Quite some time back, i started this thread, a discussion thread, hoping to get people to 'voice' their opinions on certain topics that are intriguing (atleast intrigue me ;) )
You can find the original topic here . Many of you had very interesting perspectives and thoughts about them. I guess it is time i brought mine to the table as well.
Here is my idea of a line/queue. The need for a line/queue arises because the service that more than one person is trying to procure can not handle more than request at a time. Hence the need for a mechanism to regulate the requests so that one can be handled at a time. Unlike in the world of automation, where even if requests are re-prioritized, there is no "protests" or atleast no "emotion" :-)
Having said that, when you stand in a line, you agree to the guarantee that you will be serviced in the order that you came in - not by any whims and fancies of any random individual or not by any other means. Even if you talk about a different lines, e.g. Balcony seat vs front bench in a theatre, the line to each of these doors still guarantee you the first-come-first-served basis position
When someone "allows" another person in the line/queue, it essentially means "altering" the position of every individual in the queue. I find it interesting that i never included one question in my list, - when the "allowing" person is actually young/handsome would you object ? ;)
Without lengthening the lecture anymore, i think "add" a person to the queue is "manipulation" of natural justice of the position, while "swap" is "manipulation of a lesser order".
Why so ? - think of a case, where you chose line1 as opposed to line2 because the person ahead of you has just 10 items in the check out cart. Now this person swaps with someone else who has 60 items in their cart - even though such a swap by natural justice is legal, your decision based on the "factors" at that time, that made you choose line1 has now been betrayed. Hence it is manipulation of a lesser order.
With all of these in mind, here are my answers without any emotion attached to them :)
1) Are you allowed to 'swap' positions with elderly/disabled - or you simply have to give up
Swap yes. Give up depends on the people in the line behind you, you dont own the right to alter someone else's position in the line.
2) If you are actually behind someone who is (doing the)swapping their position with someone else - will you object ?
No you are still guaranteed your position - but can still be aggrieved if the situation worsens as described above.
3) If someone has just one thing to do - a checkout with single item as opposed to a cart full - will you let them go forward ?
Same as Q-1 - depends on the people in the line behind you and their choice.
4) What if the guy ahead of you, instead of 'swap'ing - allows the senior person to come ahead (now you are two positions behind in the queue) - is there a case for valid objection ?
Yes, very valid objection indeed
5) What if the 'allow one more' happens to be not an elderly person ? - would you protest.
Vociferously indeed ;)
6) What if the 'swap' happens to be not an elderly person ? - would you protest.
Depends on the people/line
7) If you are seated on a bus/train and want to vacate the seat for someone elderly (or otherwise) - can the person who is actually next to the seat object ?
Hmmmm toughie this one - I guess we all agree that for the most part, swap is quite reasonable. So is this a swap ? or is this a 'give up' ?. Before there is any speculation of that sorts - the bottom line in this case is two things, standing next to a seat is implicit line/queue for the seat, but, since swap is always reasonable, the person occupying the seat can always choose to/not-to swap on a case-by-case basis.
There ends my take on line/queue - dont know how much in-line it is with others ? thoughts ?
Monday, January 23, 2006
Monday, January 16, 2006
[C Says...] Sense
Humans have 5 senses and still produce non-sense !
and...
Humans perceive the non-sense via some sense !!
Makes sense ? !!!
and...
Humans perceive the non-sense via some sense !!
Makes sense ? !!!
Sunday, January 01, 2006
Happy New Year 2006
Wishing you all a very very Happy, Peaceful, Healthy, Prosperous, fun-filled and exciting new year of 2006. May this year bring more good to the surface of the earth than ever before.
p.s : I hope to be back in action sooner than later - thanks for all the kind and well-wishing enquiries :)
p.s : I hope to be back in action sooner than later - thanks for all the kind and well-wishing enquiries :)
Tuesday, November 15, 2005
[Discussion] Line/Queues
New series of discussions - There are no rules - no laws - more of how context drives everything
First one is Lines/Queues.
We all stand in Lines/Queues for one thing or the other. We see some senior citizen/disabled person also standing way behind in the queue.
1) Are you allowed to 'swap' positions with elderly/disabled - or you simply have to give up
2) If you are actually behind someone who is (doing the)swapping their position with someone else - will you object ?
3) If someone has just one thing to do - a checkout with single item as opposed to a cart full - will you let them go forward ?
4) What if the guy ahead of you, instead of 'swap'ing - allows the senior person to come ahead (now you are two positions behind in the queue) - is there a case for valid objection ?
5) What if the 'allow one more' happens to be not an elderly person ? - would you protest.
6) What if the 'swap' happens to be not an elderly person ? - would you protest.
7) If you are seated on a bus/train and want to vacate the seat for someone elderly (or otherwise) - can the person who is actually next to the seat object ?
i.e. What is the meaning of a 'position' in a queue ? - what rights does a person in the queue, have over the position they occupy ?
Thoughts ? any more questions ? bring them on - lets get everyone to think aloud :-)
First one is Lines/Queues.
We all stand in Lines/Queues for one thing or the other. We see some senior citizen/disabled person also standing way behind in the queue.
1) Are you allowed to 'swap' positions with elderly/disabled - or you simply have to give up
2) If you are actually behind someone who is (doing the)swapping their position with someone else - will you object ?
3) If someone has just one thing to do - a checkout with single item as opposed to a cart full - will you let them go forward ?
4) What if the guy ahead of you, instead of 'swap'ing - allows the senior person to come ahead (now you are two positions behind in the queue) - is there a case for valid objection ?
5) What if the 'allow one more' happens to be not an elderly person ? - would you protest.
6) What if the 'swap' happens to be not an elderly person ? - would you protest.
7) If you are seated on a bus/train and want to vacate the seat for someone elderly (or otherwise) - can the person who is actually next to the seat object ?
i.e. What is the meaning of a 'position' in a queue ? - what rights does a person in the queue, have over the position they occupy ?
Thoughts ? any more questions ? bring them on - lets get everyone to think aloud :-)
Wednesday, November 09, 2005
[Sports Watch] India's New Ways...
Grin Grin Grin.
Indian Cricket team seem to have found new ways and it sure is giving the die-hard cricket fan, many a thing to gloat over.
Too many things have happened in too short a time-frame to apportion the credit. However, it all has to start with two people. Chappell and Ganguly. Without getting into who was behind the entire 'wash-dirty linen-in-public' episode, the issue is now behind everyone.
Hope such positive and forward-thinking selection policies based on 'performance' and focus and strategies based on 'process' will take of 'results' as Dravid-Chappell combo has been claiming all along.
That brings us to the question, when was the last time one hired a CEO for a quarter fiscal year ? When was a principal hired for a semester ?
Why does an Indian cricket captain has to bid his time one-day at a time ? - When will a cricket captain be appointed for longer than couple of series' ? The know-all BCCI seems to know the answer !!
I started off saying 'new ways...', and not 'new 'winning' ways...' - primarily coz it is too early to be proclaiming the coming-of-age of new-look Indian team :)
Still, Grin Grin Grin
Indian Cricket team seem to have found new ways and it sure is giving the die-hard cricket fan, many a thing to gloat over.
Too many things have happened in too short a time-frame to apportion the credit. However, it all has to start with two people. Chappell and Ganguly. Without getting into who was behind the entire 'wash-dirty linen-in-public' episode, the issue is now behind everyone.
- Ganguly excluded from the Indian team was the first surprise. No one can simply discount a batsman with 10000 one day international runs in span of 9 years as one 'who can't bat'. At the same time, no one can say he is now the same Ganguly that scored all those runs :-)
- Dravid as captain. So long been the bridesmaid, now the bride. He is thinker, hard-worker, keen student of the game. Often considered a softie, he has now proved, he is a tough-nut to crack
- Even though, i have not seen the matches myself, the word that is out there is how Indian team has been fielding - young blood seems to have brought in the change. Timber rattling noises seems to be the order of day. No one worth their salt can say, Ganguly, Laxman, Kumble and Nehra, can be half-as-agile as anyone in the current team ;)
- Aggression is the keyword
- Batting is becoming more and more a team effort
- Lesser and lesser dot balls every match - Can't be, but, glad
- Bowling still wears an unsettled look to it.
- Batting even though seemingly found contributions from every quarter, can one expect to see such consistency on fast-bouncy wickets ?. Expecting that to start with is a tough ask, but in the longer run yes. A newbie Aussie team, can't take on the likes of Kumble and Bhajji on a spin-minefield either :-)
- Bowling sure needs much more consistency - Bhajji is in the middle of extremely wonderful spell with tight and economic bowling. Pathan, Agarkar, Kartik, RP Singh have all taken 4 wickets each or more in all of these matches. But, quick review of commentary can immediately tell you, still many balls are sprayed on the middle and leg - consistency is the key word. More than two bowlers need to take wickets and be economical
- No improvement on the yorker length balls during slog overs - except for one match, our bowling was never tested in the slog over arena.
- Will the team fare with same aggression if they are part of a slump or when they are 0-2 down in a series ? Can they handle such pressure ?
Hope such positive and forward-thinking selection policies based on 'performance' and focus and strategies based on 'process' will take of 'results' as Dravid-Chappell combo has been claiming all along.
That brings us to the question, when was the last time one hired a CEO for a quarter fiscal year ? When was a principal hired for a semester ?
Why does an Indian cricket captain has to bid his time one-day at a time ? - When will a cricket captain be appointed for longer than couple of series' ? The know-all BCCI seems to know the answer !!
I started off saying 'new ways...', and not 'new 'winning' ways...' - primarily coz it is too early to be proclaiming the coming-of-age of new-look Indian team :)
Still, Grin Grin Grin
Monday, October 31, 2005
Diwali Greetings
Wishing you all, your family, near and dear ones a very Happy Diwali/Deepavali and also a fun-filled and prosperous season ahead.
p.s : As most of you are already aware, am on hibernation mode ;) will try to bring my blogging habits back to 'normalcy' - soon :D
p.s : As most of you are already aware, am on hibernation mode ;) will try to bring my blogging habits back to 'normalcy' - soon :D
Thursday, October 27, 2005
Wednesday, October 19, 2005
Power Play !
I am a Programmer, and I developed an application
I coded it with the ability to think
I authorized it to make copies of itself
I made them talk, walk
I gave them senses to enjoy the rest of my creations
I also removed them after a shelf life
It made innumerable copies in no time
They started bonding with other applications
They started destroying other applications
They created operating systems
They have done so much good
They have done so much bad
They have altered their hard-disk
They want to get rid of their shelf life
Some claim their operating system is the best
Some claim they are the source
Some claim to control the operating system
Some claim there is no operating system
Some claim they have seen the operating system
They talk endlessly about themselves
For, they can do all they want, till I pull the plug (a.k.a) re-boot
I coded it with the ability to think
I authorized it to make copies of itself
I made them talk, walk
I gave them senses to enjoy the rest of my creations
I also removed them after a shelf life
It made innumerable copies in no time
They started bonding with other applications
They started destroying other applications
They created operating systems
They have done so much good
They have done so much bad
They have altered their hard-disk
They want to get rid of their shelf life
Some claim their operating system is the best
Some claim they are the source
Some claim to control the operating system
Some claim there is no operating system
Some claim they have seen the operating system
They talk endlessly about themselves
For, they can do all they want, till I pull the plug (a.k.a) re-boot
Saturday, October 15, 2005
Monday, October 03, 2005
[Song Watch] Alaipayuthe
Alaipayuthe - by Maniratnam starring Madhavan and Shalini was about post-marriage blues :-) It was a moderate success in tamil and the hindi remake (Saathiya) was a resounding success. Initially, this movie was conceived with just the title song (carnatic) Alaipayuthe in the movie. But then, as always, Mani gave in to the temptation of using ARR. Wise decision :-D one would say. Lets get to the review without further ado :)
Click here to listen to the album
Yaaro yarodi - Mahalakshmi Iyer, Vaishali, Richa Sharma
This is an amazingly mellow song for the likes of a marriage song. The combo of three singers produce a kinda catchiness to the song, and at the same time, take the pronounciation out for a walk :-(
Thumping of drums and chanting of 'dum dumakka dum'. Richa starts off with yaaro yarodi. A harmonium kinda (french horn?) instrument begins to follow the singer. Interesting use of 'shakers' throughout the song (e.g. 00.48-00.49 - the sound is similar to washing your clothes by hand, and kumuku'fying it - almost a series of quick presses of the cloth with water hitting the washing slate - i loved it :-) ). The highlight of the pallavi is the section between 1.17-1.20 and the subsequent improvised repeat at 1.27-1.30 Simply Adorable !
The return to pallavi is marked by lisp'ish singing - sometimes i get irritated when i listen to it (is it just me? :-( ) . The first interlude is brief a nadhaswaram piece that takes you right into the stanza. The flute segment is quite cute, the style is very reminiscent of BG pieces from MMKR.
Stanza starts with thangathukku verkudhu and the alaap (2.35 -2 .44) that follows the first line is simply awesome. So is the alaap piece solli kudunga (2.54-3.00). The stanza eases into the second stanza. The second interlude is beautiful with chirping flute piece and wonderful chords backing poongodikku kannalam.
The second stanza is pretty much the same, watch out for the alaap pieces similar to the first stanza. Very melodious indeed !. The closing sections are interestingly layered with yaaro starting at 5.12 and another yaaro starting at 5.16 - forming a self-imposed harmony (Gurus out there, any technical term for this usage or pattern ?)
Overall easy and melodious song, marred by pronounciation. The chords through the song are very apt and underlines the mood very well and a bit underplayed.
Rating 4.3 out of 5
Sakiye a.k.a Pachai Nirame - Hariharan, Clinton
ARR and Clinton, harmonize Sakiye Snehithiye which sets in motion the beautiful melody line for the song. Naveen, ARR's aasthana flautist plays the line with superb backing by guitars and violins (?) and chords - what a dream ambience ! Can't wait to get to the start of the song...
Hari starts off with pachai nirame - he sings it so softly, that it feels as if he is singing to a kid :-) - very brief pallavi - and the flute/guitar combo steps in immediately and a female harmony adds to the melody and you are into the stanza. Kilayil kaanum continues the melody of the theme with simply rhythm but then the instrument that ARR uses frequently to signify rain, speeds up the song even further. The song takes a turn at 1.52 for the good- but the violin piece that sets it up is even better (1.49-1.52). These two-line style repeats itself and ends up at Sakiye - Just note the use of bass guitar between 2.38-2.52 - it is a song in itself - amaaaazing !
There is no second interlude but for the above mentioned Sakiye lines and second stanza is very similar to the first one, with Hari improvising very well. Third interlude, if it could be called that, is simple and cute. Iravin nirame marks the third stanza, which is very similar to the previous ones except that it ends up with different lines for the section marking pallavi.
This song has awesome lyrics by none other than Vairamuthu - about likening the different colors of nature to the attributes of herione (now that is a new idea for Blogolala - any takers ?).
Powers Chords and bass guitar can be found through the section of the songs - sometimes underplayed - but amazing, melody oozing, candy floss song. Only ARR !
Rating 4.8 out of 5
Alaiypayuthe - Kalyani Menon, Harini, Neyveli Ramalakshmi
This classical carnatic song based on raga kAnaDa is reproduced as-is with just the rhythm and bells and nice tampura. Would like to add this song and ragam, has been always on the top of my favorite list of ragas, since my childhood days and just that now more ragas have been added ;)
Couple of pronounciation errors yet again, kinda diluted by three people singing it :-(
Rating : unrated :-)
September Madham - Asha Bhosle, Shankar Mahadevan
Typical fast, dance number with awesome bass and heavy arabic influence in the main melody line. Catchy rhythm, acoustic guitar, youthful rendering by Asha and Shankar mark the highlight of the song.
The picturization of this song was a let down, imho
Rating 4.1 out of 5
Snehidhane - Sadhana Sargam, Srinivas
Srinivas starts off with 'Netru' in a false voice and is backed by a chorus and slap/bass which sets up the dreamy start to the song.
Sadhana comes in with her easy and lovely style singing Snehidhane and one notices the use of superb chords right away to wonderfully convey the romance element in the song. The pallavi seems to take many turns, all providing with wonderful bursts of melody. Idhe azhutham (1.10) and vazhvin (1.20) and vazhvin (1.26) all are unexpected changes in the direction of the melody - no one is complaining though :-). Note the total vaccum of musical instruments between 1.26 - 1.30 where the melody carries the burden.
Sarangi marks the first interlude with tabla and payal adorning the piece. It is pretty much along the lines of the main melody of the song.
The first stanza, is yet another, turn of melody. Wonderful is the only word that can be used to describe the feeling. Beautiful chords and amazing work on the bass sustain the first stanza, which traverses the realm of dream-sequence :-) . The tune returns to its main melody theme, yet again at 2.41 - which brings you beautifully back to the pallavi - what lovely chords !
Second interlude is the chorus singing of Netru - yet again the bass work is simply amazing. The second stanza is more or less the same as the first one, but the there are very small of sections of cutsy improvisations ( at 4.35 - a whistle like) that bring cool'ness
Very adddddorable and lovely song - seemingly formed the inspiration for the song Vaseegara (Minnale - not a copy, a beautiful song in its own stead)
High points are the chords and bass work ! - awesome, very good voice of Sadhana, pronounciation could have been better.
For the raga enthusiasts, there seems to be some mix of natabhairavi and mohanam (briefly in the stanzas) in this song :)
Rating 4.8 out of 5
Kadhal Sadugudu - S.P Charan, Naveen
Simplicity is the name of this song. Take a piano and a bass guitar and shakers for rhythm, and produce a song of this calibre - Mark of a genius !!!
Charan (SPB's son - you can almost hear SPB at places ;) ) and Naveen (the inimicable flautist) get started with Kadhal Sadugudu. The pallavi is just awesome, especially at places like Alaiye (00.35-00.45) - notice the bass guitar riff at 0.51 - COOL and nakila nakila (00.55-1.05)
Song is basically developed on the theme from pallavi. The first interlude is nothing but brief piano section to setup the first stanza, the chords help the transition.
Neerattum Nerathil opens the stanza, is just the beginning of what leads to a wonderful crescendo of the song. You can observe how, the melody and pace of the song is slowly built up by the intensity of the tune and chords and the use of the piano. Starting En Kannil (2.01) the chords, bass and piano converge to start giving you the preview of goose bumps that you'll encounter when u get to En Vazhvum En Savum Un Kannin Asaivile (2.11-2.16) - Breathtaking ! - Here is where, the song missed SPB :-)
Second interlude is non-existent, and ARR gets the stanza started in a hurry. But for some minor variations on the piano plays, it follows the first to a T, but does not fail to give you another round of goose bumps ;) (3.33- 3.38)
The return to pallavi witnesses some more instrumentation and some good work on the bass yet again at 4.09-4.11
Very short song (4.30) by ARR standards - yea a grouse, with such a wonderful melody line, the song could have been longer :-)
Bass and piano hijack the song from the start to end - Wonderful and simple melody !
Natabhairavi (s r1 g2 m1 p d1 n2) seems to be the overriding ragam in this song :)
Rating 4.6 out of 5
Evano Oruvan - Swarnalatha
Howling winds welcome you in this melancholic song - with superb instrumentation and heavy arabic influence. Swarnalatha is a perfect fit with this son. Her forte is her ability to emote and intonate very well
Strings section starting sets the sad mood for the song (00.45-1.00) - reminds you some of the opening-credit-scores in older day (50's) movies. Kiravani (s r1 g2 m1 p d1 n3 S) it is !!!
Pallavi is cute, with certain pieces seemingly more sad than others. Thavam pol (1.18) and avan oodhum (1.39) being the clinchers. Very minimal instrumentation.
Interlude, sees Naveen in action - this time with the flute (1.53-2.08) - the tune seems to plead you to enjoin the sadness - such emotion ! and the opening strings section repeated completes the interlude.
The stanza is basically an extension of the pallavi with nice santoor/harp like backing and strings section and flute chirps in to support the lines. Continues to be simple and sad :-D. The second interlude is the highlight of the song. It begins with the repeat of the opening string section. A brief pause, adorned only by the rhythm ( 3.38-3.45) and suddenly a faced-paced string arrangement races your senses 3.49-4.05. This is typical ARR arrangement, but once again, the tempo and the ragam reminds you of some older day scores (not a copy, just similar).
Second stanza is no different than the first - but the lyrics - man Vairamuthu rocks - Andha Kuzhalai pol azhuvadharku - athanai kangal enakkilaye (4.59-5.07) - meaning, can't cry as much as a flute, since i lack that many eyes - in reference to the bamboo holes :-)
And the flute draws the curtain on the song. Very soulful melody.
Rating 4.5 out of 5
Endrendrum Punnagai - Clinton, Pravin, Srinivas, Shankar Mahadevan
One of the two add-ons to the orignial album - is a short, but a fast-paced, dance number. Typical rock number - with good work on the guitar, simple rhythm, nice chorus, and lotsa synth work - mark this number. Maddy starring this bit was a raging hit :-)
Rating 4.3 out of 5
Mangalyam Thanthuna Clinton, Srinivas
Second add-on - is more of a free-form of Endrendrum Punnagai with chanting of Mangalyam thanthunaane na - the famous words with which many TFMovies end ;)
Rating 4.2 out of 5
The album emphasised more on the melody aspect, without compromising on the mass-appeal factor - and came out successful. As with MR & ARR combo, the songs were all raging hits - and this is definitely a must-have in your collection.
Overall Rating 4.6 out of 5
Other Music Reviews
Click here to listen to the album
Yaaro yarodi - Mahalakshmi Iyer, Vaishali, Richa Sharma
This is an amazingly mellow song for the likes of a marriage song. The combo of three singers produce a kinda catchiness to the song, and at the same time, take the pronounciation out for a walk :-(
Thumping of drums and chanting of 'dum dumakka dum'. Richa starts off with yaaro yarodi. A harmonium kinda (french horn?) instrument begins to follow the singer. Interesting use of 'shakers' throughout the song (e.g. 00.48-00.49 - the sound is similar to washing your clothes by hand, and kumuku'fying it - almost a series of quick presses of the cloth with water hitting the washing slate - i loved it :-) ). The highlight of the pallavi is the section between 1.17-1.20 and the subsequent improvised repeat at 1.27-1.30 Simply Adorable !
The return to pallavi is marked by lisp'ish singing - sometimes i get irritated when i listen to it (is it just me? :-( ) . The first interlude is brief a nadhaswaram piece that takes you right into the stanza. The flute segment is quite cute, the style is very reminiscent of BG pieces from MMKR.
Stanza starts with thangathukku verkudhu and the alaap (2.35 -2 .44) that follows the first line is simply awesome. So is the alaap piece solli kudunga (2.54-3.00). The stanza eases into the second stanza. The second interlude is beautiful with chirping flute piece and wonderful chords backing poongodikku kannalam.
The second stanza is pretty much the same, watch out for the alaap pieces similar to the first stanza. Very melodious indeed !. The closing sections are interestingly layered with yaaro starting at 5.12 and another yaaro starting at 5.16 - forming a self-imposed harmony (Gurus out there, any technical term for this usage or pattern ?)
Overall easy and melodious song, marred by pronounciation. The chords through the song are very apt and underlines the mood very well and a bit underplayed.
Rating 4.3 out of 5
Sakiye a.k.a Pachai Nirame - Hariharan, Clinton
ARR and Clinton, harmonize Sakiye Snehithiye which sets in motion the beautiful melody line for the song. Naveen, ARR's aasthana flautist plays the line with superb backing by guitars and violins (?) and chords - what a dream ambience ! Can't wait to get to the start of the song...
Hari starts off with pachai nirame - he sings it so softly, that it feels as if he is singing to a kid :-) - very brief pallavi - and the flute/guitar combo steps in immediately and a female harmony adds to the melody and you are into the stanza. Kilayil kaanum continues the melody of the theme with simply rhythm but then the instrument that ARR uses frequently to signify rain, speeds up the song even further. The song takes a turn at 1.52 for the good- but the violin piece that sets it up is even better (1.49-1.52). These two-line style repeats itself and ends up at Sakiye - Just note the use of bass guitar between 2.38-2.52 - it is a song in itself - amaaaazing !
There is no second interlude but for the above mentioned Sakiye lines and second stanza is very similar to the first one, with Hari improvising very well. Third interlude, if it could be called that, is simple and cute. Iravin nirame marks the third stanza, which is very similar to the previous ones except that it ends up with different lines for the section marking pallavi.
This song has awesome lyrics by none other than Vairamuthu - about likening the different colors of nature to the attributes of herione (now that is a new idea for Blogolala - any takers ?).
Powers Chords and bass guitar can be found through the section of the songs - sometimes underplayed - but amazing, melody oozing, candy floss song. Only ARR !
Rating 4.8 out of 5
Alaiypayuthe - Kalyani Menon, Harini, Neyveli Ramalakshmi
This classical carnatic song based on raga kAnaDa is reproduced as-is with just the rhythm and bells and nice tampura. Would like to add this song and ragam, has been always on the top of my favorite list of ragas, since my childhood days and just that now more ragas have been added ;)
Couple of pronounciation errors yet again, kinda diluted by three people singing it :-(
Rating : unrated :-)
September Madham - Asha Bhosle, Shankar Mahadevan
Typical fast, dance number with awesome bass and heavy arabic influence in the main melody line. Catchy rhythm, acoustic guitar, youthful rendering by Asha and Shankar mark the highlight of the song.
The picturization of this song was a let down, imho
Rating 4.1 out of 5
Snehidhane - Sadhana Sargam, Srinivas
Srinivas starts off with 'Netru' in a false voice and is backed by a chorus and slap/bass which sets up the dreamy start to the song.
Sadhana comes in with her easy and lovely style singing Snehidhane and one notices the use of superb chords right away to wonderfully convey the romance element in the song. The pallavi seems to take many turns, all providing with wonderful bursts of melody. Idhe azhutham (1.10) and vazhvin (1.20) and vazhvin (1.26) all are unexpected changes in the direction of the melody - no one is complaining though :-). Note the total vaccum of musical instruments between 1.26 - 1.30 where the melody carries the burden.
Sarangi marks the first interlude with tabla and payal adorning the piece. It is pretty much along the lines of the main melody of the song.
The first stanza, is yet another, turn of melody. Wonderful is the only word that can be used to describe the feeling. Beautiful chords and amazing work on the bass sustain the first stanza, which traverses the realm of dream-sequence :-) . The tune returns to its main melody theme, yet again at 2.41 - which brings you beautifully back to the pallavi - what lovely chords !
Second interlude is the chorus singing of Netru - yet again the bass work is simply amazing. The second stanza is more or less the same as the first one, but the there are very small of sections of cutsy improvisations ( at 4.35 - a whistle like) that bring cool'ness
Very adddddorable and lovely song - seemingly formed the inspiration for the song Vaseegara (Minnale - not a copy, a beautiful song in its own stead)
High points are the chords and bass work ! - awesome, very good voice of Sadhana, pronounciation could have been better.
For the raga enthusiasts, there seems to be some mix of natabhairavi and mohanam (briefly in the stanzas) in this song :)
Rating 4.8 out of 5
Kadhal Sadugudu - S.P Charan, Naveen
Simplicity is the name of this song. Take a piano and a bass guitar and shakers for rhythm, and produce a song of this calibre - Mark of a genius !!!
Charan (SPB's son - you can almost hear SPB at places ;) ) and Naveen (the inimicable flautist) get started with Kadhal Sadugudu. The pallavi is just awesome, especially at places like Alaiye (00.35-00.45) - notice the bass guitar riff at 0.51 - COOL and nakila nakila (00.55-1.05)
Song is basically developed on the theme from pallavi. The first interlude is nothing but brief piano section to setup the first stanza, the chords help the transition.
Neerattum Nerathil opens the stanza, is just the beginning of what leads to a wonderful crescendo of the song. You can observe how, the melody and pace of the song is slowly built up by the intensity of the tune and chords and the use of the piano. Starting En Kannil (2.01) the chords, bass and piano converge to start giving you the preview of goose bumps that you'll encounter when u get to En Vazhvum En Savum Un Kannin Asaivile (2.11-2.16) - Breathtaking ! - Here is where, the song missed SPB :-)
Second interlude is non-existent, and ARR gets the stanza started in a hurry. But for some minor variations on the piano plays, it follows the first to a T, but does not fail to give you another round of goose bumps ;) (3.33- 3.38)
The return to pallavi witnesses some more instrumentation and some good work on the bass yet again at 4.09-4.11
Very short song (4.30) by ARR standards - yea a grouse, with such a wonderful melody line, the song could have been longer :-)
Bass and piano hijack the song from the start to end - Wonderful and simple melody !
Natabhairavi (s r1 g2 m1 p d1 n2) seems to be the overriding ragam in this song :)
Rating 4.6 out of 5
Evano Oruvan - Swarnalatha
Howling winds welcome you in this melancholic song - with superb instrumentation and heavy arabic influence. Swarnalatha is a perfect fit with this son. Her forte is her ability to emote and intonate very well
Strings section starting sets the sad mood for the song (00.45-1.00) - reminds you some of the opening-credit-scores in older day (50's) movies. Kiravani (s r1 g2 m1 p d1 n3 S) it is !!!
Pallavi is cute, with certain pieces seemingly more sad than others. Thavam pol (1.18) and avan oodhum (1.39) being the clinchers. Very minimal instrumentation.
Interlude, sees Naveen in action - this time with the flute (1.53-2.08) - the tune seems to plead you to enjoin the sadness - such emotion ! and the opening strings section repeated completes the interlude.
The stanza is basically an extension of the pallavi with nice santoor/harp like backing and strings section and flute chirps in to support the lines. Continues to be simple and sad :-D. The second interlude is the highlight of the song. It begins with the repeat of the opening string section. A brief pause, adorned only by the rhythm ( 3.38-3.45) and suddenly a faced-paced string arrangement races your senses 3.49-4.05. This is typical ARR arrangement, but once again, the tempo and the ragam reminds you of some older day scores (not a copy, just similar).
Second stanza is no different than the first - but the lyrics - man Vairamuthu rocks - Andha Kuzhalai pol azhuvadharku - athanai kangal enakkilaye (4.59-5.07) - meaning, can't cry as much as a flute, since i lack that many eyes - in reference to the bamboo holes :-)
And the flute draws the curtain on the song. Very soulful melody.
Rating 4.5 out of 5
Endrendrum Punnagai - Clinton, Pravin, Srinivas, Shankar Mahadevan
One of the two add-ons to the orignial album - is a short, but a fast-paced, dance number. Typical rock number - with good work on the guitar, simple rhythm, nice chorus, and lotsa synth work - mark this number. Maddy starring this bit was a raging hit :-)
Rating 4.3 out of 5
Mangalyam Thanthuna Clinton, Srinivas
Second add-on - is more of a free-form of Endrendrum Punnagai with chanting of Mangalyam thanthunaane na - the famous words with which many TFMovies end ;)
Rating 4.2 out of 5
The album emphasised more on the melody aspect, without compromising on the mass-appeal factor - and came out successful. As with MR & ARR combo, the songs were all raging hits - and this is definitely a must-have in your collection.
Overall Rating 4.6 out of 5
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