#M.S. Subbulakshmi

[bollywoodirect]

Remembering legendary, multi-lingual playback singer #VaniJairam on her birth anniversary (30/11). People called her the "Meera of modern India." Her singing career began in 1971 and lasted over fifty years. She sang in over a thousand movies, recording more than 10,000 songs. Vani also made many devotional and private albums and gave solo concerts in India and other countries. Vani was known for her ability to sing a wide range of songs and was a favorite choice for many music composers from the 1970s to the 1990s. She sang in 19 different Indian languages. She won many awards, including three National Film Awards for Best Female Playback Singer and other state awards. In 2012, she received the Filmfare Lifetime Achievement Award for her work in South Indian film music. In 2017, she was awarded Best Female Singer in New York City. Vani was skilled in many music styles and was also a songwriter, composer, and painter.

In this photo: The legendary carnatic vocalists D.K.Pattammal, Jayalakshmi, M.S. Subbulakshmi and Radha are with S.Janaki, L.R. Eswari and Vani Jairam, the singing legends of South Indian cinema.

[swadhyaaya]

swarabharati ms subbulakshmi (rare documentary part-2) includes opinion...

[thereader-radhika]

The Other 'Kalki' - T. Sadasivam and the origins of the 'Kalki' magazine

Thiagaraja Sadasivam, better known as 'Kalki' Sadasivam, was an Indian freedom fighter, singer, journalist and film producer. In his later years, he'd come to be more well known as the husband of the renowned musician M.S. Subbulakshmi.

R. Krishnamurthy, better known as Kalki, was a Tamil writer, journalist, poet, critic and Indian independence activist who wrote under several pen-names like Tumbi, Tamil Teni, Karnatakam, Langulan, Agastyar, Ra Ki, Yaman, Vivasayi, Petron, Guhan, Tamil Magan, etc. but what captured his readers' fancy is the pseudonym 'Kalki'.

T. Sadasivam and R. Krishnamurthy worked at Gemini Vasan's (who owned the legendary Gemini Studios as well) 'Ananda Vikatan' in 1930s but both left the magazine in the late 1930s, due to personal (Sadasivam's marriage with MS was scandalous for the times) and political (Vasan often got into trouble with the British government due to Krishnamurthy's works) reasons.

From T. J. S. George's M.S Subbulakshmi: The Definitive Biography :

Sadasivam must have admired his own luck at that point. For he had not only the most marketable literary property at his disposal but also the most valuable musical property as well . . . With Rajagopalachari giving his approval to the idea, all three were inspired to take the plunge.

Krishnamurthi, Rajaji, Sadasivam

Rajaji, M S Subbulakshmi, Sadasivam

The name of the magazine suggested itself. Krishnamurthi’s writings had spread his pen name ‘Kalki’ so far and wide that Kalki as a magazine title would have the priceless advantage of instant recognition. That indeed turned out to be the case. Not only the originator of the pen name but also the manager-proprietor too would henceforth be identified by the magazine’s name; they would always be known as Kalki Krishnamurthi and Kalki Sadasivam.

Thanks to MS’s film successes, he found many a wealthy financier knocking at his doors ready to invest in her. But Sadasivam was not open to their ideas; they had to be open to his. Such a stipulation kept potential investors at bay until a film director named Y. V. Rao came along. His idea sounded preposterous . . . He would make up the shortfall in the Kalki capital, he said, if Subbulakshmi would act as Narada in a film he was planning to make, titled Savithri. Sadasivam felt scandalized. MS as a male character!

For Rao that was precisely the point. MS in male attire would act as an irresistible magnet for the masses . . . After holding discussions with Rajaji and Krishnamurthi and after making a few teasing references to the idea in conversation with MS herself, Sadasivam said yes to Rao . . .

The first issue of Kalki

It took no time for Kalki to make a mark. That period was characterized by tremendous turbulence as a result of the war in Europe and Asia and the independence movement in India entering decisive phases. . . . Every day was a news day. The public appetite was keen for both incisive political commentaries and elevating literary works. Kalki Krishnamurthi’s pen satisfied the popular taste. Sadasivam’s managerial prowess found new inspiration in proprietorship. Combining creative credibility with entrepreneurial vitality, Kalki quickly grew into a part of Tamil history. Krishnamurthi, Sadasivam and Subbulakshmi, with Rajagopalachari hovering as a ‘presiding deity’, symbolized the vanguard of a virtual cultural renaissance in the Brahminic world of Madras. It would reach a peak with new historical novels appearing in a serialized form in the pages of the magazine—Ponniyin Selvan and Sivakamiyin Sapatham.

Krishnamurthy's daughter Anandi was married to Sadasivam's nephew Ramachandran and Sadasivam's daughter Vijaya was married to Krishnamurthy's son Rajendran.

Krishnamurthi, Anandi (sitting on his lap) and Ramachandran

MS Subbulakshmi, Sadasivam's elder daughter musician Radha with husband Viswanathan, Rajaji, Sadasivam, younger daughter Vijaya with her husband Rajendran

@willkatfanfromasia @favcolourrvibgior @celestesinsight @sampigehoovu @ambidextrousarcher @sakhiiii @whippersnappersbookworm

[girlinjasmineandsandalwood]

Vannakam Makkale🪷

I think it's simply marvellous to wake up in a tamillian household.

M.S . Subbulakshmi is the unofficial family member of every house ; her morning subrabatams filling every nook and corner of the house.

And the manjal paste you apply after every bath? A small possible connection with Parvati devi a millenia ago

The warm decoction filter coffee from the two tier coffee filter poured into a steel glass next to a plate of warm and soft iddlie with thengai chutney and karam pudi.

The kolam with an intricate pattern and the poovu in my hair which my amma tucks in with a U pin. The dark green valayal that clink in a melodious rhythm

The simple yet eye-catching pattu saree the ladies wear at temples with matching bottu and jimki kambal. The soft hum of mahishasura mardini chanting. The pongal in tapioca leaf. And that familiar golusu sound of little girls.

The raised eyebrows, the loud and happy voices ,the overly inviting and loving people who love to feed.

I come from the culture of the chozhas and temple bells and tamizh.

Vannakam makkale

🪷🤎✨️🛺🪞✨️🪷🤎✨️🛺🪞✨️🪷🤎✨️🛺🪞

[delivermytuneo6]

The Evolution of Indian Music Through Legends

The Indian music industry is a rich tapestry of melodies and rhythms that have evolved over centuries, shaped by the genius of legendary artists. From the haunting strains of classical ragas to the pulsating beats of contemporary hits, the journey of Indian music is a story of transformation and innovation. Legends such as A.R. Rahman, Ilaiyaraaja, Bhimsen Joshi, and others have played pivotal roles in bridging the gap between tradition and modernity, leaving an indelible mark on the cultural landscape.

The Roots: Classical Foundations

Indian music has its roots deeply embedded in classical traditions that date back thousands of years. The structured framework of Hindustani and Carnatic music laid the foundation for all subsequent genres. Legends like Pandit Ravi Shankar, who took the sitar to global audiences, and M.S. Subbulakshmi, whose devotional renditions captivated millions, are pivotal figures in this era. Their mastery of classical techniques combined with their innovative approaches set a high standard for musicians across generations.

The Golden Era of Film Music

The mid-20th century marked a turning point for Indian music with the rise of film music as a dominant force. Bollywood became a melting pot where classical influences merged with folk and Western styles to create a unique soundscape. Legendary composers like R.D. Burman, Naushad, and Madan Mohan redefined music with their memorable scores.

The playback singing legends of this era, such as Lata Mangeshkar and Kishore Kumar, became household names. Their ability to convey emotion through their voices brought depth to cinematic storytelling. Lata's ethereal voice captured love, loss, and longing, while Kishore's versatility ranged from soulful ballads to peppy numbers.

Folk Meets Modernity

India's diverse cultural fabric is reflected in its folk music, which has been a source of inspiration for many legendary artists. Bhupen Hazarika, known as the "Bard of Brahmaputra," blended Assamese folk music with global influences, creating timeless compositions. Similarly, Gurdas Maan's Punjabi folk songs carry the essence of rural life while addressing contemporary issues.

The integration of folk elements into mainstream music became a hallmark of legendary composers like Ilaiyaraaja, whose work seamlessly wove Tamil folk traditions with orchestral arrangements. This synthesis not only preserved India's rich heritage but also brought it to the forefront of popular music.

The Global Ambassadors

The 20th century also saw Indian musicians making their mark on the international stage. Pandit Ravi Shankar’s collaborations with The Beatles introduced Indian classical music to the West, sparking a wave of global interest. Zakir Hussain, with his unparalleled tabla skills, furthered this legacy by collaborating with artists across genres, from jazz to world music.

A.R. Rahman emerged as a modern-day global ambassador for Indian music. With his Oscar-winning compositions for Slumdog Millionaire and a string of successful collaborations, Rahman brought Indian music to international acclaim. His ability to blend classical ragas with electronic music, rock, and global influences has redefined the industry.

The Regional Powerhouses

While Bollywood often dominates discussions, regional music industries across India have produced legends who have significantly contributed to the evolution of Indian music. Ilaiyaraaja, often referred to as the "Mozart of Madras," revolutionized Tamil cinema music with his intricate compositions and pioneering use of technology. His music transcends language barriers, resonating with audiences worldwide.

In the realm of Kannada music, Dr. Rajkumar's contributions as a singer and actor are legendary. Similarly, Manna Dey's Bengali compositions and Yesudas's work in Malayalam and other South Indian languages showcase the richness of regional music traditions.

Contemporary Innovators

As the digital age dawned, Indian music underwent another transformation. New legends emerged, embracing technology and global trends while staying rooted in their heritage. Shreya Ghoshal and Arijit Singh are two such icons, whose versatility and emotive singing have made them the voices of a new generation.

Amit Trivedi, known for his innovative approach to film scores, has carved a niche by blending Indian and Western styles. His work in films like Dev.D and Queen demonstrates how modern legends are pushing boundaries, keeping Indian music fresh and relevant.

Bridging Generations

One of the hallmarks of Indian music legends is their ability to bridge generations. Artists like A.R. Rahman and Lata Mangeshkar have collaborated with younger musicians, fostering an exchange of ideas and ensuring the continuity of their legacies. Platforms like Coke Studio India and MTV Unplugged have also played a crucial role in this evolution, providing a stage for traditional and contemporary musicians to collaborate.

The Impact of Technology

The advent of streaming platforms and digital technology has significantly influenced the music industry. Legends of the past are now accessible to a global audience, and their timeless works continue to inspire budding musicians. The digitization of archives ensures that the contributions of legends like Bhimsen Joshi, R.D. Burman, and others remain relevant for future generations.

Conclusion: A Legacy of Innovation

The evolution of Indian music is a testament to the vision and creativity of its legends. From the soulful strains of Bhimsen Joshi’s classical renditions to the groundbreaking compositions of A.R. Rahman, these artists have not only preserved India's musical heritage but also propelled it into the future. As the industry continues to evolve, the influence of these legends serves as a guiding light, ensuring that Indian music remains a vibrant and dynamic force on the global stage.

Their legacy reminds us that innovation and tradition are not mutually exclusive but rather complementary forces that drive artistic excellence. With each generation building on the foundations laid by these legends, the journey of Indian music promises to be as inspiring and transformative as its storied past.

[gadgetsking]

Saregama Carvaan Mini 2.0 Speaker - Tamil (Sunset Red): Your Portable Music Companion

Step into the world of timeless music with the Saregama Carvaan Mini 2.0 Speaker - Tamil in the stunning Sunset Red. This compact, portable speaker brings a treasure trove of classic Tamil songs right to your fingertips, ensuring you can enjoy the golden melodies of yesteryears anytime, anywhere. Perfect for both music enthusiasts and those looking to relive the magic of iconic Tamil tunes, the Carvaan Mini 2.0 is a must-have.

Classic Tamil Songs at Your Fingertips

The Carvaan Mini 2.0 comes pre-loaded with 351 evergreen Tamil songs, offering a nostalgic journey through the rich musical heritage of Tamil cinema. Enjoy timeless hits from legendary artists like M.S. Subbulakshmi, T.M. Soundararajan, S.P. Balasubrahmanyam, and more. Each song is carefully curated to bring you the very best of Tamil music.

Vibrant and Portable Design

Designed to be your music companion on the go, the Carvaan Mini 2.0 boasts a sleek, compact design in a vibrant Sunset Red finish. Its lightweight and portable build make it easy to carry, ensuring you can take your favorite music with you wherever you go. Despite its small size, the speaker delivers rich, clear sound quality for an immersive listening experience.

Bluetooth Connectivity

The Carvaan Mini 2.0 features Bluetooth connectivity, allowing you to stream your favorite songs from your smartphone, tablet, or other Bluetooth-enabled devices. This flexibility ensures that you can enjoy not only the pre-loaded classics but also your personal playlists and the latest hits with ease.

Multiple Playback Options

In addition to Bluetooth, the Carvaan Mini 2.0 offers USB and AUX support, providing multiple playback options to suit your convenience. Connect your USB drive or other audio devices for uninterrupted music playback. This versatility makes it an ideal choice for various listening scenarios.

Long-Lasting Battery Life

Equipped with a rechargeable battery, the Carvaan Mini 2.0 provides up to 5 hours of continuous playback on a single charge. Whether you’re on a long journey, hosting a gathering, or simply relaxing at home, this speaker ensures that your music experience remains uninterrupted.

Easy Navigation and Use

The Carvaan Mini 2.0 is designed for ease of use, with intuitive controls for volume, playback, and mode selection. Effortlessly switch between pre-loaded songs, Bluetooth mode, USB, and AUX inputs. Its user-friendly interface makes it accessible for users of all ages.

FM/AM Radio

Stay connected to the world of radio with the built-in FM/AM feature. Tune in to your favorite radio stations and enjoy a variety of programs, from music and news to talk shows and more.

Key Features:

Pre-loaded Songs: 351 timeless Tamil classics.

Compact and Portable: Lightweight design in a vibrant Sunset Red finish.

Bluetooth Connectivity: Stream music from your devices.

USB and AUX Support: Multiple playback options for convenience.

Long Battery Life: Up to 5 hours of continuous playback.

Easy Navigation: User-friendly controls for seamless operation.

FM/AM Radio: Access your favorite radio stations on the go.

Conclusion

The Saregama Carvaan Mini 2.0 Speaker - Tamil (Sunset Red) combines the charm of classic Tamil music with modern convenience. Its portable design, multiple playback options, and vibrant color make it a perfect addition to your music collection. Whether you’re a lifelong fan of Tamil cinema or exploring these timeless melodies for the first time, the Carvaan Mini 2.0 offers a delightful and immersive musical experience. Bring home the magic of Tamil classics and let the music play on.

[pricklyrecords]

m.s. subbulakshmi: sri venkateshwara suprabhatham

09/04/2023

i know, i know. lots of consonants. hear me out. this is a hindu hymn that my mother would play every morning when she woke up, usually at the absolute asscrack of dawn, 5:30 in the morning, as she was getting ready to go to the gym. back when i was still living with my parents, this song would accompany unpleasant truths: that my time in the realm of dreams was over, and i’d soon have to go to school and endure the taunts of my classmates. and even now, six years and two university degrees later, the song still rankles — albeit for different reasons. for example: why am i still listening to this woman extol the virtues of god? am i becoming my mother? (this i think while preparing a black coffee at a similarly early hour, and getting ready to work out.) and worse: do i WANT to become my mother? have the generations of my family just accordioned out, trying hard to get away from each other’s imprints, only for gravity to collapse us into each other anyway? but maybe that isn’t so bad. after all, the crease that forms in the couch once you occupy it long enough is rather comfortable. plus, my mother raised me, and that might be her greatest achievement (haha!). and all of a sudden this song has become less about hinduism and more about my family: its sharp edges, its places to hold, its familiar traditions. and somehow i know the lyrics, and i mumble them as i putter around:

“Kowsalya supraja Rama poorva sandhya pravarthathe,

Uthishta narasardoola karthavyam daivamahnikam…”

(O Rama, the most Excellent Son of Kaushalya; in the East the Dawn is fast approaching in this Beautiful juncture of Night and Day.)

[prettykittytanjiro]

OH BOY TYSM FOR TAGGING IM SO SORRY I TOOK SO LONG 😭

I was fighting between so many options I'm gonna sob

If it's from a movie I put its name or if it's a composer and like a classical song I put the composers name :3

Pomegranate Lips- (Derivakat)

Raghunandan (Agam Aggarwal)

Endaro Mahanubhavulu (Composed by Tyagaraja- mostly lofi)

The Nights (Avicii)

Teeth (5 seconds of summer)

Yendendu Vachitivi Raa (Composed by Kshtreyya)

Kaalavathi- lofi (Sarkaaru Vaari Paata)

I Got No Time (CG5)

Tum Prem Ho (Ashwin Trivedi)

Thus Always to Tyrants (The Oh Hellos)

Ya Kundendu (Ramanand Sagar's Raamayan)

Thillana: Dhanashree (Composed by Swathi Thirunaal)

Akhiyaan Hari Darshan ki Pyasi (Sung by M.S Subbulakshmi)

Naama Ramayanam (Sridevi Nrithyalaya's Naama Ramayanam- but M.S Subbulakshmi's is nice too :3)

Join Us For A Bite (JT Music)

I'm The Purple Guy Remake (Dagames)

Rangapura Vihara (Aruna Sairam

Ophelia (The Lumineers)

No pressure tags: @bharatiya-naari-sab-pe-bhaari @natures-marvel @h0bg0blin-meat @aru-loves-krishnaxarjuna @mythological-mayhem @zeherili-ankhein and anyone else who wants to join in!!!

rules: pick a song for each letter of your url and tag that many people

Subliminal What Kind of Man Everything She Wants Everytime We Touch Telephone Odds Are Reaper Accidentally In Love Nachde Ne Saare Great DJ Emperor's New Clothes Psychosocial Outside Pretty Girls Toothbrush Alcohol Remedy Toxic

I don't have that many mutuals @alenkorra @badgermolebender @biconickyoshi @lokfeedsthegays @kjthenbee @mellyoraa @ozais-lobotomist @korrasamibottles @assignedpeanutallergyatbirth @appalesbian @thewhorradora @tallanastyflorida @snapcracklepop15 @starshinemaiden sorry if any of you have already done this

[anantradingpvtltd]

Price: [price_with_discount] (as of [price_update_date] - Details) [ad_1] M.S. Subbulakshmi's life was one of extraordinary achievement. Although she was portrayed in many ways - as a musician who sought and achieved an all-India appeal; a philanthropist and supporter of noble causes; an icon of style; a woman of piety and devotion; and a friend and associate of the good and the great - she was first and foremost a classical vocalist of the highest rank, of unmatched gifts, who lives on in the musical history of India.Of Gifted Voice looks at her life and times, and the great musical tradition she belonged to and to which she brought so much, against the larger backdrop of the developments in the world of Carnatic music. It describes how music came to be performed in concerts; the impact the gramophone, the radio and the talkie had on music; the decline of the traditional performing families; and the appearance of women on public platforms. The book also delves into Subbulakshmi's brush with films as well as her concert style and that of her celebrated contemporaries. Though her story has often been told, we know little of the woman behind the image and the musician behind the public persona. Of Gifted Voice attempts, with warmth and keen-eyed perception, to understand the music, the history, the artiste and her incomparable presence. ASIN ‏ : ‎ B08RHRZQBP Publisher ‏ : ‎ HarperCollins (21 January 2021) Language ‏ : ‎ English File size ‏ : ‎ 7322 KB Text-to-Speech ‏ : ‎ Enabled Screen Reader ‏ : ‎ Supported Enhanced typesetting ‏ : ‎ Enabled X-Ray ‏ : ‎ Not Enabled Word Wise ‏ : ‎ Not Enabled Print length ‏ : ‎ 595 pages [ad_2]

[atmaprana]

Happiness & Prosperity

“Shreyo Bhooyaath Sakala Janaanaam” is the last line of the song “Maithreem Bhajatha” which means, “May All People in this World be Happy and Prosperous”. Jagadguru Shankaracharya Sri Chandrasekharendra Saraswathi Swamigal of Kanchi Kamakoti Peetam wrote this song.

The Queen of carnatic music Bharath Ratna Smt. M.S. Subbulakshmi was invited to New York to sing on the 50th Anniversary of the United Nations Organization. The then Maha Periyava of Kanchi Kamakoti Peetam Jagadguru Shankaracharya Sri Chandrasekharendra Saraswathi Swamigal wrote her this Sanskrit song when she mentioned the UNO invitation to Acharya. Her rendition of Maha Periyava composition for World peace and communal harmony, “ Maitreem Bhajatha” at the United Nations is one of the moments that will make every Indian proud.

Thala: Aadi Raga: Yamuna Kalyani

मैत्रीम् भजत अखिल हृज्जेत्रीम् (= हृत् जेत्रीम् ) आत्मवदेव परानपि पश्यत (= आत्मवत् एव परान् अपि पश्यत) युद्धम् त्यजत स्पर्धां त्यजत त्यजत परेषु परेष्वक्रममाक्रमणम् (=परेषु अक्रम आक्रमणम्) ||

Maithreem Bhajatha, Akhila Hruth Jethreem, Atmavat eva paraan api pashyatha Yuddham thyajatha, Spardhaam Tyajata, Thyajatha Pareshwa akrama a akramanam

Raga: Kapi

जननी पृथिवी काम दुघास्ते (=दुघा आस्ते) जनको देवः सकल दयालुः दाम्यत दत्त दयध्वं जनताः श्रेयो भूयात् सकल जनानाम् ||

Jananee Prthivee Kaamadughaastey Janako Deva: Sakala Dayaalu Daamyata Datta Dayathvam Janathaa Sreyo Bhooyaath Sakala Janaanaam

The lyrics and meaning of the song are as follows:

Maithreem Bhajatha Akila Hrith Jeththreem – Serve with Friendship and Humility, which will conquer the Hearts of Everyone.

Atmavat Eva Paraan Api Pashyata – Look upon others similar to yourself.

Yuddham Tyajata – Renounce War

Spardhaam Tyajata – Renounce unnecessary Competition for Power

Tyajata Pareshwa Akrama Aakramanam – Give up Aggression on others’ properties which is wrong Jananee Prithivee

Kaamadughaastey – Mother Earth is wide enough and ready to give us all we desire like a Kaamadenu

Janako Deva: Sakala Dayaalu: – God, Our Father, is very Compassionate to All

Daamyata – So, Restrain yourself

Datta – So, Donate your wealth to others

Dayathvam – So, Be Kind to others

Janathaa: – Oh People of the World

Shreyo Bhooyaath Sakala Janaanaam – May All People of this World be Happy and Prosperous.

We should listen to this song and contemplate on the meaning so that we can consciously follow the advice given by Acharya for World Peace. In respect of “ Maitreem Bhajata”, the three Da's (“Datta. Dayadhvam. Damyata" represent qualities which humanity should nurture forever (Reference: https://www.swami-krishnananda.org/brdup/brhad_V-01.html).

On the day of the concert, she had a very bad throat and could hardly breathe. She panicked about the outcome of the concert. Even on stage, she was shivering with fear about how she was going to sing. She prayed to Maha Periyava to help her with the concert. When she sang the first word, she miraculously regained her voice, which sounded sweeter than ever!

[dustedmagazine]

Listed: Byron Westbrook

Byron Westbrook debuted on New York City’s sound and music scene in 2005, when he took a position with Phill Niblock’s Experimental Intermedia Foundation. One of his duties was to work sound at Niblock’s loft concerts, and while Westbrook’s early work under the name Corridors operated according to different temporal and structural mandates, it expressed similar concerns with the way sound and space interact. The LPs that Westbrook has made since he switched to working under his own name in 2012 have narrowed the focus from compositions that used processed instrumental sounds to create psychoacoustic experiences in multi-speaker environments to quickly changing, rhythmically oriented electronic music. Dusted’s Joseph Burnett says of Body Consonance, Westbrook’s newest album, that “he creates a sense of perpetual motion, an almost aggressive physicality that moves the music from minimalism to maximalism.”

Costin Miereanu – Carrousel

Greg Davis posted a number of Miereanu’s records on the Root Blog in 2014, and I really fell in love with this one. It’s so insistent, a more disorienting take on Terry Riley’s approach.

David Behrman – A Traveller's Dream Journal

David Behrman is singular and amazing, no one makes music like his. I have a page in a notebook from one of our meetings when I was a student in the Bard MFA program, where I wrote down "David Berhman says KEEP IT LIGHT". I think I might have still leaned a little towards keeping it heavy, but I have the greatest respect for Behrman. His work and sensibility have been a major influence.

M.S. Subbulakshmi – prabhujI-tum-bin / sUrdas-bhajan

While perusing an online archive of Indian classical LPs a couple of years ago, I ran across a record of Hindi devotional songs sung by M.S. Subbulakshmi. Her voice is just incredible and I love the way the melodies develop here. I also find it interesting how the form of the song bears many similarities to contemporary pop/dance music.

Joni Mitchell – Jungle Line

I really admire how much Joni Mitchell chose to experiment in her prime, taking left turns with each record. This tune was just four years after she made Blue! I've wondered what influence this track might have had on Eno/Hassell and the whole Fourth World movement, as well as the complicated Peter Gabriel/Paul Simon "world music" pop appropriation of the 1980s. Also, isn't this tune’s production essentially the blueprint for a lot of things that Kate Bush and Bjork did? Credit to Joni as an innovator, she took some serious risks and deserves so much more credit than she’s been given.

Mark Fell – Multistability

An established classic at this point, Fell’s almost sculptural approach to stereo field on this record has been a major influence in recent years.

Luc Ferrari – Les Anecdotiques

This is a really under-appreciated Ferrari release. It has a surprising amount of subtle synthesizer on it - I think possibly DX7 or some kind of FM/digital, but it's used in a way that it feels like he's colorizing the field recordings and changing the noise floor, in a way that it transforms the sense of perception of recorded spaces.

Theatre of Eternal Music – B flat dorian blues

I'm not a huge fan of La Monte Young. I feel like there should be room for many more people to explore the range of what immersive sound installations and unique tuning systems can do, and to consider Young’s early experiments as the peak achievements in the canon feels like ending a conversation that is just beginning. Having said that, I really love this track, (which also includes Tony Conrad and Angus MacLise as players, a whole other subject) It’s a pretty serious display of virtuosity that feels more obliged to working with the spatial and durational than it does to reading as “saxophone”, which resonates a lot with me.

Maggi Payne – Gamelan

Maggi Payne is someone else whose work deserves way more attention than it has been given. I love the use of stereo in this, and how it reads as creating a sense of space and melody arrangement at the same time. Root Strata put out this LP a few years ago, and I think she has a re-release of Crystal coming out soon.

U. Srinivas – Gananayakam

U. Srinivas was an electric mandolin player who died recently at 45 years old, but as he was a child prodigy, his career was still amazingly nearly 40 years long. The energy in his playing was incredible, and this particular performance is so good. I love his blown out delayed guitar tone, how it seems to sit in an entirely different space than all of the other instruments, and these percussion players are fantastic.

John Martyn – Inside Out

John Martyn's 70's output always sits on a fine line between cheesily over-dramatic and very fresh sounding in the context of 1970’s folk-pop. I have to admit to really enjoying about half of every record. I like most of Inside Out though, with its Bitches Brew/Weather Report approach. There are so many details in quality of sound in this tune, with its weird subtle phaser+echoplex tricks, and I really like how all of the gestures seem intentional-yet-casual.

[daily-current-affairs]

‘Shubhada’ paid tributes to M.S. Subbulakshmi on her 116th birth anniversary

‘Shubhada’ paid tributes to M.S. Subbulakshmi on her 116th birth anniversary

‘Shubhada’, a The concert to mark M.S. Subbulakshmi’s birth anniversary, was a celebration of her art and persona A quintessential ‘M.S.’ concert was recreated on her 116th birth anniversary at the uniquely designed auditorium (without electronic amplification) named after her, in the Asian College of Journalism campus, Chennai. Senior violinist R.K. Shriramkumar, who had accompanied M.S.…

[sareideas]

Samanvi bags The Hindu & SaReGaMa M.S. Subbulakshmi Award, 2021 - The hindu news

Samanvi bags The Hindu & SaReGaMa M.S. Subbulakshmi Award, 2021 – The hindu news

उडुपी से बीए द्वितीय वर्ष की छात्रा समन्वयी को शुक्रवार को सम्मानित किया गया हिन्दू और सारेगामा एमएस सुब्बुलक्ष्मी अवार्ड, 2021, वॉयस ऑफ द ईयर, यहां द म्यूजिक एकेडमी में आयोजित ग्रैंड फिनाले में पैरी के अमृत ब्राउन शुगर द्वारा प्रस्तुत किया गया। गुरु वी. अरविंद हेब्बर के साथ गुरुकुलवासम में और चित्रवीना एन. रविकिरण के तहत प्रशिक्षण ले रहे इस नौजवान ने कहा, “मेरी योजना संगीत को करियर के रूप में…

[news24fresh]

Of GNB’s genius and timeless values

Of GNB’s genius and timeless values

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A more than 30-minute lec-dem by the legendary M.L.Vasanthakumari, posted by a well-known vocalist on Facebook, is is being widely shared over the past few weeks.

For Friday Page : M.L. Vasanthakumari from SRUTI Archives Photo Courtesy: The Sruti Foundation   | Photo Credit: The Sruti Foundation

Though the talk holds a mirror to the Carnatic music scene then, pointing out what…

[bollywoodirect]

Tributes to India’s Carnatic music legend M.S. Subbulakshmi on her 103rd birth anniversary today. M. S. Subbulakshmi, in the 100 years since her birth, has had an irreplaceable influence over classical musicians spanning across age, gender and borders. It was destined that the universal and the eternal quality of her musical oeuvre would immortalize her in the world of Indian classical music. Despite the charm that chartered her to the cinema world in the early 1930s and the conferment of prestigious awards like the Padma Bhushan when she was just 38, the aura of purity and devotion to tradition that she exuded went far beyond music.