Welcome to my new series of articles called Tune Talk. Finding the right song for the right moment has always been a challenge and a compelling one, at least for me. I constantly challenge myself to stay away from the technology-overpowered, chart-topping junk often typified by high popularity and gravely low musical value. If you seek depth and a sense of relation with the music that you associate with, I'm going to introduce you to the music that triggers the abstract in me and transitions me into moments of rapture. Here's to the underrated, string-heavy, slow, creative and impassioned melodies that I'm fond of.
The focus will be on songs, predominantly in Tamil and Hindi, that are relatively new, not-so-popular (or maybe so, in some cases) but exhibiting high musical value and depth, based on a highly personal but hopefully relatable definition, with constant digressions into my journey with the song over time (think in lines of a song-graph). To every listener out there, I recommend you have an open mind and I wish you happy listening!
#1
The mystic piano chords, accompanied by a short flute introduction sets the stage up for Kashif Ali's stupendously measured vocal rendition in Shamaan Pai Gaiyaan, a composition from right across our border, Pakistan. He's lost in love and asks "Whose shoulder should I cry on?". The song constantly carries an abstract flavor as it meanders along into a soothing string-and-flute interlude. The background vocals are delicately woven into the second stanza, delivered in beautiful fashion by Kashif Ali. The drums kick in right on time to begin the second interlude, setting it up for Rachel Viccaji, as she lyrically addresses her better half's anxiety about life and its permanency. After transitioning into a rock-based third stanza, Shamaan Pai Gaiyaan
#2
The next not-so-popular song on my list from a fairly recent and popular Tamil movie, is significantly different in genre, form, intent and musicality. It is hard to judge the kind of song Kannamma turns out to be after its Nadaswaram introduction. The song features all of Imman's signature features - the mandatory odd note in the Charnam and the brief pause in the percussion track, all working in its favor. Nandini Srikar's vocals exuberate pathos and mellifluously compliment the rustic-tune-on-modern-orchestraton set-up. In the phrase paalnila unkaiyile.., Imman exhibits sheer brilliance. Though frequently reminiscent of Ilayaraja's compositions, Imman displays passion in his rustic melodies and brings out a sound that he truly owns credit for. This song will go down as one of his best and one of my favorites, for the feeling I have begun associating with the song over time.
Best moments: 1:44, 2:48, 3:24
#3
Bombay Jayashri uniquely begins the Thyagaraja-composed Carnatic kriti Mokshamugaladha with the anupallavi (the second stanza). Her blissful vocals sit splendidly over a creatively laid out symphony orchestra track, that is pretty much sure to give you goosebumps halfway into the song. Classical fusion tracks, as many bands have made them out to be, often tend to sound rebellious and deliberately "different". Part of the reason behind our fascination towards a certain piece of art is the intent behind it. The intent forms the root of the tree the piece of art turns out to be, in its complete form. The idea of complimenting a Carnatic composition with delicately tailored western orchestration is the intent behind and the beauty of the song. Watch out for the best moments.
(The video contains the entire album. The song begins at 30:06.)
Best moments: 30:06, 34:30, 35:07
More to follow next week. Till then, happy listening!
