Friday, November 7, 2008

Nagmaa Nagmaa Nagmaa - Pooncholai

~~Talking about this movie, it was completed by mid of '97 itself, however, it was not released yet for some internal issues. Apparently, they are planning to release it now. Infact, film maker had attempted to release it by end of last century with a new name "Oruvan Oruvan muthalali", however, it gone futile.

It was directed by Gangai amaren.

*ing: Venkatprabhu, Sangeetha and et, al., It has some interesting numbers.

This music album has an induction by Gangai amaren who flatters Raaja sir and complaints about contemporary music style {I mean by that time - mid of '97}.

Nagmaa Nagmaa Nagmaa Intha by Mano {I kinda remember that all the songs were penned by Gangai amaren itself and not by Vaali sir, correct me if I am incorrect}.

What happens when Jimi Hendrix & Larry Graham meet Jazzy B?

I am afraid their combination may lead to an avant-grade fusion of Punjabi grovvy bhangra rhythm with funky guitar work, which we may coin as "Punjabi rock".

Apparently, this song starts with Solkattu {vocal beat measure} by Mano with some flattering comments with castrato. Then, this lude get into a new stage for dancing with electrified distortion guitar, synth rhythm, tabla loop {eh? or track tabla was enhanced with double the speed} with funky pops onto bass guitar strings.

First 2 lines of Pallavi lead have filler of rocking distortion guitar chords, which raise the temperature of my vicinity {wink}. As soon as pallavi starts tabla's rhythm had been borrowed by programmed percussion with funky slapping onto bass guitar as bassline. Jazzy piano as bassline steals my soul during this vocal part.

1st interlude, again, is it spick & span arpeggio on synth or chords played on guitar with pedal? Anyway, it was well-played and was accompanied with synth flute and pleasing bass guitar, all gather to take us to a new harmonious zone. 2nd part of this interlude has an interesting string instrument, which sounds alike Middle Eastern string instrument and simultaneously, makes me to perplex whether rhythm guitar sounds with off-beat with mere measure of bass guitar slaps.
Saranam has cogent poly-rhythm - programmed percussion is accompanied with tabla and correspondingly, change of vocal pitch at the last part of this stanza was accompanied with distortion guitar, which makes new synonym of fusion music.

2nd interlude, distortion guitar’s call was responded or comically imitated with Middle Easternish alap and later, both intermingle with each other with panicky synth sound {in lighter vein}, however, distortion guitar would not play dischord progression, which we would need to make a note of it. Last part of 1st interlude was repeated again and this lude ends with vocal beat measure and its appropriate rhythm through tabla.

Again, last 2 lines of Saranam, steal the melody {at least for me}. You bet!

Postlude: It is an attention-grabbing lude. Dhol was replaced with bass drum and was accompanied by Chimta to paint bhangra color for this lude. Energetic scat singing of mano with falsetto, imitates as cart-driver is hilarious.

It is such a cadenced number, which enhances my pulse.


~~Raaja rules!

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