Hi there,
Sorry again for the delay. Actually, I just got the CD this week from Vijay. Its not yet out in Mumbai. Its so difficult to trace such albums. But the result is always fruitful!
Talking about Parasuram, as everyone has observed, its a totally commercial album. Very usual stuff, apt to the subject, with less technicalalities. I must say that Udhaya was not a commercial album in its true sense. It had more depth & variety and the compostions were far more satisfying. I am still to find a gem like "Udhaya udhaya...". Mind-blowing composition. Compared to it, Parasuram is very average. Though it has its own moments, it somehow creates a craving for much more! Guys who were saying that Rahman only composes technically confusing tunes which the mass audience cant understand or appreciate, will definitely keep their mouth shut. Parasuram is an attempt to aggravate the front-benchers.
Rating scale:- ** (Mind-blowing), * (v.good), * (average), (could have been better), * (worst)
Dolna (Hariharan, Sujatha):
Nowadays, ARR has stopped composing beautiful preludes. Many of his recent songs just start off without any music. Eg. 'Enna enna' from Udhaya. Anyways, the song starts with some catchy phrases by Hariharan, "Dhindindara naa..dolna". I wonder what 'dolna' means in Tamil! The rhythm starts along with powerful bass guitars & chorus going 'Ehe...oho..." alternatively. The main song starts with the same tune. The cross-line goes on a higher pitch & you wonder whether its Hariharan? His voice sounds very different in the higher pitch. Dholak & other traditional instruments are added. Sujatha continues to sing from where Hari leaves. Somehow, I didnt like her voice. It sounds to nasal & artificial. This is the end of the pallavi(mukhda). The 1st interlude has the male harmony crooning over with "Haiya...haiya...". Suddenly, there is a break & the pan flute enters with guitars & santoor. The rest of it is totally on the synth. No live instruments. I think there was too much pressure on ARR to compose something very North-Indian in his early stages. He started the trend with Lagaan, Bhagat Singh, Zubeidaa, & now its Tamil films too. Bhangra beats in a Tamil song! This is the first time he's used a typical dhol & it sounds cool. If it were for a Hindi track, it would definitely be a hit. The charanam (antra) r just about ok. Again Hari tries to match up to higher notes. His voice doesnt sound good. Seems he takes great pains to reach there. Same with Sujatha. The chords r good. In the highest part, ARR's used all chromatic notes. This returns to the mukhda. The 2nd interlude too has the same pattern with the harmony. Then there's a very Spanish-kinda music with guitars. It seems like an ad jingle. Again ARR uses modulated sounds from the synth & ends the interlude to give way to the Bhangra beats again. Rest is almost similar. Not a great composition...but as told earlier, great arrangement & programming. This song resembles a lot to 'Dippu kumari' from Baba. But I like that song. It had its own charm & ofcourse it had great vocals by Shankar Mahadevan. A very simple & crowd-appealing song. Lets hope such songs atleast make an impact.
Rating- *** 1/2
Kadhal vettukili (Sadhana Sargam, Karthik):
There you go...if the first song wasnt satisfying, quench ur thirst. This song has a bit of everything. First of all, there's a great prelude. The song starts with the pan flutes & then some cool rhtyhm. This has already set the mood...when the mouth-organ (reproduced on the keyboard) leaves you craving for more. The mouth-organ piece has lots of resemblance to the pieces composed by R.D.Burman. If you recollect "Chura liya hai..." or "Jaane jaan...". This style was predominant in the 60's & 70's. Again with the Airtel ad...u find a clone! Sadhana starts the song with lots of pep. She sounds very chirpy & bubbly. Give her any song & she dazzles. The tune is very catchy as it has rhythm in it. Karthik pairs with Sadhana for the first time. Both do a good job. The 1st interlude has someone saying 'thamaine...'(dunno whats that?). It also has pan flutes & the mouth organ piece is amzing as it changes the melody. Sadhana takes a meend (glide) from the upper Sa to the lower one in the first two lines of the charanam, "nee..rajangam...". Karthik follows. The melody changes again & this time, there r lots of chors to support. When they return to the pallavi, Karthik sings in harmony with ditorted notes. It appears to be very confusing..but treat to listen. The second interlude is ARR trademark. Strings running here & there. The progression is so fast, it leaves no time to think where it has gone through. The 2nd charanam just starts & you wonder when the strings got over. If you've noticed, both the charanams have a faint mridangam percussion. Only if you've herad it on a good system, you'll notice. I'm dying to hear mridangam in ARR's songs. D.A.Srinivas is a great player & must be heard quite often. Listen to "Uyirum neeye..." or "Sakhiye nee dhaan..." or "Jiya jale...". Wow, the mridangam sounds divine! Nowadays ARR has started using samples & more artificial percussions. The song ends with the mukda being repeated. In the end he's used a manjira which sonds very nice. Thru out the song, there's no manjira & suddenly in the end u hear that. Its such a small thing to notice, but gives u the maximum pleasure. Overall the song has shaped up well.
Rating- ****
Chittukuruvi (Swarnalatha, Sriram Parthasarathy, Arjun)
The most satisfying song in the album! Its birth can be traced from "Udhaya udhaya..." as both the songs have the same melody structure. "Udhaya udhaya..." was based on Raga Charukeshi, whereas this one's based on Raga Nat Bhairav/ Sarasangi (dunno much about Carnatic scales...thats what someone had written). This is a beautiful morning raga and uses all the swaras: Sa Re Ga Ma Pa dha Ni Sa (small caps- komal/ flat notes). Someone told me that this song resembles a lot to an Illayaraja composition. I really dunno..havent heard that. The song starts with a brief duduk piece (the Armenian instrument which was used in 'Rajyama' from Baba) & Swarna enters. She sounds terrific. After a long time you hear her voice. This song seems to be a sensous number & Swarna's voice is just perfect for such songs. She pours in the same emotions as "Hai rama.." from Rangeela. Arjun chants while the tabla-tarang takes off. It gives you a trance-kinda feel. Mind you, Arjun doesnt sing...he just says some words, "neeyum...naanum...thotta...vendum...". Its a great start. The unusual rhythm captivates your attention & then again the pattern slows down when Arjun chants. Swarna sings the sign & cross lines with full feelings. The rhythm mathches well woth the song. The chords accompany almost every line. Sriram Parthasarathy (one of the 4 singers in 'Adhisayam' from PP) enters with confidence. He's really got a different tonal quality. Its apt to the song as it adds to the sensuousness. The 1st interlude has flute/ woodwinds thruout with heavy percussions. The melody tends to shift to Charukeshi at some places. The charanam begins with Swarna. After the 1st two lines, when you carefully listen to the rhythm, it seems as if you r on a fast train. Sriram's lines r interesting. He puts great feelings in his lines when he beautifully swings on the Komal Dha. He puts in his own variations by singing the mukhda a bit high. Listen to the chords in the lines "chittukuruvi...vendume...vendume...". While Swarna's singing the pallavi, Arjun continues to chant. The 2nd interlude has free-style saxophone recital with the tabla-tarang. The charanams r same again. Thruout the song there is a snake-hiss sound which was used in 'Zehreela pyar' from Daud. It gives it a darker feel. The song has turned out very well. The interludes cud have been better. But then, you cant complain always!
Rating: **** 1/2
Muppadhu nimidam (Unnikrishnan, Sujatha)
As you pass by each song, they seem to be getting better! This song is a treat to listen...especilly with Unni's magical voice. The song starts with clock's ticking & then slowly the Kanjira enters with the bass guitars. The strings take over & suddenly thavils enter with a bang. Its the same flavour like "Kannodu kanbathellam" from Jeans. Some great playing by the Thavil player (why's the album without any credits...very disappointing). There's some great piano pieces which give you a true fusion picture. Thavils & piano...wow! Thats where the craftsmanship counts. The main songs starts on a low scale by Unni. Sujatha follows. The raga is still not clear. Is it Abheri or Kanada? Well, the song does not pertain to a perfect raga. There are traces of moorsing too. The 1st interlude is typical jazz style, somthing like 'Vaan nila' from Kadhal Virus or 'Hello Mr' from Iruvar. Piano rules. Strings support while the percussion sticks to thavil. The charanam uses both the Nishads (like in the charanams of'Thenmerkku paruva kaatre'). Sujatha shines in this track. May be bcoz of the classical touch. The last line ends with a wonderful jathi 'tak tak tarikatadhum...' with the piano accompanying. Sujatha returns to the pallavi by singing it off-beat sometimes. Thavil is the life of this song. The 2nd interlude is totally Unni's territory. I think, its for the 1st time, Unni sings a hardcore carnatic classical alaap. The piano & strings follow every note. Its interesting to hear the lines 'muppadhu nimidam' with a typical classical accent. The thavil ends with a usual tihaai (3 times) but I feel, it has too much of noise & the charm of the tihaai gets lost. Sujatha too enters abruptly. Again...no change in the charanam pattern. The rhythm doubles at regular intervals. Song ends with solo thavil & the tihaai is beautiful as the piano too tries to create a tihaai. The clocks ticking is heard again & completes a full cycle. The last note played on the piano is the highlight. There r so many things to put in one song. You need a secured & focused mind. A great experience. Full marks to the Thavil player & of course the arrangement.
Rating- ****
Kathakkali (Bhattacharya, Nithyashree, Mathangi)
The start promises a lot...beautiful glides on the harp with kartals & manjiras. The rhythm starts with heavy percussions. Bhattacharya takes the lead to sing 'Kathakali'. Who's he now? Atleast Rahman has continued the trend to introduce new singers in almost each album (that keeps my hope to sing). The percussion shifts to Bangla khol (used in Baul sangeet & Robindra sangeet- folk instrument of West Bengal). Bhattacharya improvises with alaaps & sings the punch line. God knows why the lyricist has used words like "Jack & Jill"? Thats the main mukhda. The whole song is based on the evergreen Raga Bhairavi. Nithyashree takes the female lead. Hard percussions r introduced (may be its the same sample of 'Chale chalo' from Lagaan). Nithya sings her typical classical repetoire, while newcomer Mathangi is totally westernised. Mathangi was one of the harmony singers with ARR & Harris. I thinks its a kind of a jugalbandi/ competition between the two heroines. What strikes me is the constant glide of the harp which enhances the song. The 1st interlude has an accordian/ harmonium kinda sound played on the synth. Its gives you an Arabic feel. That reminds of "Moonrezhutthu" from PP & "Mera rang de" from TLOBS. The song is quite similar in content. Bhattacharya stretches his vocal chords for an alaap & begins the charanam. Mathangi shows a lot of promise. She's very polished. Nithyashree's voice irritates sometimes, specially when she sings 'ta ta ta...taramaaten' or 'ka ka ka...kajuraho'. The last line of the charanam by Bhattacharya, 'kadavule..' seems a bit funny. It seems as if he just wanted to return to the pallavi any how! The 2nd interlude is much better with classical jathis by the 2 ladies, 'taiyum taa..'. It brings out the essence of the raga. There's constantly something going on in the background on the percussion side. It must be Sivamani on the drums. Nithya's parts r sometimes harsh to the ears..'Ni ni ni...naadagamata...'. The lyrics r quite funny. The 2 women r fighting over the styles of dances like Kathakali, Kuchhipudi & the male finds himself between sarod, sitar, bulbultara! The harqats by both the singers r fabulous. The charnams have no fixed structure. So there's no smooth flow. But again, the superb chords, arrangements & rhythm save the song. The song ends with glides of harp. The harp used in this song is the western harp. Its not the Indian harp (swaramandal). The song will definitely grow. I hated this song first, but now with regular listening its quite hummable.
Rating- *** 1/2
Looking at its commercial value, ARR has tried his best to churn out tunes which would appeal to the mass. Taking established singers like Unnikrishnan, Nithyashree & at the same time giving chance to Bhattacharya & Mathangi itself proves its diversity.
But its definitely not the album we were waiting for. The best of the lot is yet to come out. God knows when? Boys, Meenaxi, Tehzeeb, New, E18U20....pretty long list, eh???
For the time being, stick to Udhaya & Parasuram...these r just trailors!!!
Swapnil
posted at: 14:12 | permanent link to this entry