Taking next gen MD's into account...

Look at the "mahler of madras":
http://www.indiaglitz.com/anirudh-to-follow-ilayaraja-rahman-and-yuvan-tamil-news-117175

kisu kisu only but rotfl stuff

Why rotfl?

The reference as "ஒல்லிப்பிச்சான் இசை அமைப்பாளர்"

I do not see any discussions on Santhosh Narayanan here. I heard some rumblings about his BGM in Jigiridanda (To me, it sounded like Morricone stuff).

I did not like any of his songs in Jigiridanda or Madras.

Thoughts?

I find Santhosh to be quite good among the current crop but get a feel he's being overhyped. But would take him over the Harris Jayarajs and Anirudhs. But early days IMO. Will need to see his work over the coming years.

Found this track by one Ranjith Melappat. Minimal interludes, arrangements and all that. But the melody is quite lovely.

Re Santosh Narayanan, thought the Cuckoo songs were pleasant though I wasn't overwhelmed.

Re Santosh Narayanan. His latest for Roshan Andrews's 36 Vayadhinile. Cool sounding folkish-jazz song. Quite a delight. Well done.

Surprised, no one is talking about Uttama Villain soundtrack, not just here. I have not seen any social media or music reviewers talking much about this soundtrack. To me this one is a phenomenal soundtrack in the last 20 years which have come from a music director other than Maestro. It's almost a shame that such a quality is coming (only) once in 20 years (point to be noted as this comment is for the entire soundtrack, there were some brilliant 1 or 2 songs in the movie, but not as a whole). Don't know when will such soundtrack come again from this generation. When people get hyped over some popular (but mediocre) music of today, ably amplified and bombast ed by (hallow) music directors, this soundtrack comes with no noise and rules our hearts (if you listen to it at-least once).

Except for one drishtiprathikaaram; Loveaa Loveaa, all other offerings are truly breath-taking and timeless classics. The way the songs and stories are laid out is again the best. It's almost like reading a novel, or hearing someone reading a book for us during our drive. Every story from Iraniyan Naagam,  Mutharasan Kathai, Uttaman Introduction, Uttaman kathai to Saagavaram and Uttama Villain theme, it takes us exactly where it is intended to. Kamal's rendition is top notch with perfect modulations. Lyrics, especially the word flow in all the story songs is amazing. Connoisseur of art!!! Brilliant orchestration surprisingly on the story songs, leaving enough room for visuals and also keep checking the period it was supposed to me meant for. Kaadhalaam kadavuL mun is again a brilliant gem. Thematic tracks also seduces us.

Even when I hugely applaud Ghibran for coming up with such a stunning soundtrack which the film music was almost in a drought for the past 20 years, I still doubt if it is totally his ability and skills. As Kamal answered in the audio release function that, if he could not come up with at-least such a soundtrack after working with Maestro for 100 films, he is an idiot. That goes to say that his contribution to this soundtrack is not just to lyric writing and singing, it also says that he has a much bigger hand in composing the tunes and themes.

Anyway, this is a stunning soulful masterpiece, that I would relish for a long time to come. Can't wait to see the movie having already overwhelmed with the soundtrack. Huge kudos to Kamal and Ghibran    Please don't miss it.

Coke Turkish commercial using Anirudh's "why this kolaveRi di"

Santhosh Narayanan

So, what’s the solution?

What the actor desperately needs now is a script doctor. Much like how he left everything in the hands of qualified doctors during his 2011 medical trials, he needs to forget logistics and image, and hand himself over to Pa Ranjith and team.

Those not tuned into the Tamil film industry might have not even heard of Ranjith’s name and might be wondering about his credentials. Well, that’s exactly the point – sometimes, it takes a rank outsider to shake things a little bit in life. Even with Rajinikanth.

If with his debut flick Attakathi, Ranjith made just another youthful subject, with Madras, he showed finesse in his craft. And now, with a strong technical crew in tow – the supremely-talented Santhosh Nararayan scores music – the director has all the backing he needs.

It would be interesting to see what will be delivered...

One co-worker pinged me this youtube link, telling - "Hey, See how they are looting 'poojaikkEththa poovidhu'  "

The koLLai is done jointly by Sivakarthikeyan, Vimal, paRottA Suri, kolaveRi Anroop along with some startup MD...

Inspiration or Blatant lift of "sigappu rojakkal theme" music by GV prakash 

https://www.youtube.com/watch?t=44&v=alJRydyHq2s      (prelude of the song)

Original Theme

https://www.youtube.com/watch?v=CJyyGGFZdpQ

rajaclan wrote:Inspiration or Blatant lift of "sigappu rojakkal theme" music by GV prakash 

https://www.youtube.com/watch?t=44&v=alJRydyHq2s      (prelude of the song)

Original Theme

https://www.youtube.com/watch?v=CJyyGGFZdpQ

Good Catch!  It looks like GVP has taken Balki's advice to heart about flicking pieces of IR's BGM and building songs around it!

Anirudh's latest; Naanum Rowdy Dhaan, is quite good. Though he's had to channel a bit of Santhosh Narayanan.

Anirudh

ரகுமானை பின்னுக்கு தள்ளிய அனிருத்

Santhosh Narayan

Anirudh gets kicked out of a Dhanush project! (தலைமறைவாக இருப்பதன் பலன்)

முதலில் இப்படத்துக்கு அனிருத் இசையமைப்பதாக அறிவித்தார்கள். ஆனால், 'பீப்' பாடல் சர்ச்சையில் சிக்கியிருப்பதால் அனிருத் இன்னும் சென்னைக்கு வரவில்லை. விரைவில் சென்னை திரும்ப இருப்பதாக அவருக்கு நெருக்கமானவர்கள் தெரிவித்தார்கள்.

'கொடி' படத்தின் படப்பிடிப்பு தொடங்கப்பட்டு, பாடல்கள் தேவை என்பதால் படத்தின் இசையமைப்பாளராக இருந்த அனிருத் நீக்கப்பட்டு சந்தோஷ் நாராயணன் ஒப்பந்தம் செய்யப்பட்டு இருக்கிறார்

Since there is no Marathi film/music thread, I will post it here

I have been listening to Sairat soundtrack from Ajay-Atul for the past few days. As we know them as the Ekalaivan(s) of Maestro's music. The songs they make has that inspiration clearly. Be it Natarang, Jogwa or Agneepath it would be a mark-able difference and deviation from the rest of Bollywood or Marathi sound tracks. We can even feel at home when we listen to them.



This song Sairat Zaala Ji song is a fun love song sung by Ajay Gogavale and Chinmayi (yes surprising) with generous expressions from the heroine Rinku. This feels like our Thamizh films where we see these kind of expressions and setting frequently. The melody is in folk, while the orchestration was predominantly done in WCM. I heard that the soundtrack was recorded in Sony studios, Los Angeles.

The soundtrack has four songs, but surprisingly I only liked this song with some reservations. The other song melodies were average which didn't invoke much interest in me. Even in this song, even if the melody is fine, the orchestration is quite questionable. Even the rhythm section is over-powering for the soft setting. After each anu-pallavi/charaNam it starts off with some wind instruments (with backing strings), but suddenly WCM takes off from nowhere and again the part where it ends and gives lead to charaNam is not that convincing. First for this kind of folk setup, a prolonged WCM score does not quite complement the visuals/setting/melody. If you listen to the song without the visuals we can feel that incompatibility clearly. The director had to forcefully shoot panoramic/aerial just for WCM part to give the impact, but definitely falls very short. This is where they need to learn how Maestro changes the notes/genre/instruments frequently within the interludes, that we don't even realize it as a separate "stick-out" entities in any of the songs. There will still be more complex WCM idioms, but no one can say these components distracted the melody,visuals or the setting. Here I can say that. While it is laudable effort from the duo, still much more to learn from Maestro's compositions

GVP / Vijay / Dhanush

இந்த பொழப்புக்குப் பேருதான் எச்ச! - ஜிவி பிரகாஷ் கடும் தாக்கு

Santhosh Narayanan's duet for Rajinikanth :

தூய நரையிலும் காதல் மலருதே

https://www.youtube.com/watch?v=nbHHM0PXdXE


Please do read the credits

I'm yet to hear the other songs of kabAli - meanwhile, there's a review from vikatan which carefully does iruttadippu on two important IR-RK albums (ejamAn / veerA) :
http://www.vikatan.com/cinema/tamil-cinema/music-review/65140-kabali-songs-quicklook.art

16 வயதினிலேவில் ஆரம்பித்த கமல் - ராஜா காம்போ, நடுநடுவில் விட்டாலும் சபாஷ் நாயுடு வரை தொடர்கிறது. ரஜினியைப் பொறுத்தவரை, ரஜினி - இளையராஜா என்கிற கூட்டுச் சாம்ராஜ்யத்தை சந்திரபோஸ், அம்சலேகா என்று சிலர் எட்டிப் பார்த்துவிட்டுப் போனாலும், தேவாதான் அண்ணாமலை படம் மூலம் அதை மெள்ள ஆக்ரமித்தார்.

By the time Chandrabose (& others) came to MD for Rajinikanth, he had already become a huge brand. 

Actually, in that star brand creation, though IR had a mild initial contribution ("பொதுவாக எம்மனசு தங்கம்"), his later work didn't continue in building him into a larget-than-life image thingy. Interestingly, like every other star movie, only the IR brand got glorified even in Rajini movies. (e.g. while KH sang 'rAjA kaiya vachchA', RK was dancing to 'rAjA, rAjAdhi rAjan indha rAjA' melody in 'mAmA un poNNakkodu'.)

So, I would take IR out of the Rajini brand building history. While IR gave majority of # of hit albums for RK, and indirectly contributed to his rise as a successful hero, his contribution in "super star brand building" is < 1% IMHO.

Actually, in a way, he worked against it (for e.g. making a lot of comical songs for him  and emotional numbers such as sittukku / ammA enRazhaikkAdha, things that show him in pAmaran mode rather than 'bullet kooda onnum paNNAdhu' kind of superhero mode)

Such 'super star' brand was originally powered by MSV (my name is biilA) and may be S-G in the years prior to Chandrabose - who finally did the 'super star-u yArunnu kEttA' stuff.  Later Deva / Vidyasagar (even ARR, in Sivaji) continued it and the latest is Santhosh Narayanan. 

That way, from Chandrabose to current, the MD & RK worked together to harvest the benefits of the brand that originally got created by MSV. (Who had earlier mastered the art of such hero-big-brand-building, working with MGR).

As for IR, he typically worked against building "larger than life" hero image - and that included RK, if one takes all the works he did for him into account!

Apart from just a few minutes of Kaaga glory, Mirzya is such a disaster to me. After soulful and silent Kambhoji, this soundtrack is full of incoherent noise and disonance!! What a fall for S-E-L from Katyar Kaljat Ghusli to Mirzya!!

All I can say is, I was in a state as Kounder (that growl, acting and expression of Kounder is priceless) was when listening to this soundtrack.

And the crap called Halena. A vomiting song! This is all what Harris Jeyaraj could come up with after all these years of isolation? No imagination, no novelty, nothing at all. That jivvu jivvu matter is there to mark his signature. Some one told me that this is the only good song (LOL), imagining how other songs would be. TFM is totally screwed.

V_S wrote:And the crap called Halena. A vomiting song! This is all what Harris Jeyaraj could come up with after all these years of isolation? No imagination, no novelty, nothing at all. That jivvu jivvu matter is there to mark his signature. Some one told me that this is the only good song (LOL), imagining how other songs would be. TFM is totally screwed.

அப்பிடியே இத படுச்சுட்டு வாந்தி எடுத்துருங்க http://www.thehindu.com/features/cinema/the-elusive-harris-jayaraj-talks-about-his-love-for-architecture-his-empty-tune-bank-and-the-lamborghini-he-has-no-time-to-drive/article9094373.ece

அதாவது ரசிகனுக்கு வாரத்துக்கு ஒரு வாட்டி *அந்த* தரத்துல சோறு போட்ட கலைஞன் பேசலாம். வர்சத்துக்கு மூணு வாட்டி, அதுவும் இப்பிடி பழைய சோர ஊட்டிட்டு இதுங்க அலம்பர அலம்பிருக்கே.... இதுல இப்போல்லாம் கம்போசிங் ரொம்ப ஈசி ஆகி போச்சாம் டெக்னாலஜின்னால. இத சொல்ல வாய் கூசனுமே...

அடேங்கப்பா! வாழ்வுதான். 400 படத்துக்கு பின்னணி இசைக்காக கீபோர்ட் வாசிச்சிருக்காராம். சும்மா அடிச்சு விட வேண்டியதுதான். யார் கேக்கபோறங்க. கற்பனை வறட்சி தலை விரித்து ஆடினாலும் இந்த காது வரை பேசும் பேச்சிற்கு ஒன்றும் குறைவில்லை. ஒண்ணுமில்லாத இசையை கொடுக்க 20 படத்துக்கான இசையமைப்பு செலவை ஒரு படத்துக்கே வாங்கி, இந்தமாதிரி ஒன்னும் தெறியாத பசங்கள சும்மா வளர்த்துவிட்ட நம் நாட்டை (தமிழகத்தை) சொல்லணும்.

Harris Jayaraj is the true "Baasha" of tamil film music. Avaroda oru paatta kEtta 100 paattu kEtta maari.
Paavam keyboard'kku vaayi irundhudhunna azhum

I am mostly listening to recent Malayalam film songs (apart from Maestro's songs of course). You might have seen my recent posts in Malayalam film/music thread. To my surprise, their melodies keep winning me again and again. I was listening to this simple yet stunning melody in Salt N' Pepper (original of OggaranE) by Bijibal and sung by one and only Shreya Ghoshal (there is a duet version as well).


The melody is so divine that it flows like a breeze, that while it has a flow, the flow is dense at sometimes and sometimes so light. Hear the breath-taking tightness, ups and downs and sweetness. So beautiful to listen.

You might ask why I am posting a Malayalam song here. These music directors also belong to this generation. There is full of life in these melodies. If you can please give your ears to them, you will realize how our TFM has gone way back in coming up with melodies like these (beyond Maestro of course). Even popular music directors like;
- ARR (his best melodies still lies way back in 90s, surprised his melodies are way too bland and without any originality/novelty, just riding on his brand and popularity to top the charts. He is clearly struggling even with a big team. It is not always about topping the charts and popularity. It has to come throughout our life).
- Yuvan (never really liked his style of music, I hardly remember any song from him, the first/last best melody I heard was aanandha yaazhai & aahaa kaadhal konji konji pEsudhE).
- Gibran (did fine in Uttama Villain especially kadhalaam kadavul mun when it comes to melody (thanks to Kamal). kannukkuL poththi vaippEn is also quite good.
- S-E-L, (part-timer, did fine in Viswaroopam (again just that one song; unnai kaanaathu naan)).
- Santhosh Narayanan, (not a big fan of Santhosh Narayan's melodies, only one which came close but still very far was maaya nadhi in Kabali, not that great).
- Imman (has some keen ears on melody, but for some reason those melodies did not stay with me long enough).
- Others like HJ, Anirudh less spoken the better.

So I can finger/number out the number of melodies in the last 15-16 years. I am not sure if this has got to do with the film subject, but I don't believe this, as with this generation, we have already come to an unbelievable conclusion that film and film music are entirely different entities. They are no more integral part to the film making process. Even given that liberation, I am wondering why still they are unable to come with a ORIGINAL, SWEET, INDIGENOUS, EVER LASTING, NON-DISTRACTING, NON-BLAND, COMPLEX but light melodies? Imagine a film like Kambhoji or Katyar Kaljat Ghusli comes in the hand of one of these music directors? Can they deliver? Impossible given the quality of songs they come up with. Why go that far, even the love/romantic films like ennu ninute moideen or pranayam, it is not possible for them. That's the sad situation we are talking about.

Telugu film music is the most horrible, may be Kannada too. But we get to hear some beautiful music in recent Hindi films, that's good. But Malayalam is way way ahead of others. Even there, every song (in a film) of theirs is not that great, but whatever melodies they are coming with bears their hard work. The best part is they keep up our tradition and dig more and more to bring the nuances of our raagams but also exhibit some nuances in the rhythm and interludes. They are really hard-working for their films and melodies. Those who don't realize the value of our tradition and those who don't believe in themselves will only go and leech someone else to grab some attention.

We are already losing the race, but at-least let us make some effort to compete hearing our neighbors. This is absolutely disappointing