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What makes MSV pleasantly different?-VII

 
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madhuraman
Devotee


Joined: 11 Jun 2007
Posts: 1226
Location: navimumbai

PostPosted: Sun Sep 07, 2014 5:53 am    Post subject: What makes MSV pleasantly different?-VII Reply with quote

Dear Friends,
MSV's repertoire is far beyond limits of classification and descriptive terminology, as his technique is refeshingly natural and overwhelmingly varied. Still, nothing can preclude our attempts on the topic. Further to the earlier observations

OPENING On “Nerve-strumming” Percussion
MSV is quite adept in using a trim style to open a song. He has many numbers that stand out by their sheer majestic opening. This time let us consider some numbers where heavenly beats of percussion proclaim the magic coming forth.

‘Oru peNNaippArthu nilavai pArthEn’ “DeivathAi”

This is one of the early numbers for Valee from MSV’s decorative presentation. The piece right away calls attention by the Bongo–Drum bonanza. Besides the ‘not-so-familiar’ Bongo tone then, the handling of Drum to keep ‘percussion company with Bongo’ was another novelty; these methods were simply unknown in TFM those days. This song was so mesmerizing that the membership in TN MSV fan club swelled by at least a few thousands overnight. There used to be a beeline of youngsters before ‘mike set’ shops [–a popular name for Audio providers to functions like wedding or other celebrations] with a request for this song.

Percussion with Aalap ‘pArtha gnyapagam illaiyO’ “pudhiya paravai”

Aa a a aaa of PS is quickly joined in by vigorous Bongo beats that run in quick succession and sliding away to give way to further Aalap and orchestration. The way the Alap and Bongo spin a magic was a captivating technique that has not been seen to such perfection in any other creator’s work. The deft and racy strokes on Bongo led to a popular grapevine those days that MSV has mustered the services of some African craftsman for those beats [it was the versatile Gopalakrishnan whose finger play it was! ]
The pallavi onward it is a master lesson on using orchestral elements in generating a high quality club song where brass pieces fully delight the listeners.

Plain Drum beats +guitar strums : That was the straight forward opening for ‘yArO Aada therindhavar yArO’ of “nee”?

What to say of this?
It is now a piece of example for a ‘holistic composition’. Yes. My reference [as well as Reverence] is to ‘avaLukkenna azhagiya mugam’ “server Sundaram”

Even to-day the frolic of Drum- Bongo amalgam stands supreme in terms of the absolute harmony in strokes of the two instruments setting a ‘nerve-twining’ effect through the auditory path. What a marvelous arrangement of beats and orchestral components with the proverbial Accordion, offering a dose of drenching welcome to the listener for a simple opening ‘avaLukkenna’ by TMS, with an instant Drum- Bongo nudge, lifting the song and the listener to a new plane to be loosely-riveted in a musical float. Stupendous piece of imagination rendered to immaculate perfection since the lyric frames are plain social terms through pallavi and best parts of Charanam. Who but MM can conceive such strategies of mood-setting and captivation by execution of the concept? Great, to say the least.

Plain Drum beats +guitar strums : That was the straight forward opening for ‘yArO Aada therindhavar yArO’ of “nee”?

Warm regards K.Raman Madurai
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Prof. K. Raman
Mumbai
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vaidymsv
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Joined: 08 Nov 2006
Posts: 715
Location: Madras, India

PostPosted: Thu Sep 11, 2014 2:38 pm    Post subject: A PIONEER IN FUSION Reply with quote

Dear All,

One of the greatest areas for research in MSV's music is the fusion of instruments by him otherwise left untouched by many obviously fearing total non-synch. Can anyone believe in the song Naalai Intha Velai (Uyarntha Manidhan) where both the Tabla & the Bongos are seemleesly fused, in the song Athisaya Ulagam (Gowravam) where Thavil & Bongos have been fused to take the tune to dizzy heights and who can forget Unnidathil Ennai Koduthen (Avalukkendru Ore Manam) where Shehnai & Thavil have been fused much to all our delight!!!! And there are thousands more, to open up a new thread in our forum!!!

Here's a creator who not only excelled in every way by creating immortal melodies but as far as the usage and the number of instruments used in a song is concerned, MSV still holds an enviable, unbeatable record till this day. On many occasions when posed with this particular question on what excatly prompted him to select instruments that (for too many they simply would have either been a total misfit or a disaster for sure) so perfectly get synchronised with the mood of the song, only an usual gesture pointing to the sky is what many managed to get!!!

But, try talking to someone literate in music who can swap the instruments, no one ever dared to come near him or the mere mention of the magical three letters - MSV will silence them for the rest of their lives, musically!!!. We have seen all these in the so called "re-mixing" done by many (the very MD who opened up this opportunity in the industry is fighting for justice / copy rights is another issue but definitely not worth debating) which Shri. MSV blatantly terms it as "raping" of a song. Can we hence construe that there are more "musical rapists" than creators these days????

CHEERS
MS
V IS MUSIC!!!

VAIDYMSV

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