod!
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francis joe
January 10, 2009
a very erudite and lucid piece of work rangan, I have been following rahman’s work from his dileep days, right from nemesis avenue concerts. It irritates me to blinding rage when the comparison games bubble up in forums. The two, IR and ARR are diametrically opposite when it comes to approaching a song, ARR follows the KISS principle and then build layers and layers above and below it, if anyone works on computer based sequencing like logic, cakewalk etc would know where i come from. IR’s mind brims with multi layered conversations of multiple instruments when he thinks of a song. This comes from his initial years as an arranger, thinking up of musical pieces to embellish the composer’s basic direction. years of classical influence, especially baroque counterpoints fused with carnatic ragas, Raja discovered a new sound. No doubt Salil choudhary’s influence of bringing western orchestration with an indian sensibility was evident in Raja’s early work, but raja was the owner of his own sound, much like rahman later. The common binding character of both was a sense of spirituality they bring into work. As professionals we all know how divine it would be to have our minds blank and clear when we are out to accomplish a task, its tough, but both these guys have managed to see the bird’s eye like arjuna.. or like a tendulkar or a michael schumacher.. nothing but the game.. no cheering crowds, no fame can come in way of the divine dedication to express through music. I don’t know if you guys feel it, you can hear god talk to you at times through sublime pieces of music, maybe musicians are used as the medium of the gods to speak to us.
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Hari
January 11, 2009
Wonderful post sir as always [:)]
Reading your posts always makes me run short of words(especially adjectives as I get flummoxed about which adjective would suit the post the most as later I might feel that they have done injustice)..
Did you happen to hear the latest album ‘connections’?
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Bala
February 3, 2009
Could not believe that someone else also has Khamosh Raat and Do Kadam aur sahi on his Rahman’s fave list.
My brother once sang Khamosh Raat in an Antakshari and his friends dismissed the song as his ‘dimaag ki upaj’
And anyone who borrows my mobile to copy or listen songs is forced to listen Do kadam aur sahi.
And now, its Mann Chandre
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A Fan Apart
February 26, 2009
Loved your description of Hariharan opening vocal in Nahin Saamne. ‘Dil gira dafatan’ from Dilli 6 seems to have the singer in a similar predicament.
I’d written about my own top 10 list from amongst rahman’s hindi tracks. If i had to re-do it today, would definitely get Masakkalli in there somewhere…
http://fanapart.blogspot.com/2007/11/ten-best-ar-rahman-film-tracks_09.html
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sivushaghanthi.s
March 15, 2009
#
Hi….A R RAHMAN’s sucess says it all…no more discussion He is god of music….no comparison with IR.IR had experience for 600 films and ARR only 100..ARR Rocks and is going to rule music world as he is doing…Give him 600 films then see the comparision still no one is comparable with his sucess neither IR or anyone…A R RAHMAN is simply “GENIOUS”…
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Nachis
August 31, 2009
Hi
Nice forum to put my comments.
I watched IR since 81 and enjoyed his songs but never a fan of him. But I was once ARR fan and later I changed and become IR fan and here are my points.
Noway ARR is comparable with IR. IR is Maestro. IR is Genuis of Genuis. We accept that ARR is genius and achieved what IR/others did not achieve. We salute ARR for this. But this does not mean he is better than IR.
If u see the IR Songs of 80s u can find many things which ARR did not do. IR, with his songs alone, run several films like Payanangal mudivadillai, Ilamai kalangal, idaya kovil, karagattakaran etc… and so on. With ordinary story he has given life to these films. Not only that… He has given life to many actors like mohan, ramarajan, Rajkiran,Murali in beginning stages and directors R.V.Udayakumar, Raj Kiran… Without his music these people might not have comeup in the field.
Contrary to that ARR has never made a film success by his music alone. He selects top actors and top directors and some very good story films. ARR is much talented but short of confidence to give music for ordinary films whereas IR ,if he likes story, never mind who is the person.
IR was very approchable to all even when on the Peak and thats why he could give 600 films. ARR has made himself so demanded and beyond reach of simple actors/directors. After entering Hindi film industry, he avoided many tamil films and to few people only he doing music. Why he is not doing music after winning OSCAR? Becos he is not approchable easily.
IR copied music from english/tamil films but may be 1%. ARR copies his own songs and nowadays several songs are reproduction. ARR is fond of awards but IR never chased awards. IR not even applied for PADMASHREE award when he was asked to give bio-data for award.
Can anyone imagine a music for NAAN KADAVUL other than IR? In forthcoming movie NANDALALA, last 40 mts of climax the film has only Music which is the first time testing in the industry. Can u imagine such thing with any other one including ARR?
Can u hum any song of ARR? U can hear and not to sing/hum. IR songs you can enjoy, sing/hum. Thats the difference. IR has done all research in Music in all types but ARR has to go a long way to do that.
ARR’s success is attributed much by the Media but Poor IR has not that during his peak days. IR has enjoyed people of south (tamil,malayalam,telugu,kannada) and not interested in Hindi.
In controversies also ARR scores high. After reaching peak in Hindi, for tamil films he delayed the songs, delayed background music, works only in night, even refused a AYYAPPA song in BOYS film by Sankar (this song was composed by another MD).
But ARR is very polite and never quarelled with anyone. IR quarelled with many directors ,all EGO clash,
and that triggered his downfall.
Tamil industry (TI) Music is advanced and different from Hindi. TI demands different music every day. IR was king in TI and ruled for 15-18 years (monopoly). ARR has became demanded MD but could not became NO.1 in TI. IN Hindi he is the King. This is the diff between TI and HI. Big Actor Vijay opted not to go with ARR after AZHAGIYA TAMILMAGAN with other 2 films Kuruvi and Villu. The songs, except 2, are crap.
One more thing. Whoever supports ARR are mostly young and did not hear the IR songs. Who supports IR mostly not liked the present noisy sounds.
Sorry for such a lengthy column..
IR is always far better than ARR and noway comparable.
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Janarthanan V
October 13, 2009
Comparing Ilayaraja with ARR is incorrect and stupidity. ARR depends a system a bunch music-softwares to compose his music which does matter, mostly special effects. IR composes music manually and partialy. Instead, we may compare IR with Computer that is the right comparison. Early, 1992, ARR used computer and composed ROJA which was amazed us, but now you see it has become common, small kids musics like ARR and he lost the market already. There are 1000 musicians, ARR does not make any music at all. What he has does? First let him create some ‘Therukootu Pattu’, ‘Kiramapura paatuu’,’Karnatic Music’. Somewhat we can compare IR with MSC,K V Mahadevan. Pl note oscar award is nothing and do not pride on that, indian has to say to world who is music king not outer world and they may be best in technical thats not at all related to music. So please stop comparing the great IR with ARR and he is nothing. IR has done everything and nothing he left for anyone.
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Nagin
January 2, 2014
After 15 years, what happened now Mr.Bhardwaj? idhellam oru maayai.
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blaadhron9
June 6, 2015
ARR is still going strong, which is a nice sign.
To answer all the criticism:
Also after 15 yrs Ilayaraja had composed 600 films, whereas ARR has just completed 100.
So what? Johann Sebastian Bach has set music to around 1000 musical compositions, while Ludwig Van Beethoven has composed much lesser than that. Does that make Bach superior and Beethoven inferior? They are great in their own ways.
ARR depends a system a bunch music-softwares to compose his music which does matter, mostly special effects.
Have you listened to Kaaviyathalaivan? What proof do you have to make this statement? Even if he does use technology is it a problem? As long as the music sounds good is it a problem at all?
IR copied music from english/tamil films but may be 1%. ARR copies his own songs and nowadays several songs are reproduction. ARR is fond of awards but IR never chased awards. IR not even applied for PADMASHREE award when he was asked to give bio-data for award.
Oh boy, now you are joking. All music is recycling. You say that ARR copies his own songs, but so does Ilayaraja. I could point out to tons of examples. But let’s leave it there. As for awards, did ARR claim that he chased after awards constantly.
Big Actor Vijay opted not to go with ARR after AZHAGIYA TAMILMAGAN with other 2 films Kuruvi and Villu. The songs, except 2, are crap.
This is the biggest joke. ARR gave a good effort for Vijay in ATM, but the story was horrible. Of course Kuruvi was even more horrible.
To put it bluntly, most folks feel பொறாமை (jealous) because of AR Rahman’s success. I listen to both Ilayraja’s songs and AR Rahman’s songs and feel that they are great in their own ways. I can also point out their weaknesses. To put down any composer, just listen to the music and enjoy.
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the3riad
February 23, 2016
To those who talk about ARR being Tech Savy. I would suggest you to listen to Sowkiyama froom Sangamam ..
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tonks
February 24, 2016
Sensual, passionate writing. Loved the post. Is there a similar post in this blog anywhere for Ilayaraja? I wish the Hindu forced lists from you the way these New Sunday express guys used to :).
It’s probably because it must be difficult to choose a few songs out of so many superlative ones but I’m a little surprised that the throbbing- with- untold- desire “Thanga Thamarai” from ‘Minsara kanavu’ did not make the list.
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Anu Warrier
February 24, 2016
I came to this post because I followed tonks from the sidebar. 🙂 And it made me realise just how many of your earlier posts I’ve missed because you don’t have an archive section. 😦
>>>…and even without realising it, we fell in love all over again.
What a lovely way to put it! I used to write ‘the slippery slope of cinematic infidelity’ when I wrote of my love for different heroes/music directors, etc., but this is definitely more accurate!
I’m so glad to see Khamosh raat, Do qadam aur sahi, Rasiya, Kya kare kya na kareand Ae ajnabi in this list. Thakshak had a fantastic score – it was just out of place in the film.
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tonks
February 24, 2016
Seeing that not one of these commenters are regular now, is a little like visiting a graveyard and facing your own ultimate inevitable mortality 😉
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Sutheesh Kumar. P. S.
February 24, 2016
Music is Music, forget the genres and artists, primarily the music should speak to us.
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lakshmi
February 25, 2016
tonks: ” Is there a similar post in this blog anywhere for Ilayaraja? ”
BR was asked something similar in the comments section here:
his reply-
“Now that would be a mega project. But I guess it will have to wait until something comes along. Even with ARR, the pieces came about becauss of the 15-year completion, and then because of the Oscars.
But here’s a completely off-the-top-of-my-head list-of-ten, if you like (I’m not breaking this down into genre, era and so on):
1. Chella pillai Saravanan — Penn Jenmam
2. Kanavu ondru thondruthey – Oru Odai Nadhiyaagiradhu
3. Ennai thottu — Unnai Nenachen Paattu Padichen
4. Maanada kodi poovaadum — Mudhal Vasantham
5. Uravenum pudhiya vaanil — Nenjathai Killathey
6. Vedham nee — Kovil Puraa
7. Ada machamulla — Chinna Veedu
8. Megam kottattum — Enakkul Oruvan
9. Radha azhaikkiraal – Therkathi Kallan
10. Pothikittu oothuthadi — Paayum Puli
As I said, very random list, but some of my favourite songs 🙂 ”
Have you read this post?
“the godly Yerikarai poongaathe, which, despite being sung by KJ Yesudas, is no solo but really a duet between the singer and the flute.
KJY: Yerikkarai poongaathe…
(Flute: Yeah, you talkin’ to me?)
KJY: Nee pora vazhi thenkizhakko…
(Flute: Perhaps. Why do you ask?)
KJY: Thenkizhakku vaasamalli…
(Flute: What about it?)
KJY: Yenna thedi vara thoodhu sollu…
(Flute: Hmm… lemme think about it…)”
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tonks
February 25, 2016
Thank you so much, lakshmi.
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Rahini David
February 25, 2016
Tonks: “is a little like visiting a graveyard and facing your own ultimate inevitable mortality”
You could have gone with “Seeing the yearbook of an elder brother – same school, same teachers (looking younger than you remember them), similar experiences, but just weirdly different”
You, like BR, are a bit tetchy about time.
🙂
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apex
February 25, 2016
I like those eyes- Btw who is the owner of these eyes..?
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tonks
February 25, 2016
You, like BR, are a bit tetchy about time.
Rahini : I’ll take the “like BR” as a compliment 😉
Thanks for the link to that interesting post. I was laughing out loud at a commenter there who says (to BR), “With your tetchy take on time, you have literally pissed all over my anniversary present”. And I was imagining him doing that. Literally 😀
Seriously though, I think when you get really, really old (I’m thinking here of a relative who died at 99 years recently) even if you are relatively healthy and pain- free, like her, you may start welcoming death just because most everyone you can talk to, all your contemporaries (siblings, parents, friends, cousins) are dead. At least, that is how it was for her.
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brangan
February 25, 2016
tonks: Your comment made me curious and I took a look at the commenters above. A lot of them weren’t regulars then. Probably the Rahman angle made them comment.
Anu Warrier: I do have an archive section, no? By month, and by category… (See sidebar)
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tonks
February 26, 2016
Couldnt find that post on fb but from today we have five other options other than ‘like’ on fb.
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Anu Warrier
February 26, 2016
@ BR (Anu looks sheepish.) Will make amends and go through every single post, one by one, when I’ve the time. 🙂
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KayKay
April 18, 2016
So……can we expect a “24 years of AR Rahman” to coincide with his similarly titled soundtrack for the new Suriya flick?
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rajrrs
June 15, 2016
I wish you write Conversations with Allah Rakha Rahman too. Every line made me nostalgic and smile so wide. So related to the lines you wrote. Thank you BR. Even New York times doesn’t have a good critic who writes like you.
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Swami
August 17, 2017
Wow!!! Just the way we felt during the transition phase – Raja to Rehman. Great writing.
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naveensankarblog
August 17, 2017
This article brought a little cheer and tear. I’m reading it at his 25 years. Lovely🙏🏽
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DN
August 27, 2019
Wow- BR it is indeed a trip down the memory lane for me. Your line above: “Because dud movies with great soundtracks deserve recognition too (see also No. 14), and because if there’s anything that epitomises the zest-for-life that Shankar Mahadevan brings to his singing, this qawwali-folk song cross-breed is it. Just watch him soar to Kaaveri karayil in the first stanza… ”
That kaveri karayil moment was exactly like you describe it. 🙂 🙂 But as long as dud movies and Shankar Mahadevan is discussed, remember Parthale Paravasam??? For the love of me I cant imagine what went wrong in this movie. KB must have had a ghost. But I digress. I loved the song Manmadha maasam. Really was one of my fav. Would go on infinite loop. Something in that song- but not the video. Think about it, I also like the song that goes on in the back ground during the climax of the movie- athisaya thirumanam I think.
(Coming out of the closet moment now..) There was another loser movie for which ARR did the music. I forget the name of the movie but I think Tarun and Trisha (??) acted in it. Edo edo ondru is one song that really stuck in my head for many years now. And reluctantly, I cant help but smile when I listen to “Sandipoma”.. 🙂
For me ARR was someone who made music beyond “analysis”. He made me really not think of ragas. I think that’s a feat considering how a compulsive mind such as mine would try and decode, he just made me listen to music for what it is. And nothing else. Basically stop pattern recognition. It took many songs. But I did get there. 🙂 🙂
You should do more music write ups, you know??
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Aran
August 30, 2019
Aren’t we past due for a part 2 to this list, BR? It’s been more than 10 years since the last song in the list!
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Madan
March 7, 2021
Thought this would be a good place to post this. Gave a shot to Thoda Thoda Malarndhadhenna. One of my favourites of his, love the mix of almost delicate sentimentality with a quiet but intense longing.
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Voldemort
May 17, 2021
I dont know how I stumbled upon this lovely lovely piece. Damn. The descriptions for each of the songs are so full of love and so beautifully written that I had goosebumps all through. Not exaggerating one bit when I say that this article made my day and I am smiling so broadly. Thank you BR saar.
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Anand+Raghavan
July 20, 2022
Stumbled upon this almost at 30 years of Rahman, just a month away since Roja released in 1992 Independence Day. After first 2-3 movies of his became a rage, i have heard people who told he will fade away after 5-10 films. But here he is going strong in 2022 with many releases lined up and we could here melody again In Tamil Film music e.g Iravin Nizhal, Vendhu Thanindadhu Kadu etc. And we haven’t heard what he has done in PS yet.
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