I am impressed with this debut album. Evaraina
chusara and Chiru chiru nagavulu are tracks that point to a
bright future for
A bright new composer for the Telugu screen
Ishtam comes from the stables of Ramoji Rao, and debutant music composer D J Gopinath is someone you should keep an eye out for
Ishtam comes for Usha Kiron productions, which has been launching many new faces of late. The success of Nuvve Kaavali has set off a trend, and Ishtam and Anandam are among the films inspired by its storyline. Vikram-Rajakumar, who direct Ishtam, are debutants.
This college romance features newcomers Charan and Shreya. They are star-crossed, and find it hard to talk of their love to each other.
D J Gopinath is the new kid on the music composing block. For his orchestra, he uses well-known names like Naveen (an A R Rahman favourite) on the flute and Keith Peters on the bass guitar.
Ee andala college lo is the usual "college song" where the youngsters get fresh. The beat is heavy. The whistles and the screams sum up the ambience of a fun day at college.
Everaina choosyara begins with Chitra singing the bare tune. The words (like 'purushottama') echo some classicism, but a heavy sequenced beat reminds you that this is a song sitting very firmly in the popular realm. Hariharan comes in a little later. I thought the orchestra was very restrained and neat. Beginners usually are anxious to show off and overdo the orchestral arrangements. The violins come and go making short statements. The tune gets a sensual element from the whispery quality of the singing. The interlude has some Arab violins which sound more acoustic than synth. A flute picks up the mood and returns you to the stanza. The second interlude starts with flutes in layers and then come in the violins.
Yavoore yaavoore uses a mix of languages, and has a likeable street quality. I am talking of the Side B version. Its simple structure reminds you of folk songs, and it even goes off into broken, unharmonised hummings. The whistles add a Bobby Mcferrin feel. Varikuppala Yadagiri has written and sung the song which is full of Hyderabadi -- jane jane, deewane -- and some Tamil words like appadiya. He has an unpolished, natural singing style. Reminded me of the songs on Hyderabad Doordarshan before the age of satellite television. The beat is techno-groove on the Side A version and somewhere in the middle it loses its grip and goes haywire, whereas the true-to-form folk version keeps your attention.
Noovante ishatamani is sung by Hariharan and Chitra, and is a softly done ballad. The flute plays some memorable parts. One interlude is full of blues trumpets which suddenly go off into north Indian folksiness and then lead into Karnatak classical phrases on the flute again. The stanzas are short and stay within the identity that the song strives for in the pallavi. For rhythmic colour Gopinath uses some tabla. A banjo (or is it a mandolin) plays some simple phrases. The orchestra is predominantly Western pop, but the tune is Indian and there are flashes of Indianness all over. The words talk about understanding the difference between liking and falling in love with someone.
Conventulo collegelo by S P Balasubramanyam
takes a sceptical look at education as far as we could make out,
since the words are a little lost. SPB finds the pitch low and the orchestra gobbles up some words. The education you get at formal institutions can't be as good as the one you get on the footpath, writes Sirivenella Sitaram Rao. The melody might not be great, but the violins and chorus reminded me of Ilaiyaraja's approach in songs like Ennule ennule from the Rajnikanth-starrer Valli though nowhere in the same class.
T R Karthik sings Why don't you enjoy... The female lead (is it Sujatha?) finds no mention on the credits. The song is pop, with a deep bass pattern. Yet another "have fun" song like Take it easy policy from Kaadalan. The accordion bits sound good without making the tune overly Latino.
The next song Chiru chiru nagavulu by Chitra has a heavy violin ensemble swaying away to deep drumming. The tune moves downwards is what sounds like raga Keeravani. The stanza takes on shades of raga Bhowli. In the interlude the flute plays chirpy phrases. The riffs on the violin and the guitar fill the pallavi with warmth.
I am impressed with this debut album. Evaraina chusara and Chiru chiru nagavulu are tracks that point to a bright future for Gopinath.
S Suchitra Lata
on 22 November 2001
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