THE RIGHT PLACE, THE RIGHT TIME
FEB 1, 2009 – WE HOPED FOR ONE OSCAR NOMINATION, and he ended up with three. How else can one celebrate the awesomeness of AR Rahman’s achievement than by appropriating the season’s catchphrase-cliché: Jai Ho! I’m also happy for Resul Pookutty, a name I’ve been noticing in the titles of most prestige productions of late, and especially ecstatic for that genius wordsmith named Gulzar. Yes, please note that I said “genius.” I’m making a point of explicitly mentioning this because when I last wrote about another genius – Rahman (and his Golden Globe achievement) – I’d made a case for his success being a result of his being, at all times, at the right place and at the right time, and quite a few readers misread this as taking away from the composer’s genius.
That’s the last thing I wanted to do – for the Tamil film industry has been blessed with at least three incontrovertible geniuses in the musical front. I do not have to affix the tag of “genius” before the names of MS Viswanathan, who came first, or Ilayaraja, who followed, or now Rahman – you only point out things that need pointing out, and calling these composers a “genius” is like declaring that the sky is blue. We’ve had several hit-makers, musicians who’ve churned out songs that were on our lips for a month or two before getting consigned to the trash heap of memory, but this Trinity – so to speak – has left a mark on how Tamil film music will be perceived by posterity. If that’s not genius, I don’t know what is.
With the right-place-at-the-right-time thesis, I was simply alluding to the circumstances that allowed Rahman’s genius to shine through to the extent that it has. My primary point is this: he arrived on the musical scene when the country was expanding, when the world was shrinking, and when he could be exactly who he wanted to be without worrying if enough listeners would get his music. During the age of MSV and Ilayaraja, Tamil film music was for Tamil Nadu and the Tamils scattered worldwide. Very few non-Tamils had a clue what this music was all about because the film industry, the music industry, the country, and indeed the world, was split up into isolated pockets of locally consumed culture.
The audience for the music of those older composers was a vertical cross-section of Tamil Nadu, percolating from the cities downwards to the tiny little outposts whose names are familiar to us only through the films of Bharathiraja. And it is a mark of the genius of MSV and Ilayaraja that they were able to incorporate so many sounds and so many genres into their music – to pick examples out of a hat, think MSV’s big-band stylings in Ninaithathai nadathiye or Ilayaraja’s seamless assimilation of Carnatic and folk music in Thanaa vandha sandhaname – while still satisfying what you’d call the least-common-denominator listener, the Tamil equivalent of someone from the North who tapped his feet to massy Laxmikant-Pyarelal numbers.
But Rahman is a product of a different generation, the kind that never existed earlier – the global Tamilian, if you will, and by extension, the global Indian. And when it came to the kind of “sound” of his music – rooted yet not specifically so, Indian yet not alienatingly so – he had the extraordinary latitude of not having to depend on that top-down model (of listeners inside a state). He could, instead, get the same numbers of listeners (and perhaps more) thanks to a horizontal model, spread out across the surface, the cream, the upper crust of the state, the country and the world. He can, today, afford to appeal only to the equivalent of the consumers of multiplex movies – because even if there aren’t enough buyers for his kind of global music (think Hey, goodbye nanba) inside Tamil Nadu, the numbers are more than made up for by music enthusiasts across the country, and around the world.
Today, Rahman need not concern himself about the pan-Indian viability of – to take an example from his excellent soundtrack for Delhi-6 – the Sting-meets-Steely Dan ethos of Rehna tu. This is a global sound that is not going to find favour in the interiors of an India whose films (at least from Bollywood) have increasingly oriented themselves towards the tastes of upscale urbanites – and Rahman wouldn’t have been able to put out such a tune, say, twenty years ago. (Even if he wanted to, the director would have balked.) Such phenomenal freedom – to do exactly what one wants to do, and to be accepted and celebrated for the same – is surely a factor of the age Rahman is in.
The generalisations inherent in an analysis of this nature – and in a newspaper article of this size – obviously preclude exhaustive examples. When I point to Rahman’s “multiplex music” and his predominantly urban consumers, I understand that he’s as capable of crafting, say, the semi-classical Manmohana or the rousingly earthy Valayapatti thavile. But I suspect an interesting trend will emerge if we move away from the cities and conduct polls on the kind of music the people in the interiors are really swaying to. I doubt, for instance, that they would have the patience or the inclination to subscribe to the famous dictum of needing repeated listenings to get someone’s music – but the fact that Rahman doesn’t need to factor these considerations into his compositions, that he can just be himself, is a blessing, and this is what I meant by this (yes) genius being at the right place, at the right time.
Copyright ©2009 The New Sunday Express. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Vijay
January 31, 2009
BR I am surprised as to why you needed to write a whole column in print just to explain yourself to a few random posters who didnt get what you meant.Maybe your editor was flooded with a lot of hate mail or something?
BTW, Sting was the first name I thought of too when I listened to Rehna Tu. I thought even his New york Nagaram had Police-like qualities. Something about Rahman’s voice that reminds me of Sting in these songs besides the music. How about Masakali?
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brangan
January 31, 2009
Vijay: Yeah, that post got a lot of strange feedback, and it also gave me an excuse to expand on what I’d said there. Masakkali is fun, though right now, I’m in love with Arziyaan. Beautiful tune. Beautiful words. (“Marammat muquaddar ki kar do Maula” as if fate were something that could be repaired, like a table with a wobbly leg. Wow!)
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Arif Attar
January 31, 2009
…or a wall with cracks. Has that simile ever been used before in movies, or anywhere else BR? That was the first thing that caught my ear, even before the beautiful tune I think. Very innovative by PJ. The next flagbearer you think?
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Arif Attar
January 31, 2009
“But I suspect an interesting trend will emerge if we move away from the cities and conduct polls on the kind of music the people in the interiors are really swaying to. I doubt, for instance, that they would have the patience or the inclination to subscribe to the famous dictum of needing repeated listenings to get someone’s music ”
What about if you move across the seas to the Indian diaspora? I do some volunteer work for a local Asian radio station here in Newcastle. I get a feeling people really don’t appreciate the music of Rahman here. I am trying my best to convert them, but the people here are more into Yash Raj stuff and Bhangra. I don’t think the North-South divide exists in India itself when it comes to Rahman’s music, but it does overseas I feel.
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Santosh Kumar T K
January 31, 2009
“Bigadi Kismat Aapke Dar Par Sanvarti Hai
Are Qismat Sanvarati Hai”
no prizes for guessing where else this common thread of faulty destiny runs through! 🙂
Piya Haji Ali
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Karthik S
January 31, 2009
Sting? Steely Dan? Interesting! I thought Rehna Tu had extremely strong shades of Rai music – the mellow kind, from the likes of Cheb Mami and Khaled.
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Tejas
February 1, 2009
Why, oh why did you have to associate someone as boring as Steely Dan with Rehna Tu!!? 🙂
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Manish Parikh
February 1, 2009
Brangan, Prasoon Joshi has a way with words like in the song ‘Kala Bandar'( “Kasme to mungfali hai jab ji chahe tab hum khate, upar se nana karte par thaali aage sarkate”).
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Venkatesh Sellappa
February 1, 2009
Well said BR.
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brangan
February 1, 2009
Arif Attar: Yeah, I think he definitely has the stuff in him to become the next flagbearer. Much as I like Javed Akhtar’s verse, it just doesn’t slap you in the face with innovations that feel strange (at first) and yet utterly right.
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Muthuvel
February 1, 2009
// Interesting trend //
Yeah. As for as I have noticed, the kind of hysteric fans Rahman have are mostly from the cities, as you travel deeper into the interiors, not much following for Rahman’s music seems to exist. It’s Ilaiyaraaja’s melodies that rule (numbers out of which actors like Mohan made their careers, generally the casettes or mp3 cds compiled as Mohan hits, Kamal hits etc are such hot stuff out there) and in the next generation of composers they seem to have jumped straight into Harris Jayaraj (paartha mudhal naale, yaaro manadhilae et al) skipping the whole Rahman phenomenon. He is still seen as a ‘beats’ man 🙂 even though he has diversified his music well out of his initial ‘hit’ repertoire.
Ok, to the disclaimer part :), this is what ‘I’ have observed. I don’t claim to have done an AC-Nielsen style survey on this topic 🙂
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s
February 1, 2009
Baradwaj,
I am an Aamir khan fan and I did not get upset with your Taara Zameen par review.Though at that time, I did wonder why you would spend 3 paragraphs on the sudden change in the gear of the film.I felt it was quite disproportionate to the genuine parts of the movie.
I can see that you are just responding to it as you saw the movie, but still dont you think it is as much your responsibility to convey your whole approval or disapporval of a subject(without those star rating whcih i dont care much about).
Some People who criticized your reviews might have been new here and more used to typical indian reviews of report cards containing good or bad and a story rehash. Majority of compliants are from these section. Yet there are reviews of yours like rock on, drona which are just not lucid enough to even ever answer the qeustion of wheter you liked the movie or not.
Your last between reviews did not concur well with me as a Rahman fan. I do place Rahman above IR (Raj, you can just take your criticism of our personal choices right back to whatever that thing your head houses inside. Baradwaj might put up your 1000 comments on his perference of hindi over tamil others dont have to take your judgement on their tastes).
And i dont understand why you had to talk about the luck factor at this juncture, just for the sake of bringing in a different thought.
It is as much luck that IR moved from the remote village to the studios of kodambakkam! That and talent. always. it was the juncture and my own personal taste that made your article sound like sour grapes.
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raj
February 1, 2009
I thought the earlier article covered the same point better. This is a wasted effort – and ordinarily written, too :-).
S, I merely make the point that I think Hindi stuff is over-hyped than what it is – I dont deny that they make on an average better stuff now in the last 5 years. This doesnt mean I am pointing at an individual’s preference – merely the collective hype. Again, I explained all this very recently. The only person whom I probably have to apologise is Aditya, whose comment I had missed in entirety before after I read the one sentence I quoted. I read it actually when he requoted it and I must say, there I had made a mistake. Other than that, I dont think I am criticising anyone else’s personal choice as you put it.
Maybe I am forceful in making my point so you may be feeling that way . That is also fine. I dont mind you thinking that way. If you think that you have brains and I dont(whatever thing I have inside my head, nice sentence, sort of liked it), that is fine.
Well, IR won 3 National Awards and MSV didnt even one. Again, that was confluence of circumstances – at the peak of his career, Viswanathan didnt even have an institution called National Award to aspire to. As you say, there is destiny in even IR from Pannaipuram making it big in Kodambakkam. I thought that precisely was the point BR made in the previous article – and it is an indictment of his readers that he has to publish this follow-up to explain himself when a loyal reader might have known that this is exactly what he said last time.
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raj
February 1, 2009
Trinity is a term I recently used for MSV-IR-ARR in another forum. And that discussion veered into who is Thyagaraja among the 3. I personally feel IR would be the Thyagaraja for the raw emotional appeal at the first instance – it isnt a valid mode of analysis but I will have great fun if someone as qualified as BR actually tries to deconstruct this way 🙂
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brangan
February 2, 2009
Muthuvel: Yeah, I too have heard that Harris and Yuvan are really hot with the distributors. Their name on a project usually helps sell it all over the state.
s: reg. “It is as much luck that IR moved from the remote village to the studios of kodambakkam!” I am uncomfortable using the word “luck,” because that seems to signify something of a fluke. That is why I said “right place and right time.”
What is the “right place”? A global market that allowed Rahman to experiment with his sound. What is the “right time”? An age where the tools he needed to create his sound were available. An age where the corresponding recording technologies were available (which is far more important to ARR than IR or MSV, because even though their music would have sounded better with better recording, it wasn’t dependent on it to the extent that ARR’s was, in that the recording STYLE became a part of his sound).
Would Rahman — the “dude” that he is, as opposed to the older-generation composers like IR and MSV, who worked largely with live music — have been able to implement his ideas even ten years before he came on the scene? And even if he had, would the media of the time (without the Internet and all) have allowed him to reach the kind of audiences that would be able to enjoy this music?
If all of this came across as Rahman merely being “lucky,” then (as raj says) either I’m really a very ordinary writer, or you had your defensive hat on while reading the whole piece and that jaundiced your reading/inference. What’s wrong in standing back and trying to analyse someone’s career and put it in some perspective? And why does being a fan of IR mean that I cannot be a fan of ARR too?
Reg. “Yet there are reviews of yours like rock on, drona which are just not lucid enough to even ever answer the qeustion of wheter you liked the movie or not.” I agree. I need to work more on polishing my tag lines so they convey my opinion even if the review doesn’t.
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Shankar
February 2, 2009
Baddy, I think you’re doing just fine!! 🙂
Some people get it and some don’t…we just got to move on…
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Arijit
February 2, 2009
i read your analysis and what you have pointed out is absolutely right…if we take the example of delhi-6 thus OST sounds completely un-Bollywood…in fact it is one of the most experimental (yet fantastic) OST-s I have heard for some time….and in fact yes, I am not so sure whether Rahman has reached the interiors of India…where I think its still “Himesh Rulz….”;)…but Delhi-6 has once again proved the genius of Rahman (if it needed any more proofs..:D)
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raj
February 2, 2009
“If all of this came across as Rahman merely being “lucky,” then (as raj says) either I’m really a very ordinary writer”
I paused reading the comment at this point to clarify – when did I ever say you were an ordinary writer? In my universe, that term is reserved for other unworthies whose name you know very well since you frequently censor my comments on them on this very comment space :-). I merely said this piece was ordinary – maybe because this was a forced piece rather than something you really wanted to write. So, that is why I mentioned this(including this article’s ordinariness) is an indictment of readers of Sunday Express. How can you even think I am calling you an ordinary writer? Perish the thought, friend. In my universe, there are few better writers – yeah, PG Wodehouse, maybe but not many others.
Heck, I wrote this before – sometimes I feign interest in Cinema myself to get to read you. You think otherwise I’ll trot out to watch ‘Fashion’, if not for the pleasure of reading you after seeing the movie? No way!
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Magesh
February 2, 2009
Hi,
Did you have time to watch “poo”. I think this is the most underrated film of last y ear. I would love to see your opinion on “poo”. I wish there are more films like th is
Also I am hearing rave reviews about “Vennila kabaddi kuzhu”
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pulikesi
February 2, 2009
S,
//It is as much luck that IR moved from the remote village to the studios of kodambakkam! That and talent//
Sorry…His only aim in life while living in that remote village, was to compose music for Tamil films. Sensing his Ambition his mother sent him to Chennai wherein he learnt music, worked under various musicians and…then on tried getting to compose for a ‘film’ with many production houses… untill ‘Annakili’ Happened. This was not ‘luck’ it was his passionate drive which made him achieve what he is today. RPO and BSO etc., can be termed as being in ‘Right Place & Right time’ but not him being a composer in Tamil films.
‘Luck’ ( as you had interpreted from BR’s Article, though he had time and again repeated ‘Right time & right place’) would be something like this – ARR is a composer for AD films and MR was searching for a new composer, post some misunderstandings with IR. Remember though ARR plays in many orchestras including IR’s, he has no ambition to compose for films. MR was rightly directed to ARR where his search ended and ‘Roja’ Happened…and ARR had been repeatedly saying in many interviews that he didnt think he will go beyond ‘Roja ‘ and have promised himself that this will be the only film that he is going compose. (One of the reasons from his own words, I read is Films take long time to compose and he can earn more money in lesser time composing for Ad Jingles 😉 ) But ‘Roja’s success was an unprecedented phenomenon in Indian film music and there was no stopping for him from then on. He took up every opportunity that was presented before him, expanding his horizons and landing up today wherever he is. He is the perfect example for ‘Right time Right place’ if you want to call it ‘Luck’, but not IR.
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parthi.nv
February 2, 2009
I am from a place as interior as you get. I never felt isolated in being a Rahman fan. But among the music lovers around me there are two kinds- a) who love the songs of Rajini/Vijay/Ajith/whoever… (This kind is in majority). b) who love the songs of ARR/Ilayaraja/Yuvan/HJ/etc… In this group, Yuvan and Harris rule those who are in the colleges now and Rahman is the favorite of those who finished the colleges some years back.
After 2000, even though Rahman gave many hit songs in Tamil, the movies didn’t set the BO on fire, exceptions being Sivaji, New and Varalaru. That’s why he is not on the hot list of the distributors.
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brangan
February 2, 2009
Magesh: No, I missed Poo. But I plan to watch both VKK and NK soon, and perhaps write about them.
s: To add to my earlier comment, in IR’s time (the 80s), when he wanted to “fool around” with music, when he wanted to break free from the constraints of film music, he had to compose non-film albums like “How To Name It” and “Nothing But Wind.” But today, (multiplex) Bollywood has become so experimental that Rahman can “fool around” with non-film-style music WITHIN the context of a film album. This is again the “right place” aspect, and where “right time” comes in is that there is a national/international media that lovingly follows his work, whether film or non-film. How many today would have heard of “How To Name It”? Now think, how many WOULDN’T have heard of “Vande Mataram” or “Connections”? All of this isn’t just plain, dumb “luck,” as you put it.
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raj
February 2, 2009
BR, excellent point on recording being an inherent part of ARR’s output. Without it, a lot will be taken away from his music. Now, I really love the fact that he experiments with sound and strikes a beautiful balance between experiments with sound and experiments with music.
But as I was saying elsewhere, how are these composers going to be preserved for eternity? IR and MSV can easily be represented in notes and precise scoresheets, IR more so, and MSV with some explanatory notes on calculated and spontaneous improvisations – I mean spontaneous improvisations by SPB, TMS, PS and the like but it should be possible to note that down in a sheet.
How will we represent Rahman’s music for the future? The notes alone will not do. Clearly, a long explanatory note on the precise mode of recording is needed.
Clearly, the fact that lesser players experimenting with Synth are not able to achieve the same levels of sound quality and musical output as him says us that if Rahman’s notes are merely played out for a future generation, they may not perceive his genius.
I have been thinking along this lines recently and I am not sure where this is leading me to. But I think an urgent need for IR fans thinking of his fame in posterity is to identify his important compositions and make a digital library of his scoresheets – if I were an enterprising person, then maybe I would lead this effort. I am not so I guess someone like pulikesi should take the lead (NOTE: The guy is such a fanatic of Raja who goes far and wide to collect old classics of Raja and I am grateful to him for having introduced me to several of Raja’s unknown classics.)
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Bala
February 3, 2009
I had commented on the previous post (on ARR) ab’t the possibility of tIR- worshipping driving such thoughts. But, after reading a few other comments , I searched for ur article on 15 yrs of ARR. And before I finished , I ‘d decided to take back my words.. Perhaps your objectivity and mine come to the fore with the two words that we used in the same context: polyamory and polytheism 🙂
btw, when I started to listening to music it WAS Rahman’s.And it was after reading his praise for IR that I started searching for IR gems and discovered a MINE
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Vijay
February 3, 2009
“In this group, Yuvan and Harris rule those who are in the colleges now”
That’s sad. Thankfully my college days were at a time when Raja was slightly down but not out, still coming up with stunners once in a while whereas Rahmania was just starting to sweep the nation.
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Tambi Dude
February 3, 2009
Much I appreciate IR’s 80s music, it has to be admitted that his sound engineering was very mediocre even by the standards of that era. One has to listen to some of the early 1980s RDBurman numbers to see the difference in sound engineering.
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Shankar
February 3, 2009
Tambidude, I’m not so sure about that. I’m infact disappointed by the sound and mix quality of IR’s present day works (except a few soundtracks such as Cheeni Kum etc that were recorded in Mumbai. Even TIS was a letdown for me from the mix, mastering perspective). The 80s music actually had very clear sound recording where you could hear everything in good balance unlike now where many sounds are muzzled. Consider a song like “Ponvaanam Paneer thoovum”…the bass stands out magically amidst all that melody. We could go on and on about such awesome 80s tracks.
The other thing I notice is that in IR’s present day recordings, the vocals come out quite clearly but the accompanying background score suffers…even in a great soundtrack like Guru (malayalam), the sound quality and mix of the terrifically orchestrated music, in my opinion, was not good enough while the vocals and harmonies were done perfectly.
In comparison, I still prefer IR’s orchestration and sound engineering from the 80s!!
And just to let you know…RDB listened to Tik Tik Tik back then and said “IR is 10 years ahead of us”!! 🙂 I can never forget that…
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Tambi Dude
February 3, 2009
Shankar:- I have songs of RDB and IR in my ipod. Almost all songs are mp3 downloaded from internet. so unless I happen to get really poor quality mp3, the sound recording in some of RDB’s songs is clearly much superior to IR’s songs of that time.
BTW that comment by RDB about IR is not after listening to TikTikTIk but Kozhi Koovuthu. SPB once mentioned in Detroit that during early 1970s (struggling days of IR) he and SPB were big fans of RDB and later on the situation reversed.
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Nirmal
February 3, 2009
this right place right time article is clubbed with a review of a movie thats all about being at the right place at the right time. Luck by chance even has a scene where an acting class is told that you have to be at the right place right time. nice coincidence..
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Shankar
February 3, 2009
Tambidude, with respect to sound quality, you have your opinion and you are entitled to it. Likewise, I have mine…so let’s agree to disagree and move on 🙂
Again, on RDB’s comment…we can agree to disagree and move one, because I stand by what I said.
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brangan
February 3, 2009
Shankar: I too remember the story as being along the lines of what Tambi Dude says. The specific song that RDB praised was “Yedho mogam.” I haven’t heard of the RDB and Tik Tik Tik connection. Do you have details?
About sound engineering, I too feel ther’s a varying quality with IR’s albums. I guess he used a variety of engineers, resulting sometimes in a muddy sound? I don’t know. Then again, maybe the problem is with the recordings I have.
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Vijay
February 4, 2009
Shankar, for that matter even in Rahman’s songs that “muzzled effect” you talk about is there especially with the vocals. The bass is often highlighted for effect and the other parts take a beating. I prefer the vocals/bass line recordings of the 80s a lot of times. Should’nt technology help to make it sound like as if we were right there in the middle of all of it? And all that voice processing that goes on top of it makes it worse. I dont know, I am not a tech wiz but “raasave unna thaan ennithaan” in Thanikaatturaaja sounds magical to me even now with its santoor prelude and the bass lines. Maybe old time acoustic recording had its merits. Or maybe Raja’s kind of music suited that kind of recording. Or maybe I am just being opinionated.
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Vijay
February 4, 2009
By the way, I wish I could get some choicest songs of that era on DVD audio. Wishful thinking as of now 🙂
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Shankar
February 4, 2009
Baddy, in terms of sound engineering, I wasn’t necessarily comparing RDB’s with IR’s as Tambidude was saying. I was merely saying that given IR’s output today, I prefer his 80s tracks for the clarity and balance. I was comparing IR today and IR in the 80s. I do realize that my reply might have sounded like I was trying to reply to Tambidude.
And coming to the story, the reason I remembered that it was Tik Tik Tik that RDB referred to was because one of my uncles used to be a southern GM for Punjab National Bank and he got invited to the poojai for “Soorakottai Singakutti” by it’s producer. Both IR and RDB were present for it in Madras that day. As my uncle was talking to both, RDB made this specific comment praising Raja about TTT. I was quite young then but the thought stuck to my mind.
It’s quite possible that RDB, having listened to Raja quite a bit then (and with Raja using RDB’s orchestra for the Mumbai recording sessions), might have praised Raja for Kozhi Koovudhu as well at other forums.
Well, one was as hip as it could get while the other was a stunner from a counterpoints angle…so I wouldn’t be surprised that RDB was blown away by IR’s sound. 🙂
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Narendra
February 4, 2009
Ananda Vikatan publishes this section POKKISHAM, a republish of it’s jounralsitic memories.And a recent issue has this then review of movie padikkathavan (the original). And the reviewer misses the whole point about the music in the movie, but a sainle line praise for jesudoss for oorai therinjikitaen song. It just stuck me well IR was definitely operating under not all right times. To not get a mention about his work in a mainstream actors’ mainstream movie in a mainstream journal then.
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Narendra
February 4, 2009
This might be a paradox. Being a 80 born, i grew amidst IR’s music.A gentleman and Thiruda thiruda music become talk of the town. Then it takes a college life to understand your own musical interests .And by then Rahman was a phenomenon. Songs like Vennilavae (minsaara Kanavu) were on loop in your Sony Walkman. Or that Sonia song from ratchagan will git a press on the rewind button and a direct press on the play button to replay the second interlude. Then rahman makes you listen all not understandable Hindi songs Daud , Dil se. And that to too many times. In all these IR was visible, that in thumping form too, only in Kadhalukku Mariyadhai, a rage with college students then. Then out of college you get to meet a greater world and on music you get to learn all greatness of IR. And you start mining that greatness and it is never ending. And more so the mines get richer with his latest additions Azhagi,Hey Ram, Pithamagan. And exactly these same times Rahman goes Pan Indian and then on global missing for sometime a connectivity to a lay tamil fan. And also you are not yet or never so will u be done with IR.As to A.R Rahman i still don’t listen to him with a fervor, as a school boy, that with which i heard his karuthamma song in that small portable BUSH tape recorder.
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s
February 4, 2009
BR,
I must say this as it just struck me today. When I read your earlier piece the picture that stuck in my head was as if IR was waiting to catch the boat and Rahman just zoomed in and took the boat instead. What you meant was, now that AR has received this award, this doesnt mean AR is the only music composer who is of that calibre and there have been others who couldnt have got this opportunity! (yes, seems i am extremely extremely*n slow!).
If that is the case, I guess you gave away way too much of value to Golden globes than I did.
I had always thought of you as an AR fan as well till that piece which is why it came as a shock that at this moment you choose to talk about others.
I am an IR fan too. Youtube has a video of Ir saying how when he came to Chennai looking for opportunities he saw that people insisted on carnatic music, so “athayam kathakidalamnu”(like that) he learnt. I don’t think I have yet picked my jaw from the time it dropped then.
But that said, I still think there is a Pan-indian/ Global feel to AR’s music that makes it easier for his music to cross.
Manirtanam had also said about this kind of right place at the right time thing few years ago in an interview when asked about how he helped tamil film suddenly burst into national scene. He had stated about how so many others like Mahendran before him have done stuff much better.
I still think Maniratnam’s films had this pan-indian feel so it made that transition.
For example, in Tamil a deeply rooted film like Kadhal/ Mudhal mariyadhai is a hit. This cant cross the boundaries of the state. heck, even films rooted in delhi like kkg or ollo dont make huge hits there. This doesnt make the films any less. (just coz its appeal is only to local scene)
Same with IR. I mean IR is still in the scene.
Regarding the rest of the stuff, the urge to create music is foremost, if the technology wasn’t there who is to argue what other magic wouldnt have been created. it is honestly a humble opinion.
I wouldnt delve so much as obv.i do realise you guys analyze music much more, but something about the earlier piece made me react strongly and I had to explain myself further.
Apologies for using luck instead of RPRT.
Without taking any of the genius credit away, not all geniuses have it in them to make the transition.
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pulikesi
February 4, 2009
Narendra,
Nice Post! kindled in me some nostalgic moments . I was also right there exactly in the middle…and the year I joined college was 1992 just 2 months before Roja was released! The magic took over me immedietly… Roja, Puthiya mugam/mananrgal, TT, Gentleman, kadhalan…playing them in loops,yet sometimes listening to DM, Ejaman, WV, Mahanadhi, Avatharam etc. Listening to every single album of ARR, eagerly waiting for the release date and be there in the shop as early as possible to get our hands on the Cassette.
Those were the days when all flop movie songs of Raaja were ignored and only the hit movies songs were given some consideration to be played. While Rahman was given all space whether it was a hit movie or flop movie. My Brother till date wonders how come I transformed into such a HCIRF. He still reminds me the day when I had waited restlessly for the Album ‘Iruvar’ and after its release kept on playing it on the BPL Bassorround 24/7. (Rahman music ketkanum’ndrathukaagave veetla sandai pottu Palaiya National Panasonic’a vithuttu itha vangnom’la ;))
…Athulayum thinking about this mining work that we are doing right now about Raaja…He was right there and we were missing him…he should’ve been smiling all the time looking at us 🙂
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brangan
February 4, 2009
Vijay: Opinionated? You? You don’t say… 🙂
Narendra: Yeah, I too saw that review. Very odd. I wonder if they edited it for space. BTW, if I’d been the reviewer, I’d have looked past Oorai Therinjikitten (which is nice and all, but pretty much standard-template IR) and talked about Sodikkili Yenge. That bass guitar and trumpet intro (and interludes) that IR writes for Rajini, after he swashbuckles his way into the song with “Adi athai maga rathiname…” Ohmygawd!
But I’m sorry, I never understood the craze for Kadhalukku Mariyadhai (nor Azhagi for that matter, except for Paattu cholli). What a mediocre album! Kannukkul Nilavu was much better.
s: Absolutely no apologies needed. We’re just exchanging points of view. I was just flabbergasted that the point of the earlier article was so completely misinterpreted by so many people.
reg. “now that AR has received this award, this doesnt mean AR is the only music composer who is of that calibre and there have been others who couldnt have got this opportunity!” Yes and no. I meant that only ARR could have (probably) got these global recognitions, because only his is a global sound. As I’ve mentioned in this article, he is the first composer from the “global Tamil” generation.
To take a vague correlation, there was a reason Dylan and Baez spoke to so many of the sixties’ generation. They were speaking in the language of the times — and youngsters of that generation would not have responded so instinctively to, say, Charlie Parker or Maria Callas. But that said, you cannot say one is “better” than the other, because they’re so completely different in their approaches to music.
So you are absolutely right when you say “there is a Pan-indian/ Global feel to AR’s music that makes it easier for his music to cross,” and I’ve said the EXACT same thing in my piece: “rooted yet not specifically so, Indian yet not alienatingly so”
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Suresh S
February 5, 2009
Maybe it is my listening to 32kbps mp3 files of Semmangudi Srinivasa Iyer’s recording, (which was in first place recorded off some speaker in some concert) that to me the ideas come first and many a times they come to forefront that the sound. So a Kalyani or a Todi that Semmangudi paints becomes more important than how it is recorded. I think I have carried that to my film music listening as well. So when I hear Raja’s music I am mostly hearing the ideas and many a times I am wondering what all this fuss is about recording etc when the ideas are so good. As I wrote in another forum, this man’s mind is still ticking and ticking well.
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Vijay
February 5, 2009
BR, are’nt we all are? 🙂
I agree,Kaadhalukku Mariyaadhai didnt do much for me and neither did Azhagi(except for Oliyile therivadhu’s instrumental version). I actually liked Poonthottam better, a flop movie of Murali’s. But by then, the synth had well invaded IR’s ludes. As far as I am concerned Guru was IR’s swan song for film music.
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brangan
February 5, 2009
Suresh S: It’s not just the recording. It’s how ARR (and others of his generation) USE the dizzying array of tools available to them. Their vocabulary is completely different from that of earlier composers. Like in the Masakkali song, there’s a periodic flight of violins. It’s not a “full” string-section sound, in that it’s been tempered (tampered?), using technology. And it adds a fantastic, out-of-nowhere (unexpected) texture to the number.
We are seeing now the creation of music using these “bits and pieces,” these technological building blocks — as opposed to earlier, where the entire composition was envisioned in advance. IMO, they are two completely different ways of creating music and you cannot even begin to compare them. (Of course, you could say you prefer one over the other. That would be your personal taste.)
Where your Semmangudi analogy holds true (somewhat) is in that listeners of Carnatic music would concentrate on, as you put it, the musical ideas (i.e. manodharmam and so forth) and not mind, for instance, that 90% of the songs are in aadi taalam. A lot of MSV’s and Raja’s songs were dismissed outright because they had “the same old beats.”
But again, not everyone wants to delve deep into musical ideas. Sometimes, it’s nice (especially in light music, i.e. film music) if a composition has both an attractive surface as well as depth, so those who want something to listen to while driving, say, get something from the song, just as those who want to take the song apart piece-by-piece and analyse it. And this is not the case with just MSV or Raja. Even with Rahman, his music finds more acceptance when it offers a little bit of everything to everyone. I think, for instance, that he did fantastic work in his stark, no-frills soundtrack for Water, but how many people talk about it and listen to it today?
Vijay: Guru? That far back? I’d say the good albums are few and far between now, but they haven’t disappeared altogether. Case in point: Virumaandi, I thought, was an excellent overall soundtrack.
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raj
February 5, 2009
Virumandi, hey ram, Cheeni Kum all after GURU. Cheeni Kum can only be dismissed by comparing to the originals – a very unfair comparison. The Covent Garden interlude in Baatein Hawa was a glorious resurrection of Raja’s trumpets and saxophone interludes.
(I doubt if any other composer in India could have done Cheeni Kum. What we would have got would be a colourless track – it needed Raja to paint a movie driven by its character and conversations mostly – an intensely inward looking movie – one of my theories that Rahman does very well for macro-emotions like Lagaan, SDM but fails for micro-emotions when you dwelve deep into the psyche of the characters stems from Raja’s nuances in his BGM in movies like this)
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raj
February 5, 2009
Post 1998:
Sethu had wonderful BGM. Not showy but intensely in line with Bala’s directorial vision of meaningless, sudden, unexpected and out-of-the-blue bleakness in Chiyaan’s life finds such emotional resonance in Raja’s voice in Vaarthai Thavari Vittai. I think people with musical awareness and training and education sometimes fail to see film music as it should be – Vijay can probably only see the abaswaram and shruti failures of Raja here – I see the intense participation with the director in characterisation here.
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Tambi Dude
February 5, 2009
Post 1998:
Mumbai Xpress. His best in the last 10 years and for me still the best tamil album for the last 5 yrs.
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Suresh S
February 5, 2009
BR,
I understand your point of using tools to give a different texture. Fair enough. But once I get out of the initial surprise and look at the musical ideas, in many cases I don’t find anything extraordinary.
My take is different. I understand that compositions can be happening in bits and pieces but when the final output comes out, there should be a certain unity. Many a time I find different threads hanging by themselves. (As I said, maybe it is my taste but I have read books which construct piece by piece but with an overall unity and also films which do that. ‘Pulp Fiction’ would be one such film. )
While I do find some of the sounds interesting, I don’t find many of the musical ideas very interesting. If you take the case of a female solo, I guess whatever way the song is constructed, I would expect the final feeling I get to be somewhat similar to what I get when I listen to say P Suseela – MSV combination. Not the same feeling, but the same level of satisfaction.
The sounds have become so important that if I take them away I take away a large part of the experience. In case of a MSV tune, singing it without any orchestral backing is still so wonderful. I get this feeling whenever I listen to these TV singing competitions. Whenever the contestant is singing a MSV or Raja tune without an orchestra it sounds quite good but when it comes to Rahman, Harris Jayaraj or others you can immediately feel the lack of an orchestra. The tune doesn’t appeal too much and in many cases I don’t find any great musical ideas in the tune per se. (As with everything there are exceptions but to a large extent what I say would hold) Raja somehow achieved that magic. The orchestra hugs the tune but when you take it away, the tune stands on its own quite well.
I must confess I haven’t heard Water so I cannot comment on that.
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Suresh S
February 5, 2009
Would completely agree on the Virumandi part. It is an outstanding album in every sense of the word.
Not to provide a laundry list but there have been quite a few films in Malayalam after Guru, including ‘Kochu Kochu Santoshangal’, ‘Friends’ and ‘Vinodayatra’ where he has been in excellent form. ‘Mallepoovu’ in Telugu was great as well.
I have only recently started listening to his post 2000 albums and I find lot of melody in movies like ‘Solla Marandha Kadai’, ‘Kathal Jaadi’ (not released) and few more. I will admit that I too am not a great fan of Kadhalukku Mariyadai but I believe Illayaraja has a done a lot after the Malayalam ‘Guru’ to be casually dismissed.
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Vijay
February 5, 2009
BR, not saying that there was’nt anything good after Guru. But nothing that tops Guru for me. Mumbai Express was the only album after Guru that took me by surprise somewhat as IR didnt venture into Jazz that much earlier on. Kurangu Kayyil Maalai again was one of a kind. But as a whole soundtrack, nothing that topped Guru.
Raj, edhukku ippadi thittara? 🙂 I am not that averse to IR’s voice, I have quite a few favourites of him as does most of us. And I am not the kind either who always looks for technical perfection before starting to appreciate a song. You cant enjoy music that way spontaneously. But sometimes if the deficiencies are overwhelming it does dampen the effect a bit overall. You can’t help it. Its a trade-off kind of thing. Its not like I throw away a song if it has a single off-key moment. I guess its that way for most film music lovers. Now for carnatic music, it is a different issue altogether.
I liked the recent one sung by IR- Kaatu vazhi kaalnadaiya from adhu oru kanaa kaalam wasted by Balu Mahendra as a title song.
But by now, you expect that pathos-ridden philosophical song in his voice for situations like that in Sethu. It has become predictable, right from thenpaandi seemayile days and maybe even before. I would like to see how someone else would score for a situation like that. Want to hear a different interpretation.
Also when you say,
“only see the abaswaram and shruti failures of Raja here – I see the intense participation with the director in characterisation here.
”
why does one have to preclude the other? why cant I have both?:-) I dont buy the argument that, after all these years, only Raja’s voice could still somehow convey the emotions needed in those songs.
Even with regular BGM-its not like as if how IR interprets it is the only way it has to be interpreted.
Rahman talks about adopting a counterpoint to the scene approach in RDB. It worked for me. That last scene could have had a standard strings section meant for evoking pathos or a Thamizha thamizha kind of song. Rahman pulled a rabbit out of his hat with the Rubaroo song inserted there. For someone conditioned on IR’s BGM it would be hard to accept that kind of stuf rightaway, and that includes me.
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Shankar
February 5, 2009
Baddy, those violins in the Masakkali song…It is not tempered by technology, it IS technology!! 🙂 It’s a “building block” (as you term it) that’s available in the market. Like you said, I won’t even go into the two styles of composing music…because I’m sure you know which one I truly prefer and have high regard for, given that I’m prone to experimenting with building blocks too!! 🙂
I agree, Guru (Malayalam) was an outstanding soundtrack, so rich and so complete. Again I too feel that Kanukkul Nilavu was a superior soundtrack letdown by the failure of the movie (which was a real mess, BTW).
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Vijay
February 5, 2009
and adding to above, even the singing, it is mostly a problem only when listening to it as an audio track separately. When I am watching Sethu, the focus is on the movie itself, why would I even bother about the technical aspects of someone singing in the background? If the overall effect is that of scen eenhancement that’s all matters. So your accusation is slightly off 🙂 We complain about the singing only when we are evaluating the soundtrack separately.
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raj
February 5, 2009
vijay, thats okay – I didnt mean much by it. adhai vidu. idhellam commentpostingla sagajamappa. let’s discuss the other things:
“Rahman talks about adopting a counterpoint to the scene approach in RDB. It worked for me. That last scene could have had a standard strings section meant for evoking pathos or a Thamizha thamizha kind of song. Rahman pulled a rabbit out of his hat with the Rubaroo song inserted there. For someone conditioned on IR’s BGM it would be hard to accept that kind of stuf rightaway, and that includes me.
”
Very revealing, very revealing – the ideas he comes up with are external to the product – ipdi gimmicky-a pannina nalla irukkumaengara maadhiri.
I am talking about a different animal really – intense psyche-exploring music – I dont think Rahman has matched Raja there. Lagaan, Swades, RDB all provide wonderful instances of macro-emotions scoring by him.
It is like buying that cassette titled “Wind”, “Water” etc by Chaurasia and others – generci stuff.
As for Raja’s voice, i am not going to talk about whether someone other than Raja can also measure up to the same standards there – the end product by Raja – Raja’s BGM for sethu is outstanding and the moment I quoted – that induces that bleak feeling in you – that is enough proof of the man’s genius. That is exactly what the director intended there – how do I know? Bala did mention this in an interview – he didnt mention about the music in that scene but he did mention about his vision for the scene. In that interview he didnt at all talk about how Raja scored for that scene – that is my interpretation but I also want to tell that I havent seen that movie after the interview so this is not hindsight.
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raj
February 5, 2009
Well, if you ask me, even I would say Raja’s absolute best in the last 20 years, no 15 years, is, indeed, GURU. No doubt about that. But saying that is different from saying that post GURU, Raja doesnt have outstanding albums. Like, if you ask me, I will say Rahman’s absolute best in last 10 years, heck, last 18 years is, Swades and KKS. This doesnt mean he hasnt done quality stuff afterwards.
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raj
February 5, 2009
In fact, Rahman’s whole philosophy about “I wanted to do something different – I wanted to make music that wasnt being done at that time” is a bit jarring to me – why do you want to define yourself in negatives? Music is absolute – you should be open to all kinds including the prevailing stuff, just because it is popular doesnt mean it is bad. That approach seems to be continuing in BGM also – everyone will put a pathos song here so I will be different – different for the sake of being different doesnt cut it for me.
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Deepauk M
February 6, 2009
PanchAyaththu innamum OyalayA?
brangan: Oru pattAmboochchi nenjukkuLLE suRRuginRathE, didn’t work for you? That song is perennial spirit lifter for me 🙂
Suresh has a very valid point on VinOdayAthrA. KaiyeththA dhUraththu and ManthArap pU mULi and the related usage in the BGM is vintage rAjA.
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Vijay
February 6, 2009
Raj, everyone including Raja in his early days tried to be different from their predecessor to a certain extent. This is not to say that they keep that as their main agenda framed and fixed before their harmonium or keyboard as they sit to compose. I do think a lot of it is spontaneous. They already know the history of TFM inside out and imbibed well, and instinctively they should be able to figure out if what they have created is something different or run-of-the-mill, even while the composition is taking shape.
However, consciously trying to do adopt a different approach right from the beginning is’nt something bad either. Maybe if something novel came out of it that works then more power to them. Like you know how IR originally composed thenpaandi seemayile in nila adhu vaanathu’s tune and vice-versa and upon Mani’s suggestion interchanged them. So a originally intended-to-be pathos song was converted to an item number, and how?
Composing a song in only 3 notes(he probably knows that MSV has done a song in just 4) or only in aarohanam are also such pre-planned experiments. And I happened to read aletter sometime back on the net that IR had hand-written to one of his fans in 78 which is kind of revelatory. He has defended some of his songs(can you imagine IR doing that now to a fan?:-) ) paassionately, talks about the changes he has done, how he introduced an instrument called “Recorder” which was not used before, how he was going to introduce stereo recording in Priya(this was for Priya’s release) and so on. The fan, whoever he was, was lucky to have had back-and-forth letter interaction with IR. But the letter throws light on how his mindset was back then. Not a whole lot different from that of Rahman’s 🙂
Sometimes you have to think out of the box to come up with something new. And as long as it works for you, you are not going to bother about how it was put together. At the very worst, it is atleast going to be unique.
Talking of Rahman’s philosophy he has often mentioned that he gets bored quickly doing the same stuff. So I guess that is his in-built trait, that restlessness that keeps him a perennial experimentalist.
Not all such efforts have worked for me, I admit. There have been quite a few misses. That’s why, like I said sometime back, I feel that is his strength and at the same time maybe his weakness as well. The balancing act of experimenting while retaining the soul of the song gets difficult. I can only hope that Rahman continues to get better at it.
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raj
February 6, 2009
deepauk, vizhyil vizhi modhi(atleast that prelude) could have made it if not for Vijay Joseph singing it.
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raj
February 6, 2009
vijay, finely put. dont disagree(that’s branganesque way of agreeing with double negatives 🙂 ) at all.
But taking an orthogonal approach to BGM, somehow is not agreeing with my stomach :-). Not because I am used to IR but it just seems to be “Why did you do it? heck, because I can” kind of approach.
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Shankar
February 6, 2009
Is Naan Kadavul out? Any feedback?
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Shankar
February 6, 2009
Vijay, you hit it in the head. Given Rahman’s style of composing, he is prone to experiment…some will work and some might not.
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Prabhu
February 13, 2009
Talking about Vikatan’s ‘Pokkisham’, they didn’t write not even a single word about IR in their ‘Annakili’ review. They later apologized and said they did ‘prayachitham’ by praising IR’s work in ‘pathinaru vayasinile’ !!!
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Srikanth Deva
February 23, 2009
What makes ARR Great is his humbleness. Ilayaraja used to be distinguished but now he is distinguished. Ilayaraja behaves like a ‘Kaattaan’ many times. When ARR songs were topping the list in 90s, the interviewer asked ‘What do you feel about ARR’s music”. He replied ” I have never heard his songs so I cannot comment. What a lie??
Now when ARR wanted to seek Ilayaraja’s blessing before leaving for Oscar unction, the nespapers report that he turned it down and said he cannot meet ARR since he was busy.
All the good work done by Ilayaraja for more than 2 decades is just lost because of his uncultured behaviour.
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raj
February 25, 2009
Srikanth deva @ sridhar@anonymous
Vayya, vaa. Ingeyum vandhuttiya.
Thanks for your perceptive views.in other blogs, you said it was a kumudam report.why have you changed that to newapaper reports here? Because it was pointed out that kumudam’s respectability is not exactly hihh?
Were you some producer of a ramarajan movie which IR commented badly upon sometime?
En indha kaattam?
Adhaan rahmane sonnare I chose lovenu
Neengellam en ipdi kola veriyoda thiriyareenga?
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Anand
February 27, 2009
raj: Which are those other blogs please?
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Ashok
April 24, 2016
Fools always criticise Raja Sir
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