Raaja's magical duets - Naarinil Poothoduthu (Irandil Ondru)

[rajkumarc]

V_S, Sunil & Raaga_Kann - Awesome posts. Thoroughly enjoying your writings for these unforgettable & evergreen songs.

[raaga_kann]

Wasn't it Banupriya? Quite a good actress (can't say much about punnagai though, shines in serious scenes)

Yes... It was Bhanupriya... This is one lucky heroine who had the privilege of acting in many of the films which had music by Raaja. Starting from her first film, Mella Pesungal (Sevanthi pookkalil seidha veedu) in 1983, Raaja had provided plenty of memorable numbers (Maalayil Yaaro, Yekaantha Vela, Songs from the films Swarna Kamalam, Sitara, Aalapana, Gopura Vasalile, Dhalapthi, Magarasan, etc)

[V_S]

Thanks a lot raaga_kanna and rajkumarc.

Wonderful post on Punnagaiyil Minsaram!. Listening to it after years. Truly uplifting song. Very electrifying, aptly put! "The quality is 100times superior to the techno-tailor made rhythms used these days by current MDs." :thumbsup:
This song that time was totally different when heard for the first time, and we were the first in our town to get the cassette and introduced to our friends. Puzzled about his creativity especially on rhythm arrangements, and new sounds in percussion. The fast beats if you notice, the first one will be closer (to your ears) and the second one little farther (with echo). The end beats as so light just like potato wafers. :smile: The second interlude violins combined with percussions and bass tracks, wow! extra-ordinary! Above all the singing and tune, amazing. Raja's carefree singing and keeping the whole tune not much high as its a dance song, keeps friendly to our ears and at the same time makes us dance. Thanks for reminding this musical wonder!

http://www.youtube.com/watch?v=Mo8j5cR4w14

[Sunil_M88]

Wow, what a great and energetic vibe.

Thanks Raaga_Kann and V_S. From the initial beats you wouldn't expect Raaja to incorporate a charanam which has a melody soaked in honey. Can't imagine the charanam with any other beats now.

[raaga_kann]

Yet another classical from IR-Uma Ramanan combo. The song seems to be composed for a night situation song under moonlight. The grand prelude with multi-layered violins along with Vennila phrase indicates the same. The violin leads to a thavikkura guitar piece which forms the rhythm for the palavi (The Guitar rhythm piece seems to be much more complicated than the one used in the song Ennullae Ennullae..).
Raaja begins with
"Nilladha Vennilla Nillu Nillu En Kadhali..
Solladha Ponmozhi..Sollu Sollu.. Un Kanvazhi…
Nillamalae.. Nee Poavadhaen…
Sollamalae...Naan Noavadhaen… Yaen…” The extra Yaen at the end of the Pallavi is simply Raajism at its best.

The saranam starts with strong Malayalam flavour lyrics (Probably Heroine must be from Kerala) and soft Drums takes over in the rhythm section. Raaja starts with
“Maan tholum Malayalathin ezhil chitiramae..chitiramae..
Vazhaiyum ilaneerayum konda Nannilamae.. Nannilamae..”
Followed by UR with
“Kerala Kuyil koovidum isai thithithadho…thithithadho..
Aavani thiru onathil unnai sandhithadho..sandhithadho..”
The following lyrics with Malayalam words Ponnallo, Poovallo, Thenallo, Paallao just adds a special kick to an already “kick-filled” song.
At the end of the Saranam, the “Naan Sollavo… Chinna Poo Allavo…” line is a deviation from the tune used in the earlier part of the Saranam and is used as a Joining bit to sneak into the Pallavi. Now the drums section continues into the Pallavi portion giving a new dimension to the song.

In the song, most of the words are used twice (seems to be deliberate) and this brings out the emotions in a much more strong way.

Special mention has to be made about the two interludes. The first interlude starts with a soothing flute piece followed by Nadhaswaram complimented by guitar flowing into a night effect violins and coming to an end with a two bar flute musical – Deiveegam. The second interlude is a symphonic kavidhai.. You can observe here a Raaja Special – The interlude starts much before the pallavi line ends. The interlude begins in the background when Raaja starts sings “Nillu Nillu.. En Kadhali.. Solladha Ponmozhi..Sollu.. Sollu.. Un kan vazhi” (This pattern has been used by Raaja in few songs in the 90s… like in the song Ilaya Nilave from the film Ponnu Veettukkaran).

I watched the film and waited in vain for 2 hours 30 minutes for the song. Thiagarajan – Prashanth (Father-son) combo had mercilessly axed this divine composition. Or is it a blessing in disguise – Most of his songs loose its sheen considerably after seeing those hopeless picturisations. (That is the main reason I avoid posting youtube links for the songs).

http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00007

[tvsankar]

Rag. kannan,
lady singer is Swarnalatha.. nalla kaetu parunga... andha haunting voice.. avnaga matum dhan......

[raaga_kann]

lady singer is Swarnalatha.. nalla kaetu parunga... andha haunting voice.. avnaga matum dhan......

Usha Madam,

As the song had a lot of Malayalam flavour in its lyrics, I thought it should be either Chitra or Swarnalatha. As I could not come to a conclusion, I gave the Headphone to my daughter. After hearing a couple of lines, she immediately confirmed me that the voice is of Swarnalatha. But Thiraipaadal.com showed that the singer was UR. So I had a verbal tussle with my daughter for misleading me and continued the topic assuming UR was the singer. But your objection made me to dig into my heap of audio cassettes. At last I found the same and the credits in the original Audio cassette showed the name as Swarnalatha. I stand corrected. Thanks for pointing out the mistake. Except for this song and the duet version of 'Kuyil Paattu' (which again was found only in the Audio and not in the film), I doubt whether there is any other duet Raaja has sung with SL.

[app_engine]

While what thiraippadal is doing is great service to TFM - especially to the songs of IR, when in dispute, I won't trust thiraippadal to provide the most correct info :-)

[Divine22]

Dear V_S

I was totally mesmerized & speechless reading your superb write up abt Megam Karukaiyile Song, Whoa! I think people might have to come up with new words to write about this song after this. What a lovely write up for an extraordinary song! Feels like swifting away on a parisil as shown in the song, such as my feel after reading your words. Admiring your intricate varnanaigal abt the songs, along with your remarkable imagination,,,,simply outstanding...naan ithe solliye aaganum, I wish that some day i will be able to write like you, I have said the same to App too...My salute for both of you (not just any salute, a springy salute). :D

Punnagaiyil Minsaram, as u mentioned what an electrifying song for a so and so movie that is, loved the picturisation..lucky the song was not ruined with some cheesy,cheap indoor-set ,gaudy picturisation!!! phew...

You are doing a wonderful job, Keep it going :))

[Divine22]

Sorry, Raaga_kann, You wrote abt Punnagaiyil minsaaram, beautiful write up, electrifying indeed !

[V_S]

Thanks a lot Divine22. Glad you liked it. Thanks for reminding a beautiful word 'parisil' which I have been forgetting.
Again a wonderful write-up raaga_kann on Nillaadha Vennila. Another song which I am humming now. Yes it's better these kind of songs are not picturized.

[V_S]

Oru Jeevan Azhaithathu - Geethanjali (thamizh)

As you know, Rajas has been playback singing right from the film 16 Vayathinile. AFAIK, this is the first film from where Raja took himself to greater heights as a singer and many listeners accepted him as a lead singer. Through this song he established himself as the best composer-singer TFM has ever seen. Thanks to SPB, whatever issue it was, it paved the way for Raja. :smile: And no look back from then on. It's a very special special song to me.

Raja starts singing straightaway. I am disappointed, as there is no prelude. I long for it. In my mind I ask him why there is no prelude? Raja hears me but he did not answer me but gives his usual smile and continues singing. I didn't know its meaning, but not happy. When Raja sings the first pallavi and anupallavi lines, there are no instruments played. I am in hurry to hear some instruments.

But when young chitra sings the same, he accentuates with strings. More specifically when she sings anupallavi lines, 'ini enakkaaga azha vendaam…' that's where the bass chord progression starts. It's a perfect demo and crash course by Maestro on how and when to start playing instruments. Typically I hear him say, 'ellathukkum time irukkuppa wait pannu avasarapadaathe'. That last guitar strumming, Oh My God Unbelievable!. But still my first question remain unanswered.

Raja answers me now with Grand Violins, acoustic drums and santhoor backed up by bass tracks fill the prelude. Then starts the actual full blown pallavi and anupallavi again with tabla. Now Maestro improvises with 'lalalalalala..' by KSC during anupallavi. As if asking me again with his smile, if I am satisfied. Now understood the meaning of his smile. Have we listened to a song which has prelude after the singers start singing.

I am already awestruck, now Maestro demonstrates the magic he weaves in the interludes with all live instruments falling at correct places. After a long time we get to hear sitar playing. But when santoor follows it, we expect the acoustic drums will be played along with it, where he cleverly switches to just the cymbals/hi-hat to make the santoor gets it prominence. Then santoor with violins and full acoustic drum set now comes into play at appropriate time and ends with flute, bass notes and cymbals. With all these, still the charanam is yet too far, where the bass chords and santoor takes it to charanam. Absolutely fantastic. in love with these precious two seconds. Stunning bass lines there! Just like you are jumping little short where you intended to be, but luckily you see a connecting rope with which you get where to exactly you wanted to be. Very jubilant interlude.

Hear the dynamics/tone of acoustic drums, the hi-hat and cymbals. Such dynamics are missing in electronic drum arrangements (even if it has those presets, it is constant at that time). Any part of acoustic drums or cymbals when hit produces different sounds unlike electronic it produces the same sound wherever hit. And how hard you hit, the volume does not increase. Maestro clearly demonstrates how to use these wonderful live instruments through this song, in conjunction with electronic keyboard instruments without any trade-offs.

After a racy interlude with beautiful rhythm arrangements (appropriately composed for dream sequence), Maestro down plays the rhythm with slow and steady pattern in charanam with tabla (backed always by bass lines, that is always mandatory) giving full attention to singing. Some excellent lines in this song. The lyrics gets more meaning with innocent Raja's and young and nasal Chitra's singing. When Chitra sings 'manamaalai soodum naal paarkave' and Raja quickly connects to pallavi with 'Oru Jeevan' suddenly the rhythm goes wild, as if waiting and begging Raja to give him a chance to prove. Nach!

Whenever pallavi lines are sung, guitar accentuates which adds the texture and replaces the vocals beautifully.

Second interlude starts on a high note with guitar, flute, longing veena with guitar playing continuously. Maestro must have been heavily impressed with Bach's bouree for lute. This guitar piece is one such fabulous stuff we don't get to hear often. Flute with guitar, then veena with guitar provides the-best-counterpoint-technique ever imagined and articulated. Grand violins, piano runs punching all the way like a gush of water falls. Honey-soaked interlude.

What a total contrast from 1st and 2nd interlude. First one jubilant while the second one is very very sweet. Why? Both are dream sequences, but the joy of lovers when they see each other is conveyed in first, while they are attracted more and can't get separated is identified in the second one. This is one perfect example how a music conveys what is shown on the screen and what is not shown too. Only Maestro's territory.

All my questions are answered by Maestro and gives me a crash course on using live instruments and arrangements and also when, how and why.

A beautiful display of how a song gets birth and how it grows. Starting with singing with no instruments like just born. Adding the guitar to each pallavi line, baby seeing and identifying patterns. Full blown pallavi and anupallavi symbolizes the child can now understand and walk. Racy interludes makes him run and grow. The whole song makes him acquire the knowledge and understand what this birth is for. Oru Jeevan Azhaithathu, Oru Jeevan Thudithathu!

Again Raja's best and magical duet of all time and a honey-soaked melody. A genius of a composition from Maestro who lives himself by these words.

Genius is one percent inspiration and ninety-nine percent perspiration - Thomas Alva Edison

http://www.youtube.com/watch?v=ZRE11kkJPVk
http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00167&lang=en

[raajarasigan]

V_S again..:clap: Though I am NOT a great fan of this song, your writing made me to revisit this... I will listen carefully for the orchestration this time.. to be honest, I was NOT aware of an instrument called sathoor..

this is for NOV.. :lol:

Genius is one percent inspiration and ninety-nine percent perspiration - Thomas Alva Edison

[Divine22]

Oru jeevan azhaithathu,,,beautiful song, soulful singing by Raaja sir & Chitra ...

Mullai poo pole, ullam vaithaan, Mullai ulle vaithaan... lovely lyrics..

Every time i see this song in Tv, I cant help noticing how funnily the actress will lip synch, Lalalala...
I cant stop laughing, each time i see her... :D

[Sureshs65]

raga_kannan,

Yes. It is indeed Swarnalatha. I had posted this song recently in twitter in my #RareRaja series and like you, though I had my doubts, I posted the info of thiraipaadal. Lot of people came back with links to say it was Swarnalatha.

[Sunil_M88]

What a soothing song and again great writing, VS.

IRs voice is very smooth here. The song is sang softly by both the singers and it's like nectar is flowing in your ears. The sudden arrival of lavish orchestration defines what a smile is, this was well put by VS saab.

Extra thumbs up today for bringing such delicate and sweet song here. :musicsmile:

[app_engine]

Great write-up again, V_S , for a lovely sweet song!

BTW, I don't think it was some "issue with SPB" that prompted IR to sing more :-) geethAnjali was a 'Pavalar Creations' movie (like alaigaL Oyvathillai / kOzhi koovuthu) and project management / cost saving etc brought IR to sing more in such projects. With no-Kamal-Rajini in the game (Murali in this case) that was kind of appropriate too.

When it was Rajini / Kamal in a pAvalar creations movie (rAjAthi rAja / singAra vElan), he employed SPB :-)



Have we listened to a song which has prelude after the singers start singing.


The most famous ejjAmple should be 'rAsAththi onna kANatha nenju' :-)

[raaga_kann]

BTW, I don't think it was some "issue with SPB" that prompted IR to sing more :-) geethAnjali was a 'Pavalar Creations' movie (like alaigaL Oyvathillai / kOzhi koovuthu) and project management / cost saving etc brought IR to sing more in such projects. )

I don't think that there is any big theory behind his singing all the songs in Geethanjali. Prior to this film, IR-Murali combo was a very big hit (Aathaadi Paavada, Poomaalaiyae, Maina Maina). It seemed that he just continued the successful trend in his home production.

Thanks V_S for bringing to the fore this controversial song. Controversial in the sense - I got into a big tussle with my room-mate regarding this song. The film was a big bore and all the songs were out of sync in the film. My room-mate could not tolerate the film and he was very critical about this song. Oru Jeevan.. Alaithadhu...Oru Jeevan.. Thudithadhu.. Paattu enga... Pesura madhiri irukku... This was his version which I could not digest. I had to explain him about the beauty of this rare song which seemed to be a big deviation from his regular / popular duet songs at that time (with whatever soucham knowledge I had about music). But Indha maadhiri paattu - Kaettaudane Pudikaadhu... Kaetka Kaetka dhaan Pudikkum.. Down the years I started loving the song much more than I did during its release

[V_S]

Thanks raajarasigan, Sunil, App, raaga_kann. Sorry for the typo. I meant it to be santoor. I corrected it now. Actually it is the sound of santoor from keyboard.

App, I heard there were reasons for Raja singing almost all the songs, but not sure. Thanks for clarifying this.As everyone would expect SPB would fit perfectly, Maestro has taken it to dizzy heights, that everyone were stunned at that time.

[app_engine]

V_S,
All the three IR songs from geethAnjali are collector's edition / connoisseur's choice / limited version kind of material.

Hope you'll cover the other numbers as well.

[raaga_kann]

A multi layered Duet by Raaja and Uma Ramanan (This time I am damn sure that it is Uma Ramanan). Multi-Layered in the sense – You can hear multiple voices of IR and UR thru out the song. Like Raaja Raajadhi song from AgniNatchatiram and Vaa Vaa Vannanilave from Raajadhi Raaja. Only difference – These two songs were sung in different pitches and mixed. But here, the multiple voices are in the same pitch – A mini Chorus.

The prelude is a typical Mid-90 Raaja special with multiple instruments used (I am unable to identify even one. Specialist like V_S can come out with the specifications). The rhythm pattern with drums accompanied by a single Mrindangam beat (What a wild imagination!) is the highlight and is constant for the entire song except for the interludes.

Raaja occupies the entire first pallavi portion –
‘Nil Nil Nil Padhil Sol Sol Sol Ennai Vaattadhae
Vil Vil Vil Un Vizhiambil Ennai Thaakkadhae..
Nillaamal Padhil Sollamal Anbe..
Sendraalum Vida maataene Anbe…
DHINAM EN ARUGIL... Nil Nil Nil Padhil Sol Sol Sol…..’

The entire saranam will seem that this is from a different song. Pure classical composition which will suit a carnatic based song.
Raaja starts this contrast Saranam -
“Naanam ellam konjam oyivu eduthaal… Naan azhaipaen unnai Poongarathaal…”
UR joins with alattal-less voice -
“Yegaantha Velayil yen indha Oodalgal… Aarambam aanadho Aanandha thedalgal…”

Do not miss the Flute piece during the lines – “Thean Koottil ulla thean yaavum Manam vendidaadho…Nool Kooda idai nulaiyaamal ennai serndhidaadho….” The flute starts hesitantly and oru thavippoda travels thru the two lines. Pure bliss! Many times I wonder why he suddenly plays an instrument along with the voice for certain portion of the lyrics. Really it is out of my reach to read the inner mind of the Genius. However I assume he has used the flute here because of the lyrics mentioning about Kuyil in the second saranam (at the same place) – ‘Kookookoo ena kaikorthu Kuyil Koovidaadho.. Poopoothu Pani Poopoothu madi thaangidaadho”.

Like the prelude, I am unable to give a description of the extra-ordinary orchestration of the 2 interludes. Maybe our experts in the Hub can contribute in this regard.

The song is from the film Paattu Paada Vaa, which had another scintillating duet by Raaja with SPB. “Vazhi Vidu Vazhi Vidu….” - Indha Paatta vachi PHD-eya pannallaam…

http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00467

[tvsankar]

V S,
Thanks for Oru jeevan. Pl continue ur service..........

Raga kanan,
Oru jeevan - raathiri.. after 12... satham ellam mudinja apram. oru amaidhi irukumae.. apo
Head phone la kelunga..

endha instrument sound um ilamal.. Raja and...... adhuvae azhagu.

KSC.. padum podhu.. Reflector aga varum Guitar.. and its vibration.. raathiriyin amaidhiyil
matumae UNARA mudiyum...........

But.. indha paatu ku enaku chinna and important Nostalgia... was waiting for My Sankar.. at the time this song came..... after our marriage. Sankar kite pesina 2nd paatu idhu dhan..
first paatu... Asaiyilae paathi katti.. enga marriage ku 2 month munnadi dhan vandhadhu..
adhu dhan first paatu.. 2nd paatae idhu dhan............ Lovely songs of Raja.

[tvsankar]

rag kannan,
Thanks for Nil Nil and Vazhi vidu............. sollla varthai ilai.. Unara punniyam seidhu irukanam. adhu dhan Raja.
Nalla ezhudhareenga.. Neengalum. pl keep it up................

[V_S]

Thank you Ushaji, divine22. Nice to read your nostalgic moments of asaiyile paathi katti and oru jeevan. raaga_kann again a nice write-up on Nil Nil Nil. Anytime and evergreen song. Thanks for bringing this up. Will listen tonight.

[Sunil_M88]

What a lively song. Nice pick Raaga_kann.

As you said not much variation in beat, yet the song is amazing and how :-o ?? Charanams are ever soulful. There couldn't be a BETTER song than this to end my day. Repeat button, here I come :)

[raajarasigan]

V_S,
All the three IR songs from geethAnjali are collector's edition / connoisseur's choice / limited version kind of material.

Hope you'll cover the other numbers as well.Yes.. Yes,.. துள்ளி எழுந்தது பாட்டு எனக்கு மிகவும் பிடித்த பாடல்.. :)

[V_S]

Malare Pesu Mouna Mozhi - Geethanjali

Beautiful starting lines. If a flower blossoms, it also speaks, but with silence as its language. For me Mouna mozhi? = Isai

Seductive humming by Chitra. Then the lead guitar march with 'konjum' flute and santoor brings in the folk flavor in right times and right proportions. 'Kanna moodunga' 1 2 3 4 'ippo kanna thiranga'. :smile: When santoor plays, the lead guitar is gone and bass guitar chips in. It's all Maestro magic. Beauty! Very fresh and charming start. Seems like a whole new world, a fresh morning and fragrance of all the flowers combined. Take a deep breath and relax.

Tabla takes over the rhythm when pallavi starts. Two striking aspects in the pallavi. One, veena answering to the words to 'Mouna mozhi', and second, the tune of Aasai vazhi, icing on cake. What a smooth glide to take to anupallavi.

Interlude start with a rare combination of western guitar and Indian veena. There will always be someone who thinks 'ithu enna pramaatham' they always go together (even though it is very rare). Maestro immediately acknowledges them by taking out the veena and substituting with Indian flute and santoor for the same guitar. All mouth shut!

Very unusual tabla rhythm arrangement. One strong beat with accent, followed by subsequent smaller rolling beats resulting in syncopation.

A brilliant display of how the interludes can be totally different from the main melody, no way connected to it, yet you can hear how Maestro puts 'kadivaalam' so that it would not go way beyond its boundary, so that it can come back when needed. I tried many times humming the melody during the interludes but in vain, another reason apart from it being totally different from main melody, is the rhythm. It is faster than during the pallavi and charanams. He speeds up during interludes and brings back to the normal rhythm during charanam, that too just only when Raja starts the charanam. No time needed for Maestro to change his role to singer Raja to be there at charanam. We used to hear some vikramaditya/mythological stories, where they used to travel 7 seas and 7 mountains within seconds. It's like that. But here we are talking about 0 seconds. Hear it to believe it.

The first line of charanam ''Vaasanai pookkal vaai vedikka, aayiram eekkal thEn kudikka' ends little higher, but second lines dips little bit and veena pulls it up to get in line to next line. Third line again ends higher, so no veena needed there, but again in fourth line he adds veena to reach to next line. Veena not only pulling its strings, it is also pulling the tune up. And after all these heroics, that last line 'madi mel kodi pOl vizhunthene' with a beautiful glide with 'vizhunthene'. The percussion completely stops in this line as this is best line in the whole song, so that everyone notices it. Can't describe its beauty. :notworthy:

Solo melancholy violin with vibraphone at the background as the hero searches for his lover and he is restless until he sees her. Just when he sees her, suddenly everything becomes happier with veena coming again with keyboard and rhythm too picks up until to give up just before second charanam.

Lyrics is good except it crosses the boundary some times unlike Raja's orchestration which stays well inside. Raja and Chitra again just like the first duet, lives in this song throughout and giving a heartfelt rendition.

Each and every instrument used right from veena, flute, santhoor, guitar all have shared their space and even substituted for vocals at every place possible. Veena and flute being the highlight and gives the feel-fresh and fast melody. The peculiar rhythm arrangement and the instruments used makes me think that one sheep is jumping out of its flock to see where it was going, one enjoying going totally on a different route than the one everyone is, one is always with the master, some talking within themselves during their course of their journey and I want to hug and kiss them all.

With this song, day has never been so brighter and fresh. தித்திக்கும் தெவிட்டாத தேனினும் இனிய பாடல், அல்ல பொக்கிஷம்!

http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00167&lang=en
The initial humming is cut in the video
http://www.youtube.com/watch?v=ouJ1ypHlP5A

[Querida]

Never knew catching up on reading could be so pleasurable
each posting by you talents did justice in more ways than one
in highlighting, detailing and adding to the beauty of the song in question....

it is one thing to love a song more so than you already do
it is another to give a song you did not notice or particularly like another chance due to convincing analysis i.e. oru jeevan song

Raaga_kann, Sunil and of course dear V_S please keep sharing your insights

[app_engine]

Fantastic post on 'malarE pEsu mouna mozhi'! :clap:

Thank you V_S for the beautiful description of the progression of the song as well as excellent use of similies / illustrations here and there :-) Very picturesque!

[V_S]

Thank you so much Querida and App for your wonderful comments. :-D

[raaga_kann]

Indira Sundariye – A very simple duet by IR-SJ. Such a simple song – A very rare occurrence in his music history. The tune, the rhythm pattern, the interludes, the soft singing – Everything is damn simple and straight.

Raaja starts with Thandhana Thandanna which is acknowledged by a two bit guitar. The next Thandhana Thandhana naa is okayed by a sweet short flute piece. Then we are straight into the pallavi (again a rarity where there is no prelude). The whole tune seems to be set on lower octave. Raaja starts with ‘Indira Sundariye Sondham endru kollavaaa…’. SJ immediately responds with ‘oho ohohohoho…’ Raaja continues with Andha Chandira sooriyane satchiyendru sollavaa…’ followed by SJ’s ‘Oho…’ line.

The saranam plunges into a further lower pitch and travels smoothly and steadily without much deviation. Do not miss the base guitar piece during “Paarvaiyil sugam.. sugam idhazh podhaiyil idham.. Medaiyil valam.. valam vara vendidum varam...” . Both the Saranams comes to an end with a konjum ‘Ooooo..ooooo...oho..oho...’

Like the song, I am also restricting my observations and keeping it simple. Enjoy the song. But one thing is sure – Whether the song is simple or complex, the net result is however the same – “Namadhu seviyil paayindhu… Namma narambula narthanamaadi..Appadiye idhayathil amruthamaaga irangi.. nam manadhai idhamaaga varudividum andha thanmai” – Endha Raaja Paadalukkum porundhum…

http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00132&lang=en&sort=song_desc

[Sunil_M88]

V_S thanks for the fresh song. The veena definitely brings the morning breeze. Video is apt for this song, I love the colour coordination between female lead and the flowers. Colours definitely bring out the emotions of the song too.

Raaga_kann. That was a nice soft number, keep it up buddy.

[V_S]

Thanks Sunil. Yes video is not that bad. raaga_kann keep it going!

[skr]

Raaga_Kann , Sunil and V_S , You guys r doing an awesome job

[raaga_kann]

A naughty duet in Kannada. This 66 year old youngster brings out the teenage emotions in the song with his evergreen voice. Effortless smooth singing by Maestro accompanied by the sexy voice of Bela Shinde (A 2009 - one year wonder….!)

The naughty feel starts from the very beginning of the prelude – Guitar starting in a hide and seek mode. A brief ‘Thuthuthoo..’ from the chorus leads to the pallavi with Raaja singing the mischievous lyrics – Muthuthuthoo.. Thaare Muthamma…Aha Muthamma..Ondhu Muthamma… Again ‘Thuthuthoo’ chorus effectively helps to fill up the small gap between each Muthamma and in the process enhancing the romantic feel to a new level. The following lines (accompanied by hide and seek bass guitar notes) which is the ending portion for both the pallavi as well as the Saranams is the highlight -
‘Suvi Suvi Suvalaali Suvanaari…. Nanna gedha nidhae kadha madhanaari…’
‘Yauvi Yauvi Yauvaneeva Brahmachaari…Antharanga Suthutheeya Sanchaari…’. The word Sanchaari is extended by 3 notes of ieye..ieye..ieye.. and adds to the ‘kick’ factor. And he uses the chorus (again with the same ‘Thuthuthoo..) as the connecting base from pallavi to pallavi and sarnam to pallavi. Using chorus as the connecting base is a very rarity in his compositions.

You get the feel of a Rock song. But don’t expect any pacy rhythms. It is a simple rhythm pattern on drum pad and constant thru out the song (expect the interludes). And the tune is a rather sleepy breezy melody. Further the Nadhaswaram musical pieces in both the interludes makes you wonder – How a song with all these contrast factors sound like a Rock song. That is Raaja for you – Rocking in his own style.

In the Saranam, between the first two lines, a brief male chorus erupts with AaaAaa… (Is it Raaja’s voice) and adds to the excitement. In the middle of the Saranam, the violins joins the tune creating a dreamy effect. The ‘Hiss’ sound in Raaja’s voice before the lines ‘Hathiyaa hathira benki hoadharae.. yeradu hrudhayakku laabhanae…’.. Ahaa.. Yeppadidhaan yosippaaro…

Scrappy lyrics (But have we ever complained when Raaja is around) and some erring pronunciations (Bela shinde sings the word ‘Tharalae’ as ‘Thaaraelae’) does not affect the final output. This song is from the film ‘Nannavanu’ (This was the film in which SPB had last sung for Raaja prior to SriRamaJayam).

So with Raaja, one thing is sure. We can expect such numbers even when he is 76 or 86 years old.

http://www.youtube.com/watch?v=hFcWpB9keac

[Sureshs65]

raga_kann,

Thanks for choosing this wonderful song. 'Nannavanu' unfortunately made no impression on anyone. Neither the music nor the movie. Both vanished without much of a trace. While we are happy for the movie being erased from memory, it is unfortunate that music did not seep in for the film had three wonderful songs. 'modalane baari' which features SPB and 'enidu enidu' are outstanding songs which deserves much more popularity than what they got. Not to mention the song you have put up.

[Sunil_M88]

Thanks Raaga_Kann, The song has a sublime classical base which is subtle yet wonderful, allowing the uptempo-ness to reflect it's catchyness. The nadaswaram with the hip hop beats in the first interlude is noteworthy. A mischievous gem by the maestro. :clap:

[V_S]

ThuLLi Ezhundhathu Paattu - Geethanjali

I am not sure if this song falls under duet category, as the video starts with Raja (Murali) sings straightaway after the guitar prelude. But in the audio file, Chitra starts the song (after the prelude) and ends with a cry from where Raja takes it over completely.

Hear how Maestro composes this song. Just hear the first four seconds of guitar playing (punctuated by a blocked chord, I think with vibraphone) and hear the rest of the prelude. Does it connect? I don't think so. The rest of the prelude is exactly the melody (pallavi) in the song. So it's understandable, that Maestro plays the melody in guitar which gives the lead to the vocals. But why those first four seconds different or why it was needed? The hero just starts playing the guitar casually (first four seconds) and then suddenly he remembers his lover (ex-lover) where that beautiful blocked chord sits in (bulb glows in him that second :smile:) to connect the first four seconds to rest of the prelude where he plays the melody which brings back his nostalgic moments about their good times.

First two lines of pallavi seems very simple. 'ThuLLi ezhundhathu paattu chinnakkuyil isai kaettu'. He continues the next two lines in the same way. But how he builds up from here is totally unconventional. Now comes the unexpected anu-pallavi, 'Uravoduthaan adhai paadanum iravodu dhaan arangeranum'. This is the line which brings the lullaby mood beautifully. It's not all, still from arangeranum to ThuLLi, there is a big disconnect, where he connects just with one bar (four notes on a 4/4 time scale). Silky smooth!

Maestro brings nostalgic moments of hero with his ex-lover wonderfully in the interludes. Synthesizer and flute with a dragging sound from keyboard are sure to even pull us back in time, not just the hero. Guitar chord progression at the end of the interlude brings back to the present. We can even feel this without the visuals. That's the beauty.

Tabla and bass guitar backs the beautiful charanam. 'Maalai mudhal…. Maalai mudhal kaalai varai sonaal enna kaadhal kadhai'. Again in just two bars 'kaaman kaNai enai vathaikkuthu' he touches the pallavi.

Maestro tells us a wonderful story in second interlude. Two guitars (I think the second one also does sound like guitar, but let us assume so, if it is not) talk in tandem with one lead, another acting as a rhythm. Why two guitars are needed there? If you listen closely, these two guitars creates some sort of confusion.

Through the first guitar, hero is again behind his nostalgic dream and could not come out of it. So that guitar acts as his pulse. But the second guitar is of the heroine's who is in present state. Through the second guitar she literally speaks to the first guitar (you can clearly hear the yEkkam in the second one) trying to enter her lover's heart and imprint/substitute her pulse into his. This somehow disturbs him and not allowing him to go back to his nostalgic days. Now Maestro cuts the guitar and picks up the solo violin to disconnect the incoming guitar pulse so that they cannot talk to each other. By choosing violin Maestro clearly shows that the hero is still not ready to accept her love and still in deepest memory of his ex-lover and he is still in pain. Like saying 'Do not disturb me please'. :shhh: Once the incoming pulse is cut-off, Maestro again picks up his lead guitar to finish the interlude to keep the hero on his own. What a wonderful study of situation and play of instruments! Magician by all means!! :notworthy:

Raja's folksy and husky vocals fits the tune to a 'T'. This is so perfect because of the situation, that the hero is always dreaming as being in that village with his ex-lover. Any other voice for this song would have not sounded right. Raja also leaves his hard tone behind and sings gently as a breeze and mesmerizes us.

A fine display of exuberant guitar playing, a pleasant and sweet tune with affable singing all makes it a perfect lullaby. Not many love songs fall into this category. Again one of the Raja's sweetest and best melody of all time!

http://www.youtube.com/watch?v=Fw1S7_KN9IE

[raajarasigan]

தல ..கலக்கிடீங்க தல.. ரெம்ப நன்றி... the way you explained the second interlude was too good.. :D உங்க போஸ்ட்'எ படிக்கறப்பவே பாட்டை கேட்ட மாதிரி இருஞ்சி..

[V_S]

Thank you sir :D: All credit to Maestro!

[app_engine]

ThuLLi Ezhundhathu Paattu - Geethanjali

A fine display of exuberant guitar playing, a pleasant and sweet tune with affable singing all makes it a perfect lullaby. Not many love songs fall into this category. Again one of the Raja's sweetest and best melody of all time!


Excellent way of summing up, V_S !

A very sweet guitar song that continues to be my fav for years! rAsA rocks!

[V_S]

Thank you App. Yes excellent exhibition of guitar playing. Any beginner/student who is so passion about guitar should listen to these guitar portions. Worthwhile lessons in guitar playing.:smile:

[raaga_kann]

[QUOTE=V_S;727857]ThuLLi Ezhundhathu Paattu - Geethanjali

Though this song is not a duet - Thanks for cleverly pulling this gem into this thread. Wow.. What a pull...!

Thulli Ezhundadhu Manadhu...
Isaignani Paattu Keatu...
Sandha varigala Poattu...
Solli koduthadu V_S....

[Sunil_M88]

V_S :clap:

Nice write up. The song as well as the video are very serene. The way IR stretches the note at 03:25 for 5 seconds really does emerge exquisitely.

[V_S]

Thanks a lot raaga_kann and Sunil :smile: I think Maestro did two takes just for the starting piece. After prelude Chitra sings in one version and in another version after prelude Raja sings. Rest of the song is same.

[Divine22]

After reading your wonderful post, I have dived in to Thulli Ezhunthathu song once again, but this time, I'm relishing it bit by bit, the guitar has done a great solo aavarthanam, athukku inaiyaana inimaiyaana flute, paatodu kai korthu varuthu, excellent writing sir,

Intha paatte kekkarappo ellam , yetho oru inam puriyatha sogam manasukkulle vanthu appi kolgirathu. Yennu teriyile...oru kathalanoda tavippe romba azhagaa intha padal moolamaga unarthi irukkaar the great maestro!!

Please keep on writing, You are doing a splendid job, V_S sir,

[V_S]

Dear Divine22,
I am really moved by your kind words. Thank you very much!. I concur with you, that it creates a pain within us whenever we hear this song.

[groucho070]

V_S, just to let you know that I am following this thread and your beautiful contributions. Really really lovely. Just that I have no words....

[venkkiram]

வி.எஸ்...நீங்க சிலாகித்து எழுதும் நடையை அந்த பாடலோடு கேட்டுக்கொண்டு இன்னொரு முறை படிக்கும் போது, இசை போதையில் மனம் தள்ளாடுகிறது. "துள்ளி எழுந்தது" இரண்டாவது இடை இசையை மூன்று முறை கேட்டுவிட்டேன். நன்றி! உங்களது பதிவுகளை அப்படியே தமிழ் மனத்தோடு மொழி பெயர்ப்பு செய்து கிராமம் கிராமமாக படையெடுத்து ஒவ்வொரு வீட்டிற்கும் கொடுத்து வரணும்!

[V_S]

grouch and venkki,
Really I don't have words to express my gratitude for your kind words. Thank you so much. It's always a pleasure to write about Maestro's music who is part of my everyday life. Thanks to mayyam.

[V_S]

Andha Nilaavathaan Kaiyile Pudichchaen En Raasaavukkaaga - Mudhal Mariyaathai

Sorry, this is going to be a long one….Read at your leisure, it may not be interesting, but these are my thoughts on a song (and film) which has a lasting impact in me.

Precursor…
Those were the times where the VCR, VCP, and VHS cassettes started to become popular. I remember taking a VCR and color TV on rent one night and watched this film, after I watched in theatre. The main reason being, I wanted my parents and family to experience this film. Nothing like that experience. The biggest portion in this film which interested me were the dialogues/slang. Initially when I went to watch this film I could not understand much, as the dialogues were in a slang which was quite alien to me. Those times I was not much exposed to other districts on how they speak having brought up in town near Chennai. First time I was ashamed of myself. This itself started a fire to understand the dialogues.

But this was not the main aspect to watch this film again and again.The whole plot, direction, cinematography, NT's exceptional performance :notworthy: with excellent supporting cast, narration and last but not the least songs, it will fill up many pages if I start writing about it. I learnt many new words in Tamizh through this film. வட்டார வழக்கு, வெடலப்புள்ள were just a drop in ocean. So in this way, this film is an encyclopedia and educational! I would even go to an extent (no exaggeration) to say that my mother tongue was never more interesting before this film and I never took seriously and it was never the same after. In that way, it was a milestone of a film! So it was a whole new world to me after watching this film. Everything was new to me in this film that time and whenever I am watching this film. This film always remains young in my heart. I even remember my Tamizh teachers used to always praise about the film, especially the lyrics and dialogues. My sincere thanks to Bharathiraja and Vairamuthu for creating this masterpiece. :notworthy: Most talked about film that time.

This the first film where I understood how a folk music should be and appreciated it. I clearly remember these are the first songs (all from this film) which made me cry. I normally avoid hearing these songs frequently fearing that would happen anytime. Just like a scar, the songs have created a deepest impact in me. I can feel my heart has a scar of this film and Salangai Oli and their songs. This is the film from where I embraced and merged with Raja. So this is very very special (if there is any better word other than special I would like to use) film for me. All credit to my friends (classmates, town-mates, their elder brothers/sisters) who were constantly behind Raja even those days and introduced me to the world of Raja. Want to write about all the compositions from this film (later). It is so heavenly and earthy, both at the same time.

This film is my top most favorite film, just after Salangai Oli. And it will stay there for ever. Salangai Oli on the other hand, I was mainly attracted to Kamal's acting and story, but I was still not at an age to completely appreciate the music, but only after Muthal Mariyaathai, I went back to watch the films I have already watched, just because of Raja and ended up watching so many other films again because of Raja.

This is the first time (along with poove poochoodavaa) I heard about a singer named Chitra. Immediately fell in love with her tender and innocent voice after this film. Very new sounding voice at that time.

Coming to the song…..

[V_S]

(Andha Nilaavathaan Continued...)

Prelude…
'Andha Nilaavathaan Naan Kaiyile Pudichchaen' (with four bass notes), a brief yet beautiful yet subtle bass chord followed by flute with possible santhoor, then 'En Raasavukkaga' (with two bass notes). A wonderful pause. The most memorable one! Even when the tone of keyboard and violin (of course with bass guitar) conveys folk, one would wonder why these instruments are used for such a song, Maestro does not want us to be in 1% doubt, so he suddenly punctuates with a piercing flute exactly at 0:21 and from then on flute continues till it strikes the santoor again to finish the prelude. That piercing flute at that second will pierce your heart. The flute showing up from nowhere is to substantiate his claim that it is a folk song. Such a phenomenal and magical prelude I have ever heard! Remember prelude starts after the first line of vocals, unusual again!

What a joy when we listen to this prelude. And with all western instruments and north-indian santoor, how he paints the TN folk tune, tone and landscape. We will never be in any doubt about the tune and the tone and what it conveys. Will never know that Maestro has used western instruments, you will only get the whole beautiful sound of it, it is so complexly weaved and integrated one over other and one after another, such that you cannot not single/take out, unless you wanted to. These are the new folk sounds we got attracted to, that time and fell in love instantly. It was like experiencing a tasty kambu koozh in a scorching sun. While the folk component of kambu koozh is 'to reduce body heat' (tune and tone), the western component is 'rich in vitamin B6, folic acid, calcium, iron, potassium, magnesium and zinc (western instruments). In fact both components denotes the same, and cannot be separated is what Maestro conveys here through this song and prelude.

[V_S]

(Andha Nilaavathaan Continued...)

Pallavi-Anupallavi…
A delirious start to the song at higher octaves with 'andha nilaavathaan naan kaiyile pudichchaen en rasavukkaga'. How suddenly he comes back to seducing anu-pallavi, 'enge enge konjam naan paakuren kanna moodu konjam naan kaatturen. I always used to wonder how these two lines can be composed one after another Aren't they are poles apart? Believe, there is no connection in terms of instruments too. I don't have a damn clue. Yet does it sound out of place? Absolute NO! :notworthy:

What is the percussion instrument used? It gives the nativity feel so much, added with a hit on a ghatam by some metal?

With respect to lyrics, this is where Vairamuthu scores big time. He knows the tune coming down drastically on the second line and aptly he uses some sweet words 'enge enge konjam naan paarkuren'. Definitely in colloquial situations too, we never utter these words so high. The lyrics fits to the sandham 100%. Aptly Raja also sings these lines very sweet and so very dear. Just one line of pallavi-anupallavi but the variation and altitude difference he makes resembles like a whole song. Very very sweet start with all the innocence and freshness brought out in Raja and Chitra's singing. What a flow!

[V_S]

(Andha Nilaavathaan Continued...)

Ist interlude...
The interludes are the one which creates a most impact within me. Every time I listen to it, tears just pours, not just drops. In fact, I have never heard any interlude more times than this at all. That's why I said I can never listen to it often. Even though I am 8000 miles away from India, this interlude takes me right to the TN village in no time. Gush of violins in counter mode followed by cello. The phaser comes occasionally. But the biggy is the synthesizer (or is it violin again?) and flute which immediately follows it. That's a huge heart puller. When the flute is playing, a subtle synth plays the same tune along, is a huge heart healer. Hear the finish by synth again. Softens our heart beat. Here comes the biggest moment in the song. The 'MAGNIFICIENT PAUSE'. :notworthy: It stops our heart beat for a moment.

I normally watch this song only because the video has the actual and longer pause as in the movie, but the audio files have a shorter one which does not give the correct picture. I don't know why they didn't carry the same amount of pause in audio. Big miss there!

Another main reason for the greatness in the interlude is Bharathi Raja exploiting it perfectly by taking us to the picturesque locations of village, bright red soil, sheeps flocking around, beautiful breeze, small hills, remains of old temple, underground water in caves (that's a very rare one!), naughty plays by the lovers, what not! (except to be let off by some amateurish and exposed acting, forget that).

Just like the 'magnificient pause' everyone needs a break! :smile:

[V_S]

(Andha Nilaavathaan Continued...)

Charanams and Singing….
Charnams as it belongs to Maestro, Raja and Chitra, it equally, if not more belongs to Vairamuthu. You never get these lines today. 'Mallu vEtti katti irukku athu mEla manja enna otti irukku, muthazhagi katti pidichu mutham kodukka manja vanthu ottikiruchi'. One of the best charanams.

The same rhythm pattern for the whole charanam. The first two lines Maestro squeezes more notes/words to make it fast enough. But the next two lines has surprisingly fewer notes/words with the same rhythm pattern and maestro slowing down without giving any hint to the listener. Absolutely spell binding stuff! :notworthy: He does it by introducing a mild synth/piano in between maargazhi maasam paarthu' and maarula kuliraachu'. Hear that short piano piece, we will feel the chillness. I was so crazy about the hum 'Mmm' before the fourth line, 'YEthu daa vamba pocchu lavukaiyum kedaiyaathu'.

After that he again picks up the notes little bit (without we noticing it) during the last three lines, the best one. 'Sakkampatti chelai katti poothirukku poonjolai, poovu onnu kannadicha vandu varum pinnaale, ekku thappu vEnaam puLLa'. Aha enna arpudhamaana tune. He plays violins at the background during these lines which gives the needed ambience for the high pitch. Typical Vairamuthu's words 'Poovu onnu Kannadicha'. :smile: Just singing these lines gives an ecstatic feeling and at the same time giving a thought that how Maestro composed these stunning lines immediately brings happy tears! Raja and Chitra lived through this composition, not to forget the great Vairamuthu.

[V_S]

(Andha Nilaavathaan Continued...)

2nd Interlude…
A Magical one! It's amazing to see how Raja develops the second interlude with some random beats. He typically starts with intermittent beats resembling close that of lovers heart beat. You can hear two distinct beats one each for them. May be the first beat pattern is for the male lover and second one for the female. We can hear it separately with one tap on the hi-hat (I think) in between for quite some time. This hi-hat hit acts as a communication media between these two heart beats.

See how Maestro gradually develops this. The hi-hat connection is so remote that is not able to communicate well. So hero plays his flute which is immensely responded by her lover with violin (as pouring out from her heart) followed by two santoor beats (compared to one beat by the hi-hat, this is an improvement!) establishing connection occasionally.

But second time when this happens, violin takes over completely over flute establishing complete connection. This shows even though the male initiates the connection, once it is accepted by female, the return communication is so overwhelming, that you cannot escape.

This happens in real world too. It seems we males start loving more, but once our love is accepted, we come back to normalcy, but they don't. Their love grows enormously. This is exactly what Maestro conveys. Incidentally, after we see the gush of violins, the flute disappears (completely captured by female), and Maestro plays some finest rhythmic santoor implying finally that the 'Two hearts that beat as one'. We cannot now distinguish which one is from male or female. :notworthy:

[V_S]

(Andha Nilaavathaan Continued...)

Finishing at last... :smile:
Again the same question. With all these heavy western synth, violins, piano and guitar, does any instrument or the tone sound alien or out of place for this folk song. To put it in a different way, does any instrument reveals its true base or source where it has come from? This is the main aspect I miss in any folk compositions by other composers. The arrangements sounds very alien to the composition as they were not able to hide and integrate the instruments well. This takes the joy of listening. In fact, I wouldn't even say Maestro hides the instruments at all. Everything is in front of us, just that we are not be to identify it. Why? That's the Maestro magic for you. No offense meant.

100% authentic and pure folk composition (all the compositions from this film). Imagine listening to these timeless compositions at the right growing age with our fresh ears and mind and what landscapes it projects in our mind every time we listen. Every time it is different and new, that's why they are all ageless. I never thought I could write this much about a composition, but it pours and pours even for a dumb like me until I stop it, imagine how much it will be filled in the hearts of experts and fans alike.

I can even challenge that if you listen to these compositions, you will never ever listen to other folk compositions from other composers. It will look more pale. Because this is a bench mark set in Indian folk music using all western components, not just the instruments, the techniques as well, but no one can crack the westerness in the composition, not even Ilaiyaraaja, because it lost its source when it reached him. No composer would even come close to it.

For me, if any Indian composition, it has to take me to India/or should not leave India and its people, because this is what we can show to western world, what we are capable of. But what we are showing now is getting all music from western world and showing to our people what westerners are capable of. I believe World Music is the former, not the latter and this film's songs are one among the former.

காலத்தால் அழியாத, மண்ணின் மணம் மாறாத அற்புத அபூர்வ படைப்பு! :notworthy:

[V_S]

Mindblowing lyrics!

அந்த நெலாவத்தான் நான் கையில புடிச்சேன் என் ராசாவுக்காக
எங்க எங்க கொஞ்சம் நான் பாக்குறேன் கண்ண மூடு கொஞ்சம் நான் காட்டுறேன் (2)

அந்த நெலாவத்தான் நான் கையில புடிச்சேன் என் ராசாத்திக்காக

மல்லு வேட்டி கட்டி இருக்கு அதுமேல மஞ்ச என்ன ஒட்டி இருக்கு

முத்தழகி கட்டி பிடிச்சு முத்தம் கொடுக்க மஞ்ச வந்து ஒட்டிக்கிருச்சு

மார்கழி மாசம் பார்த்து மாருல குளிராச்சு

ம்.. ஏதுடா வம்பா போச்சு லவுக்கையும் கிடையாது

சக்கம்பட்டி சேலை கட்டி பூத்திருக்கு பூஞ்சோலை
பூவு ஒண்ணு கண்ணடிச்சா வண்டு வரும் பின்னால
எக்கு தப்பு வேணாம் ம்..ஹும்.

ரத்தினமே முத்தம் வைக்கவா அதுக்காக பட்டணம் போய் வக்கீல் வைக்கவா
வெக்கதையும் ஒத்தி வைக்கவா அதுக்காக மந்தையிலே பந்தி வைக்கவா
ஓடி வா ஓடை பக்கம் ஒதுங்கலாம் மெதுவாக 

மாசத்தில மூணு நாளு பொறுக்கணும் பொதுவாக
காத்தடிச்சா தாங்காதடி மல்லிகப்பூ மாராப்பு
கையிருக்கு காவலுக்கு வேணாமுங்க வீராப்பு
அடி போடி புள்ள எல்லாம் டூப்பு

http://www.youtube.com/watch?v=y9Qv8-wRmEI
http://thiraipaadal.com/album.php?ALBID=ALBIRR00382&lang=en

[app_engine]

WOW, what a colossal write-up on one of my fav numbers!

Thank you V_Sji! (pls note the ji)

IIRC, Ranjini was an intro and didn't make it that big in TF. However, she did at least two very sweet movies in MF. One was 'mukunthEttA, sumitra viLikkunnu' with Mohanlal which was set in Madras as the venue and a moderate success.

The other is one of my all-time-fav Malayalam movies - the biggest hit to my knowledge during my pAlakkAdan days - chithram! Once again with Mohanlal, she did a fantastic job in this movie under Priyadharshan, in the company of Poornam Viswanathan, Nedumudi Venu and Srinivasan. I watched it a number of times on theater - bachelor days - used to drag every collegue, friend , relative who visited Palakkad from elsewhere and forced them to watch this movie :-) That it ran for >100 days (possibly silver jubilee in that small town which was unbelievable for MF, ever) helped that cause too.

MM is one of the most loved movies ever in TF for me! That it came during college days was one of the reasons. It had all fav artists - mainly IR ofcourse :-)

[jaiganes]

epic write up on an epic song from an epic movie!
spot on about how raaja brings folk feel from WCM instruments and techniques..

[V_S]

Thanks App for giving me honors. :D: Nice to read about Ranjani's movie projects.
Thanks Jai for your wonderful comments.

I have to thank you guys for patiently reading my very long post.

[raaga_kann]

Andha Nilaavathaan Kaiyile Pudichchaen En Raasaavukkaaga - Mudhal Mariyaathai

Thanks V_S for your extra-ordinary varnanai about yet another extra-ordinary composition. It brought back the sweet memories associated during the release of the film. We used to have a Pattimandram as to which among the 8 songs was the best in the film (along with another 8 songs of another film which released on the same day - Sindhu Bhairavi). Oh God! Mudivukku vara koodiya vishayama.. On the same day, 3 films with the same theme got released in 1985 (Mudhal Mariyadhai, Sindhu Bairavi & Chinna Veedu). And what contrasting yet effective music, Raaja had given for these films! This song was again used by Raaja for a normal urbanised duet in the Hindi film, 'Mahadev'. And again came out truimps in bringing out the opposite effect (a modernised romance). Only difference, Andha Nilavathaan paadalai thalai meala vachi kondadinoam, kondaduroam, kondaduvoam. But our Northern brothers once again did not take notice of this gem.
V_S - One thing I am not able to agree with you. I thought the lyrics was just about Okay stuff. Nothing
exceptional...

[app_engine]

After reading these detailed posts, how can I not play 'andha nelAvaththAn' on car this morning? Especially, when a disk containing that being available handy?

On looppu.

I'm sure V_S mentioned about the guitar usage but want to reemphasize the elegant way bass is used in this song. Pay close attention to how IR uses it in the terrific 2nd interlude, innA siththu vEla kAttRaru!

During one of the listens, mind went on a tangent and started playing 'ErikkaraippoongARRE' (http://www.thiraipaadal.com/tpplayer.asp?sngs='SNGIRR3683'&lang=en) of chARal ninnu pOyi. Especially the first interlude that has the 'qwaikkikku' sound (phaser?). Both these songs must have some other connection than this sound alone, to stimulate that neural interconnect in my brain...

[raaga_kann]

In the past 35 years, If at all I have got annoyed with a Raaja song – It has to be this song. He has composed many short songs during his career. But a short duet (that too 2 short duets in a single film) – I don’t remember coming across such a mini duet song previous to this film. Yeanga vachiduraaru… Indha paata mulumaiya poattirukka koodadha… But at the same time, we have to thank Raaja for the fact that due to his insistence only, 2 songs were included in the film. This film was supposed to be a songless film. And what a mega hit this ‘less than 3 minute’ song turned out. Even today this song is regularly played in the FMs. I don’t remember any post-2000 song of Raaja which could be termed as Mega hit and an instant hit with the modern day crazy fans. But this song was a surprise. Its popularity has not died down even after 4 years.

The tune, the lyrics, the singing, orchestration, photography, the locations – Everything seems to be perfect – An overall pleasing effect. Superb singing by Raaja. A song completely dominated by him. The female singer (Nanditha) hardly gets a chance - Two lines each in Pallavi and Saranam.

Sihigaali sihigaali sahi haakide manasinali
Barimaathu barimaathu inyake pritiyali

Raaja starts in an ‘echoing’ voice – Sihigaali..Sihigaali… With a small pause, the chorus takes over the prelude with a divine effect similar to the chorus prelude of Kadhal oviyam.. (You will not hear the Chorus in the entire song after this – Surprise!). The soft drum and key pad rhythms starts along with the chorus and then flows into Pallavi, interludes and to the Sarnams without any change. Even connecting base between anupallavi and pallavi as well as Saranam to Pallavi is absent.

Sihigaali sihigaali sahi haakide manasinali
Barimaatu barimaatu inyake pritiyali
Noatavonde saaku, dinavu bereyalebeku
Prema amrutada geethe bareyoana baa

After a micro-second pause, Raaja starts the pallavi with a special starter ‘Nananana Naana’. This starter creates a pleasant ripple in your heart just like a child going wild when seeing a dark red cherry on an ice-cream. In the anupallavi, Noatavonde Saaku – the tune gradually takes a downward plunge and towards the end (before coming back to pallavi) suddenly takes off with a bang – Bareyoana Baa…

Like the prelude, the only interlude is quite short and sweet. Starts with a thavikkira Piano piece, travels shortly with the help of key pads and ends with another set of thavikkira Piano piece.

Baanaadigondhu savimaathu kalisuva
Aa veenegondhu yedheraaga thilisuva
Nadhigalige alegalige kuniva manasu koduva
Aaraluthiro hoogalige olava sudheya koduva
Baalina arthavae premavembudallave
Premave illadhae naanu neenu yaake?

Another effective pause – Raaja starts the saranam Baanaadigondhu followed by ‘not much heard’ voice of Nanditha singing ‘Aa veenegondhu’. Usually whenever the name of an instrument is included in the lyrics, he tries to squeeze in a small melody with the same instrument. Missing here! The final portion of the Sarnanam starts with another sweet Naanaana… and comes to end with yet another flying take-off – Naanu Neenu Yaake (This take-off is different from the previous one in the pallavi portion)

Raaja ends the song with the same haunting Nananaa Nana Naana, with which he had kick-started the song.

The film was set in the early 80s backdrop. The song (and in fact the entire film) brought out the clean, Unpolluted, heavenly city of Bangalore of the 80s. It was a treat to watch the glorious city of yesteryear. At the end, Yeakkam dhaan michham. Andha Naatkkal thirumbi varaadha….. HMMMM….
(Thulli Thirindhadhoru Kaalam…Palli Payindradhoru Kaalam.
Kaalangal Odudhu Poongodiyae…Poongodiyae…
Inbathai Theduthu Poongodiyae… Poongodiyae…
…..
…..
….. Odi Mudhindhadhu Kaalangal Kaalangal…Poongodiyae…)


http://www.youtube.com/watch?v=hYUKtCby470

[V_S]

Thanks raaga_kann. I feel happy that this song brings back your old memories :smile:

On lyrics front, there are two things. First, the lyrics was not good that time and now. Second, the lyrics was good that time, but sound ok now. I am not sure, if you are referring to the first case.

If you just read the lyrics, definitely I agree with you that it does not appeal at all.

But if you watch the song along, it is totally a different experience. Vairamuthu has made the first line totally in contrast with other lines. Through the first line he conveys the emotion/sentiment shared between lovers. There is no fun in first line. But compare it with the rest of the lines, or even the next line. It's a total fun and naughtiness. But he keeps that check all the time when they come back to sing the pallavi.

Apart from this, the 'vaarthai jaalam' is out of the world. For example: When Maestro picks up the notes in charanam first lines, see how he puts the words in respective places. I love those words 'mallu vEtti', 'muthazhagi'.
மல்லு வேட்டி கட்டி இருக்கு அது மேல மஞ்ச என்ன ஒட்டி இருக்கு

முத்தழகி கட்டிபிடிச்சு முத்தம் கொடுக்க மஞ்ச வந்து ஒட்டிக்கிருச்சு

'சக்கம்பட்டி சேலை கட்டி பூத்திருக்கு பூஞ்சோலை', this is my favorite line in the whole song. He brings a whole new dimension for that village (chakkampatti) and the girl wearing that the sari. I never heard a village like that, before I heard this song. In that way, I now know that chakkampatti is very famous for sarees.


Lastly, if you see this song in lovers perspective who only know their village nothing else, these lines proves that. Very innocent lines.
எக்கு தப்பு வேணாம்ம்..ஹும்.
அடி போடி புள்ள எல்லாம் டூப்பு

Through all this, I felt this song is more close to the nature which are our villages and more authentic. The slang he used throughout the song is very friendly and clearly depicts the village life and the lovers feeling. You cannot strictly say it is a prose, nor it is a kavithai, it is mix of both which makes it special for me. Again with respect to the feel, it has got the sentiment (first line), fun, naughtiness, and innocence.

May be I am obsessed with it :smile:, but that's how it is for me.

[V_S]

Sihigaali and Aa DinagaLu are just some outstanding and killer compositions. As you said, it is too short for our ever hungry fans. Very nice write-up on this. When playing the other song 'Aa DinagaLu' I always use to hear the introduction and then get to the song. Even though I don't understand anything, that gives a beautiful lead to the song.

[venkkiram]

வி.எஸ்.... "அந்த நெலாவத்தான்" பாடலின் வரிகளை ஆதரித்து நீங்க தம் கட்டுறதை ரொம்பவும் ரசித்தேன். பக்கவாத்தியத்திற்கே இந்த பொழிப்புரை என்றால் மெயினுக்கேல்லாம் எப்படி எழுதுவிங்க என்பதை தெரிந்து கொள்ள ஆவல். கண்டிப்பா இந்தப் படத்தின் மற்ற பாடலுக்கான வரிகளையும் எழுதுங்க.

[V_S]

Thanks venkki to hear your comments :smile: I cannot treat lyrics separate to the tune, both go excellently together. In first two lines of charanam, I always use to wonder how he puts so many words, with not one word out of sync. Just like it is it's fate to be there :wink:

To be honest, When I was writing that post, I was thinking of you, what would be your take on the lyrics. I would like to know, if you don't mind, as I remember you opening a thread exclusively for Vairamuthu.

[jaiganes]

வி.எஸ்.... "அந்த நெலாவத்தான்" பாடலின் வரிகளை ஆதரித்து நீங்க தம் கட்டுறதை ரொம்பவும் ரசித்தேன். பக்கவாத்தியத்திற்கே இந்த பொழிப்புரை என்றால் மெயினுக்கேல்லாம் எப்படி எழுதுவிங்க என்பதை தெரிந்து கொள்ள ஆவல். கண்டிப்பா இந்தப் படத்தின் மற்ற பாடலுக்கான வரிகளையும் எழுதுங்க.

yeah. one can easily discern the fact that the Rajas were not allowing the vadugappatti poet to have any buffer in this song. Considering that the poet has penned apt lyrics beautifully.
This was a reserved for Raaja song - so he went beserk with preludes, interludes, counterpoint for lead vocals and et al. All poet had to bring to the party was few slang words evoking rural imagery and some for bringing out the innocent intimacy (idhu eppadi irukku ;-) ). To vairamuthu's credit he does the bicycle riding on the parapet wall quite amazingly in this song. Vaalee would have brought in some high sounding similar words, but the rural touch would have been sadly missing...

[V_S]

yeah. one can easily discern the fact that the Rajas were not allowing the vadugappatti poet to have any buffer in this song. Considering that the poet has penned apt lyrics beautifully.
This was a reserved for Raaja song - so he went beserk with preludes, interludes, counterpoint for lead vocals and et al. All poet had to bring to the party was few slang words evoking rural imagery and some for bringing out the innocent intimacy (idhu eppadi irukku ;-) ). To vairamuthu's credit he does the bicycle riding on the parapet wall quite amazingly in this song. Vaalee would have brought in some high sounding similar words, but the rural touch would have been sadly missing...
I agree VM didn't have much scope, yet he came with flying colors.
:lol: on the bold parts. Eppadi sir ippadi yellaam yosikkireenga. Excellent! Idhukkuthaan Jai venunkarthu :smile:

[Sureshs65]

R_K,

Lovely writeup on 'Sihigaali'. Definitely one of Raja's major hits on FM atleast. Just divine music for such a short song. Was listening to his 'Rangu Rangu' from Prem Kahani today. Lovely one that as well.

[Sunil_M88]

V_S sir, it is only because of you I keep becoming more and more enthusiastic about digging deep through Raaja saab's discography. Once again with this write up you have pushed forward my auditory sense for the maestro.

Raaga_Kann - Thanks for throwing light on Raaja sir's Kannada material. :thumbsup:

[V_S]

Thanks Sunil for your compliments :smile: Please listen to all the compositions in Mudhal Mariyaathai, if you have yet listened. Once in a lifetime compositions, which gets to the deepest roots of our rural villages, while projecting it far outside to the western world at the same time with all the western classical elements.

[AravindMano]

V_S Saar, aRpudham :clap: Really appreciate the passion with which you write.

[V_S]

Thank you Aravind sir! ennavo theriyala, cut short pannanunu neneipen, aanaa mudiyala. If you ask any kid you want this ice cream, they will say yes. You ask if they want a toy, yes for that too. They will never say No to whatever we give, they don't want to miss any thing, even if their hands are full. But you have to see their happy face. I become a kid when listening/writing about his music.

Sorry and thanks for all your patience to read my long posts. :smile:

[skr]

V_S ji Your gargantuan write up on such a gigantic song was just amazing ..
The feel in which you had written and described the song , chance eh illa ..
I Just dont have words to describe your colossal write up..
After reading your post , i str8 away headed to my I pod and started playing Andha Nilaavathaan :)

[V_S]

Thank you skr! Very glad and honored that my post made you listen to the song again :D

[V_S]

Reading Alert: Strictly my opinion may not be true and may not be acceptable.

As we all know, colors of visible light spectrum which starts with violet having least wavelength to red having highest wavelength leading to seven major colors within that range, termed as VIBGYOR.

In music too, we have songs of various wavelengths/categories. If we restrict music to just melodies for simplicity sake, it would be little easy to classify melodies based on tempo. For any melody tempo is one of the basic characteristics. If a composition is too good, but the tempo is not correct, it might spoil the creation. By melody, I am referring to a good depth and variation in the tune that absorbs us (I know this is subjective :smile:). Considering this with the above analogy, If it is a slow melody, it would be equivalent to violet range, and a fast melody would compare to red range. But I am not saying red is good and violet is not and vice versa. Each melody range has its own beauty. Some of my references to both these kind of melodies are, (intentionally not picking thamizh songs of other composers to avoid comparison and confusion :wink:).

If we consider slowest melody, this is one brilliant and striking one. Mitwa by S D Burman for Devdas (1955). From IR's repository, immediately I could think of ThEn Mozhi (solla thudikkuthu manasu), but this is not as slow as Mitwa. Mitwa is a perfect soothing, sad, slowest melody. It is exactly at the edge of violet range, if it goes slower than this, it takes the beauty of the song. That's why these composers are all legends. If a song becomes too slow beyond this, it can be very dull or boring (falling into ultra violet range, invisible range :smile:). The sangathis will sound like a single note, it would be discontinuous. Still there is no song to beat this melody in this range according to me. Please let me know if there is one. The criteria is not just the slowness, the melody should be striking despite the slowness.

Similarly, if we consider some fastest melody in red range, there are 100's, some would be Maang ke saath tumhara by Legendry O P Nayyar for Naya Daur (1957). I can safely pick some IR's compositions among 1000's like Thoongaatha Vizhigal Rendu (Agni Natchathiram, but it slows down in first half of charanam, but builds up in later part of charanam, but this would be the closest), SingaLathu Chinnakuyile (Punnagai Mannan, but it slows down in charanam to keep up the beauty), Ponnoviyam (Kazhugu), et al. How beautiful and bright these songs are, and again at the edge of/approaching the red category. Sameway, if it is faster melody beyond this, it may either becomes a dance number, or it might show the talent of the singer by their faster sangathis, but melody content suffers (IMHO). Atleast the melody content would not be constant throughout the song. It might be in bits and pieces. Here we can appreciate their talent, but not the melody.

Having said all these, we are into a knock-out composition which I think is the fastest melody (solo or duet without chorus) ever composed with all the sweetness and brightness, again with no trade-offs on melody content. Ideally this composition daringly steps up into the infra-red range, yet visible, as we all know. Another beauty of this composition is even though it is beyond the red range, this song is not suited for dance. How does he do that? Let's see tomorrow. :smile:

[venkkiram]

வி.எஸ்... சஸ்பென்ஸ் படு கலக்கலா இருக்கு. எல்லோரையும் என்ன பாடல் அது என மண்டைய பிச்சுக்க வச்சிடிங்க... நீங்க மெலடியை தரம் பிரிக்க நிறப்பிரிகையை ஒப்பிடுவதுபோல, நானும் பலதரப்பட்ட பாடகர் குரல்களை இதுபோன்ற வெவ்வேறு நிறங்களுடன் ஒப்பிட்டு வகுத்துக் கொள்வேன்.

ராஜா - கருப்பு , பாலு- வெண்மை, டி.எம்.எஸ் - பச்சை, யேசுதாஸ் - பழுப்பு, ஹரிஹரன் - நீலம் இப்படி போகும். உங்களோட மெலடி பகுப்பாய்வு சுவையா இருந்தது.

http://read.pudn.com/downloads134/sourcecode/graph/texture_mapping/570944/VIBGYOR_Color_Segmentation/colorcube-1_66.jpg

[Plum]

V_S - nice theory. I have thought of this speed aspect before and one genuine slow melody from Raja - the only one IMO - is Vaana Mazhai pOlE from Idhu Namma Bhoomi.
In general, Raja blitzes through even the melodies. Think kaNNE kalaimAnE.

But there are some contemplative songs he has composed - like Thendralidai Thoranangal. Some of these do sound a little relatively slow.

[KV]

V_S, very interesting analogy, sir. Eagerly waiting for the song. Kudos to your enthusiasm for writing! :clap:

[V_S]

Thanks Venkki, Plum and KV. May be I have created some good expectations :D
venkki, Wow! Nice to know that you have classified the singers too based on colors. But will be happy to know the ideas behind that as well. I loved that image, it was very attracting.

Plum, Yes, absolutely! Vaana mazhai pole, Kanne kalaimaane and Thendralidai are very slow and soothing melodies. But the beauty in Mitwa is percussion rhythm cannot be given at all, as it is that slow. Still takes the heart out of us. Please listen, if you have not listened to it. I would like Raja to create such a slow melody, if not already done.
http://www.youtube.com/watch?v=V5uJFV2Njio

On faster melody one I could think of is which is very fast is Valaiyosai song from Satya, but that is SPB song.

[app_engine]

Having said all these, we are into a knock-out composition which I think is the fastest melody (solo or duet without chorus) ever composed with all the sweetness and brightness, again with no trade-offs on melody content. Ideally this composition daringly steps up into the infra-red range, yet visible, as we all know. Another beauty of this composition is even though it is beyond the red range, this song is not suited for dance. How does he do that? Let's see tomorrow. :smile:

some wild guesses (i.e. duets by IR) :

nEththu oruththara oruththaru pAththOm
sorgamE enrAlum adhu nammoorappOla varumA
poomAlaiyE thOL sEra vA
nAn thEdum sevvandhippoovidhu

all these are "fast but melody" vagaiyarA IMO...

[skr]

Wow V_S , You have raised the expectations by your sweet colourful write up ..
Cant wait for you to come up with the song ..

[V_S]

Thank you skr! Here we go with the song. :smile:

[V_S]

This song needs no introduction and I think this is one of the top compositions which has been analyzed, dissected, studied thoroughly. Ilaiyaraaja raised himself to another peak as a singer through this song. Also this is one song which is loved by everyone, no exceptions. App, you hit the bull's eye as usual. :smile:

We are going to hear the best of WCM techniques IFM has ever witnessed. WCM technique with veena too this time. Sounds interesting? Within the first 30 seconds, four different counterpoints, one with violins, second with flute and synthesizer (how softly he introduces the bass guitar), third with veena and bass guitar, fourth flute and bass guitar. The bass guitar gradually getting louder during the fourth. All in sequence. The brainchild is how he cuts the fast running violins abruptly, and how he cuts the flute and synth, before veena taking over and flute stepping in at last.

Hear how racy the start is. It's just like a 100 meter relay race (not the full lap one) with Hussein Bolt finishing in record time. Remember the only common instrument is the bass guitar for the last two counter points, the other ones are totally different. The cut over is so smooth for that raciness. Is it not? I feel like running down a hilly slope (not just that) with someone trying to reach me in a game. This is the maximum dance I can do for this prelude :smile: Without we even knowing it, the prelude is over in just 30 seconds.

First 14 seconds of violin shower if continued in that fashion, it would have led to a beautiful western classical composition. Same way for the other three sets, with the third one leading to indian classical composition. As they say counterpoint itself is a technique of harmonically relating two or more voices (melody) which are totally different in structure and played together. We already had four of them. On top of it, these four sets are entirely different when listen separately. Listen the third veena/guitar counterpoint with the first violin/violin one. No relation. Even the first one with second. But when joined together, it jells along well and nicely. 'Bhagvan Jaane'. What do we call this? Just four counterpoints, I don't think so. I would say 'Relay-Counterpoints'. Since all this happens in 27 seconds, adding one more adjective, 'Fastest-Relay-Counterpoints'.

Another way to look at it (I am getting mad now :smile:). One counter point itself comprises of two melodies (here), so four counterpoints leading to 8 different melodies. As I said, each packaged set leads to it's own melody, so another 4 melodies with total of 12 now. All the four sets together leads to the another melody which is melody#13. We are seeing 13 aspiring melodies just starting to flow (if allowed) in their own directions, all initiated within 30 seconds. Just imagine the power it has got.

In mythological films when a king wars against devil and he shoots an arrow with bow. The arrow multiplies from one to two to two to four and so on, on its way (OR) a imagine a bow shooting with 13 arrows at the same time. It would be spectacular to see the visuals. In the same way the prelude has that specatular moment!

While we are awestruck about these technical aspects, please give a second listen to the overall feel of the prelude without taking notice of anything in particular. How do we describe it? It's just heavenly! period.

[V_S]

Now starts the real fun. We are taking a little deviation from observing raciness to observe the innovation.

This is the first song and may be the last song to have single line shared by both the male and female singers, not just singing together and not just humming, singing one after another. It's a huge huge innovation. Where are the guinness record guys? Those who think Raja follows the same pallavi-charanam-pallavi structure the most and does not innovate, have to just listen to this. This is again one clear composition where he stresses firmly that there is no need to break the structure unnecessarily and all the innovations can be done entirely retaining the same structure. He has even shown all the possible areas through this composition, where the composers can poke in their thoughts. This is one area where no one has ever explored, sharing the same line. Again, the lines are ferociously fast.

SJ: பூமாலையே தோள் சேரவா, பூமாலையே R: ஏங்கும் இரு SJ: தோள் சேரவா R: ஏங்கும் இரு
R: இளைய மனது SJ: இளைய மனது
R: இணையும் பொழுது SJ: இணையும் பொழுது
SJ: இளைய மனது R: தீம்தன தீம்தன SJ: இளைய மனது R: தீம்தன தீம்தன
SJ: பூஜை மணியோசை பூவை மனதாசை
புதியதோர் உலகிலே பறந்ததே
R: பூமாலையே SJ: ஏங்கும் இரு R: தோள் சேரவா SJ: வாசம் வரும்
R: பூமாலையே SJ: ஏங்கும் இரு R: தோள் சேரவா SJ: வாசம் வரும் பூ

Coming to the melody content of this pallavi-anupallavi, even within the same line 'poo maalaye' goes up and 'yEngum iru' comes down gives the required variation and sweetness. Pallavi (with most number of lines) is finished in record 34 seconds.

Within one minute Maestro finishes that monstrous and heavily packed prelude and very very sweet but ferocious pallavi. Lightning Bolt! See the squeezing and packing to the extreme limits with no compromise/trade-off on melody content. Breathtaking!. We need some break here. :smile:

[skr]

Absolutely breathtaking write up of a landmark song ..:bow:
So much of emotion , feel and passion ..
I think you should start a blog soon and preserve all these wonderful write ups ..

[skr]

Another way to look at it (I am getting mad now :smile:). One counter point itself comprises of two melodies (here), so four counterpoints leading to 8 different melodies. As I said, each packaged set leads to it's own melody, so another 4 melodies with total of 12 now. All the four sets together leads to the another melody which is melody#13. We are seeing 13 aspiring melodies just starting to flow (if allowed) in their own directions, all initiated within 30 seconds. Just imagine the power it has got.

Beautifully put .A special song for me too coz this was the song which introduced me the technique of counterpoints..
Infact the entire album Pagal Nilavu is special , Vaidehi Raman intoduced me to what is Graha Bedhams and Poovile Medai prelude is the best ringtone one can ever aspire to have to ..Bliss^n ..

[V_S]

Thank you so much skr for your encouraging words.:D Yes every composition in this film including the bgm is worth a music institution.

[V_S]

Continuing with interludes and singing….

One of the best violin call and response technique and how beautifully they merge at the end. When there is long call there is no bass guitar. But when the call gets shorter the bass guitar enters in and punctuates, Wow! The the flute continues singing a duet with guitar, then guitar changes his lover from flute to veena. We saw some three outstanding melodies in this interlude again in just 30 seconds.

You have to see how Manirathnam has wonderfully captured the mood in this interlude. During the first long violin plays, Revathi keeps running towards Murali, just like in first prelude where Murali runs. For these racy plays this is the best you can do. But when the violin calls gets shorter, she punches his stomach similar to guitar chords supporting the violin to get the smoke out of him. Then there is a mild drizzle where flute and guitar immerses us too in the drizzle. Again of the sweetest flute I have ever heard. This is where MR scores high. He heard Maestro replaced flute with veena, so he took out the drizzle and came with a sunny day setting. Wonderfully done by MR!

Hear this charanam melody. Sharing of same line continues, but this time Maestro gets it bigger and lengthier, as you can see the SJ's lines. While constructing the tune for pallavi, if Maestro got an spark to create two words to share, in charanam he builds up that opportunity to create more space, so that it enhances the sweetness in the melody. First doing this in pallavi itself is a herculean task. But many would have stopped there (if at all they do it) and charanam would have been simple having contained themselves, but Maestro carried that challenge into the charanam and brilliantly executed with more sweetness. When SJ starts with 'Na Na Naa' in the first line after Raja's singing, one would think, he could not repeat that magic what he did in pallavi, so he just fills up with 'Na Na Naa', but there comes the blinder in next line with 'Ennai Unakkendru Koduthen' and in third line still longer 'Yengum ILam Kaadhal Mayil Naan'. :notworthy: Theerppu Vazhangiyaachu, Aattam mudinchudu, Kalaas. :smile:

The way both Raja and Janaki share their singing is ultimate. We have heard best duet songs, but this is the best duet singing we have ever heard. As you have to be ever watchful where to pickup on the same line. It's almost like one singer is singing the chord which other singer does not sing and vice versa. So each one is filling the chord of a scale sequentially leading to the chord progression. The result is it gives so much richness and uniqueness.

Another interesting point to note is, if we play piano normally left hand plays chords and right hand plays melody. But there are songs where we will start with regular manner, but have to interchange with right hand playing chords and left hand playing melody in the same song. Same way, if you hear the charanam, SJ was just singing Na Na Naa (assuming this to playing chords), suddenly she gets into this line 'Kanni ezhuthum vannam muzhuthum' where she jumps to sing (play) the melody. These are some of beautiful concepts in this composition which gets unnoticed. Some wonderful lessons/sessions in singing.

R: நான் உனை நினைக்காத நாளில்லையே
தேனினைத் தீண்டாத பூ இல்லையே SJ: ந ந நா
R: நான் உனை நினைக்காத நாளில்லையே SJ: என்னை உனகென்று கொடுத்தேன்
R: தேனினைத் தீண்டாத பூவில்லையே SJ: ஏங்கும் இளம் காதல் மயில் நான்
R: தேன் துளி பூவாயில் SJ: ல ல லா R: பூவிழி மான்சாயல் SJ: ல ல லா
தேன் துளி பூவாயில் SJ: ல ல லா பூவிழி மான்சாயல்
SJ: கன்னி எழுதும் வண்ணம் முழுதும் வண்டு தழுவும் ஜென்மம் முழுதும்
கன்னி எழுதும் வண்ணம் முழுதும் வண்டு தழுவும் ஜென்மம் முழுதும்
R: நாளும் பிரியாமல் காலம் தெரியாமல்
கலையெல்லாம் பழகுவோம் அனுதினம்
SJ: பூமாலையே…தோள் சேரவா ..

During pallavi Maestro uses acoustic drums for percussion, but in charanams he switches to tabla, the reason being the charanam has a strong north-indian flavor. Hear the multitude of genres in pallavi, charanam and in preludes/interludes to be blown away!

[V_S]

Here again in 2nd interlude, Maestro employs the power-packed counterpoint technique. First with Guitar with synthesizer (xylophone like sound). The guitar stops while synth continues. We have couple of seconds to breath here unlike the prelude counter techniques. The counterpoint with synthesizer is little new, so Maestro wants to experiment that with guitar for some time and leaves synth alone. While learning bicycle, we needs some help from friends until we can ride alone. Same way.

I was just thinking if this interlude can be picturized during the sun-set time at the sea, just because here again we see two instruments together (guitar and synth). The sun just coming down to kiss the sea or the sea trying to rise up how much it can, to touch the sun. Both could not wait for that moment, rather going for that moment. You can clearly hear that fun in the instruments being played accordingly. Then starts the violin gushes (again with another violin in counterpoint) like the water flowing rapidly to completely cover the sun and gets inside to it to enjoy all the night. It is so happy that it has the whole evening and night to spend with him. Sea wants to get warmer and sun wants to get cooler having shone all day.

If I don't call Mani sir here, I would not do justice. To my surprise, MR has chosen the same great spot and it is the sun-set time. At least this part matched. :D This is where the master craftsman dazzles according to our thoughts. I can even see the sun light at a very small part of the shore while others are already getting dark. Graceful shot! One of the best picturized song and one of the best picturized interlude. Mani :notworthy:

Lastly there is a violin-veena talk, very racy one. But second time Raja pushes the veena out and brings in his voice after violin. That's a wonderful thought. Then SJ starts the second charanam. He could have left the veena play the second time with violin, but see the innovation in that little second there. Remember, He didn't do this in first interlude (veena with guitar). Maestro teases the veena this time by intervening at the last moment by humming (making fun of them). These are some interesting little lessons/sessions we learn from him every day.

[V_S]

How many counter melodies have we seen so far? May be we lost count.
How many individual melodies have we heard so far? Again lost count.
How many records or out-of-the-box areas have we observed (same line space shared, around 13 aspiring melodies starting to flow within 30 seconds, fastest melody et al.)
How many nuances have we witnessed (like Raja pushing out veena, singing as chord progression and jumping to melody, using different percussion rhythms and patterns in pallavi and charanams et al.)
How many genres did we hear in this composition?

This is one composition where right from the start of violins till the last tap on the cymbal, we can clearly see how Maestro's mind would be filled with all these overflowing and gushing tunes just want to come out of his mind and into his hand to played by him. But what we witnessed here just a drop in his mind of ocean. We cannot digest and dismiss this as a single song or composition. Even though we lost the count on the individual melodies (based on the counterpoint techniques) considering around 8 to 9 counterpoint techniques in the whole song, just doubling the melodies to be around 16 to 18. Again if we take the whole counter melody technique as one entity, we already have 9 melodies there. As in the prelude four such melodies were there sequentially which again can take its own path. Similarly in the interludes. Apart from this there were some call and response techniques employed which can also add to the count of melodies. Apart from all the above the main vocal melody. We are already talking about some 25-30 melodies reside in this composition.

But this what we get to hear, as this is what has flown from Maestro's mind to his hands. As he always tells his brain is too fast that his fingers cannot compete and play. By this, we can guess how many would have started to flow from his brain for this composition. The first gush of violins in counter melody for the first 14 seconds and suddenly it stops to give way to another one is a wonderful evidence how difficult for Maestro to stop that first melody to continue to second one. I will leave it your imagination.

We see a sea of innovation in this composition. But mostly if they innovate too much, it would have its side-effects. Mostly it is the melody which suffers and sometimes unbearable to hear and most of the time it will lose its longevity. That's where our Maestro stands different. This is one composition where it is loved by everyone, not just the fans not just that time even now and will be forever. This is one song where it has been heavily analyzed, discussed and dissected unlike any other like I mentioned earlier. Everyone will have this song as one of their top 10 compositions ever listened. If melody suffers, all this would not have happened.

Coming back to our original question, has Maestro succeeded in putting his path in invisible region (fastest melody ever) yet visible without any trade-offs in melody? Imagine this song is faster than this tempo or lower than this. One good portion of the song to try faster or lower than the original. 'கன்னி எழுதும் வண்ணம் முழுதும் வண்டு தழுவும் ஜென்மம் முழுதும்'. It will never work out.

I would say, he is the first one to do this kind of racy and sweetest melody. Like Neil Armstrong. But Armstrong put his left foot first on moon, here Maestro jumps and stamps with both the foot in space (infra-red range) and merrily swims. :wink:

If we call this composition as 'one in million' we are under-evaluating it, as this is a million song in itself. So it would be best to call a 'one million in one billion' :smile:

Poo Maalaye ThoL Serava - An Encylopedia in music!


http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00475&lang=en
http://www.youtube.com/watch?v=pEsT0vIfHvI (audio not good)

[Sunil_M88]

Wrt to the VS's posts, App is Vyasa while VS is Ganesha. Rishi Vyas narrated the Mahabharata epic to ganesh ji maharaj who wrote it and the parallel here is that App sir is listing the songs and then the discussions are passionately flowing out from VS sir.

Keep it up guys :clap:

[V_S]

Sunil,
Your appreciation shows your heart. Thank you! But I don't deserve all this high praise :smile:. Raja has given me so much and made my life more meaningful, which I cannot repay at all. Through these posts, I feel happy that atleast I got an opportunity to thank him. Thanks again Sunil!

[app_engine]

Great write-up, V_Sji!

Keep up the good work!

[baroque]

:redjump:இளையராஜா, the greatest !:bluejump:

கிடார், புல்லாங்குழல், வீணை, வயோலின், CHORUS ஹம்மிங் ... காதல் ஓவியம்... அலைகள் ஓய்வதில்லை.
இசை அருவி POURING IN தமிழ்நாடு FROM LATE 70S :musicsmile:


http://www.youtube.com/watch?v=hZENOD2DjXI


VINATHA

[raaga_kann]

Some time back I had the chance of meeting one of Raaja's old friend. When he was sharing the memories of Raaja, he told me about how Raaja loves Nature and Natural sounds. When they used to walk in Tiruvannamalai (Girivalam), whenever Raaja heard the sound of a cuckkoo (Kuyil), he will just stop, lost in the mesmerising melody of Kuyil Paattu. Then he would quip - "Naama yellam Paadavae Koodaadhaiyya..." (Wow... What a punch!)... Andha Maadhiri... V_S... Neenga eludharadhai paarthittu, Naanellam eludhave Koodadhunu ninaikkiraen...

[V_S]

Thanks App and raaga_kann for your compliments. raaga_kann, please do write sir. Waiting to read your posts. I am sorry, I have this bad habit of writing lengthier posts, not sure if it has enough content, but those were just my thoughts having been listening to him since my childhood. I could not control it.

[V_S]

Naan ThEdum Sevvanthi Poovithu - Dharma Pathini

+2 exam time and fever was gripping all over my town (if I memory serves right), when I heard this song first time in Doordharshan. Not the right time I know :smile: I remember I was totally stunned by his haunting humming (with thambura giving the pitch) and how the composition developed further. Astonished! Right from the start when Raja starts the aalaap, followed by audience claps at every stop, Raja smiles and sings further, I never took my eyes of him. My eyes didn't see the actual visuals, I was only seeing Raja singing in front of me. I believed he was singing only for me and I never knew where I was in that 5 minutes. Even after the song was over long time before, I was still standing at the same place and the song was still ringing in my ears and heart. My mother was asking/pushing me to continue my studies, then I realized it was exam time and went back. It took a while to come out of it.

The guitar sound in the prelude is so hard that it resembles a percussion. While the guitar plays steadily, violin teases the guitar by its sweet and jumpy ride (yet refreshing) trying to side track guitar, but flute comes to the rescue stopping their fight. I was even thinking this way. The guitar is so heavy that it resembles male's heart while the short and crisp violins that of female, trying to play with each other, but just when they touch each other another beautiful sound (flute) evolves out that of them (soul child).

When the song starts, it carries with the same tempo and rhythm through out till it ends. That's the speciality of this composition. It is quite normal to slow down during charanam to enhance the beauty and project the variation. Maestro has even done this in many songs like the previous ones we discussed, but here is another example where he demonstrates that he need not bring down the tempo which he started in pallavi to charanam to get its soul, sweetness and richness in tune.

In pallavi he keeps the secret in every word rather than in every line which he unleashes slowly again without our knowledge. For example hear these words in pallavi 'thEdum' and 'poothathu'. He extends thEdum to 'thE Edum' but he abruptly stops in 'poovithu'. No extension after poovithu, it stops right there. Similarly in anu-pallavi, 'poovo idhu vaasam povOm ini kaadhal desam'. Hear how he repeats the same line, especially the words 'vaasam' and kaadhal desam'. While he elongates 'vaasam' to vaa aa aasam', he cuts short 'kaadhal desam'. What a thinking! While we are satisfied with the first time rendering itself, Maestro asks us not to conclude prematurely and reveals the inner secret, by giving us another opportunity to rediscover the complete beauty in it and relish.

Why the pallavi stick to our mind and sits there comfortably. It is because as I mentioned above, Maestro first extends the first two words 'Naan ThEdum' but abruptly slices in between sevvanthi poovithu'. This pattern continues in anu-pallavi too. But in charanam, it is the other way round which we will see in a bit.

And every word Raja sings with 'azhuttham' is a treat to hear. You can no way hear such a clarity and depth in diction today. Also please the rhythm arrangement for the pallavi. It is not just tabla, one 'jal' saththam, keyboard and bass guitar all form a rich rhythm.

If pallavi is sweeter, Maestro dives deep to get as many pearls in charanam. Hear the violins after 'parandhu sella vazhi illaiyo' as if asking 'appadiyaa' (is it so?) and after 'paruvakkuyil thavikkirathe' and siragirendum virithuvitten, but there is a different tone of violin after 'iLam vayathu thadukkirathe'. Here the violin concurs (with ok). When Raja sings 'en dEvi' SJ finishes by a serene humming similar to the prelude one. We can give everything to that humming. Same way in second charanam Raja sings the same portion, sweetest portion of the whole song.

In charanam, he does the opposite how he composed in pallavi. Here he slices at the start but leaves free at the end of every line. Hear 'parandhu sella vazhi illaiyo'. Only when he enters the last character of last word he extends. He follows the same pattern until he sings 'en dEvi' which is the start of climax of charanam. The composition is such that he stresses every word and syllable such that each word is independent and has its own tune. I can never imagine that he slices at every word, yet the flow is continuous. How?

Remember 'discrete sampling'?. Even though the sampling is discrete, the individual sampling frequency is so high such that the frequency response is not affected by the sampling process and hence would be continuous. Maestro teaches sampling theorem with music. How enjoyable it is? Imagine how enjoyable it will be if Maestro teaches our degree subjects with his music as its analogy? His music has that mathematical precision that it can be easily incorporated as examples. I believe any subject can be interpreted through Maestro's music. :smile:

We can hear every instrument in the interludes speak rather than just play. We can clearly hear the hesitation (of new lovers) in the initial two sets of violin trying to talk with each other. Violins indicates their body (or brain or ego) as they are new lovers. While this is happening, flute, which is their common soul enters and breaks their ego or hesitancy and also leads them to different setting where they can dance, relax and make themselves comfortable. That's where the acoustic drums, keyboard and violins again speaks for the lovers to dance.Then comes the last set of violins which happily flags that they are fine and green now. :thumbsup:

So, in the 2nd interlude Maestro straightaway starts the percussion after the initial happy violin gush, and they continue to dance where they left off. Wonderful!

Another racy honey-soaked melody with no sagging portion. The tempo and energy with which it starts is retained till the end. The extra-ordinary brilliance in this composition is except the two higher octave surges in the entire song, one in the prelude humming and another during 'en DEvi/en DEvaa' (which then slowly drops), almost most of the song varies between the middle octaves. With this, did we ever hear anything bland in this composition as the variation is less?. No! Why? All because of the sampling secret and also because of the secret and sweetness embedded in every word (as explained above), as every word carries its own tune independently on its shoulders.

Also this is the first time I think they called this song as 'Raja' song rather than a Raja-SJ duet. Everybody got floored by the initial aalaap and no one recovered to even remember there is also S Janaki singing this song.

I used to always think how to express my true feeling whenever I listen to this amazing composition. I am at loss of words every time, and this is even true whenever I wanted to convey the feel about this song to others who have not listened yet. Since I could not express it completely, they would also think only that much about this composition, which made me very guilty. I was searching for a perfect statement all along, all the years to describe its beauty, when I stepped into this precious moment during the telecast of Andrum Indrum Endrum on Jaya TV in 2005 ('http://www.youtube.com/watch?v=nc5s42fOPNM') (Please don't miss @4:33) where Parthiban cracks open my inner heart and exactly conveys what was in my heart. Sandhosham Ucchama pogum podhu uyiroda sethudalam pola irrukkum, appadi oru jeevan irrukum'. That was exactly what I wanted to convey about this very rare composition. I was/ still am totally suprised how he exactly brought out the feeling of my heart. My search was finally over. The first 25 seconds of Raja's aalap has the 'Jeevan' which cannot be described by any words and which the whole world cannot give. :notworthy:

Celestial Kingdom of Ultimate Glory!

http://www.youtube.com/watch?v=ifsAIj-oMUY
http://thiraipaadal.com/album.php?ALBID=ALBIRR00115&lang=en

[Sunil_M88]

Excellent write up :clap:

The song truly displays remarkable transitions between tempo, beats, melody and genres. Raaja saab delivers it with such ease.

[raaga_kann]

Soaga Paattukku than kalapadam illaadha kuralaal oru pudhiya parimaanathai uruvaakkiyavar Isaignani. You cannot think about any other singer who can truly bring out the emotions of a sad song. There are plenty of songs in this category – But most of them are solo songs. There are very few songs in the duet category. I thought why not travel thru this genre and dig out the jewels.
Sogam-Thaalaattu-Mazhalai – Indha combination kadaicha podhum. He has always produced some mesmerizing amazing stuff. This IR-PS song has always been a haunting number for me, though it may not have entered the chartbuster category.

http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00498

Special mention has be to made about the simple, but yet apt and straight forward lyrics (Must be Gangai Amaran). There are no fancy village words (like Sakkampatti or Vadakampatti) used in the song. But still Raaja brings out the rural essence in the song with great effect. Again this proves that Raaja does not lean on lyrics to bring out the real essence of the situation. His construction of the song can deliver the goods.

The prelude starts with a Piano bit indicating the song is a Thaalaattu song, followed by a haunting flute piece, indicating the sadness associated with the song.
PS starts with a crystal clear Ariro.. The entire first half of the song belongs to her.
An additional rhythm pattern used as a filler for the first two lines of the pallavi adds further grimness to the song.

Ariro Aaro Aarareero
Ariro Aaro Aararero

Mannavan Paadum Thamizh Pirandha Thenpaandi Muthae.. Muthae..
Punniyar thedum Puvi Pirandha Poo manjal Kothae.. Kothae..
Unnai sondham kolla
Andha Mannan illae
Naamum Thangum idam
Adhu sondham illae

Ariro Aaro Aarareero
Ariro Aaro Aararero

The first interlude is a short one going by Raaja standards with only Piano and flute complimenting each other.
The lyrics in the saranam brings out beautifully the realistic view of poverty, Thanmaanam, Nambikkai, iyalaamai, belief in God, etc. PS carries the Saranam portion effortlessly without much intervention of instruments.

Keadu kettu poanaalum Manam Kettu mattum poagadhu
Maaru Vathi poanaalum Thaayi manasu vatthi poagadhu
Vaadamalae unnai kaathirupaen..
Namma Saami thunai Naan paathirupaen..
Vaeroruthi veetu vaasalilae..Kai neeti naan poayi ninnathillae
Thaer izhukkum ooru veethiyilae..Paeru kettup poaga yaedhum kaetathillae
Saamiyum thaan kann thirakkum..Kaalai varai poruthiruppoam
Varunthathae.. Varum kaalam..
vaadum yaezhaikku thaan

In the second pallavi portion comes the much anticipated change. When PS is about to sing ‘Unnai Sondham kolla andha Mannan illae…’, she breaks down and Raaja takes over with ‘Unnai Sondham kolla indha Mannan undu.. Neeyum thangum idam angu inbam undu’. This change over pattern has been used very effectively right from the days of Payanangal Mudivadhillai. Remember the Maniyosai song where the female voice takes over after a coughing interruption of the male voice.
Once again Raaja comes out with a pure rustic voice without pretending to be melodious for a village based song. The solo violin used in the second prelude is a trademark piece of Raaja, which he has very frequently used in his earlier village based compositions. The lyrics in the second Saranam also conveys the same views as that of the first (I was carried away by the words ‘Yezhu Naalum ingu Velliyillae.. Nalla Naalum ini thalli illae..’). Do not miss the flute (or keypads) that flows along with the tune for the lines ‘Yaanai Katti………..Yedirpaarthirupaar…’. The background piece for this portion portrays the fantasy words used in these two lines..

Nitham oru thunbam vandhu ezhai veedugalil kadhavai thattum
Maadham oru dhukkam vandhu ezhai madhargalin nenjai thattum
Yezhu naalum ingu velliyillae…
Nalla Naalum ini thalli illae..
Yaanai katti vazhum mannavanum un aanai keatka vaasalil kaathiruppaar
Senai kondu vandhu selvargalum oru sedhi solla unnai yedirpaarthirupaar..
Kanneeru vandhu vidum… Kaniyae Un Kanazhagu…
Varungaalam namadhaedhaan…Vaadadhae kannae…

When Raaja finishes with a breaking Ariro Aro Aarariro, oru irukkamaana soagam adi mandadhil ooduruvina unarvu..Adhe samayam, oru nimmadhiyaana thaalaattu ketta thripthi…

‘KANNEERU VANDHU VIDUM… RAAJA UN METAZHAGHU...’

[Sunil_M88]

I love songs of this genre.

Mellow songs of this nature always leave an impact which lasts longer compared to other genres.

raaga_kann :clap:

[app_engine]

Superb write-up for a superlative song!

Interesting to read your nostalgia as well, V_Sji!

[app_engine]

BTW, this was a bus-regular during many trips between Palakkad and native.

My most fav lines :

மனதுள் என்ன நிலவரமோ?
மஞ்சத்தில் விழும் நிலை வருமோ?

:lol2:

[Divine22]

BTW, this was a bus-regular during many trips between Palakkad and native.

My most fav lines :

மனதுள் என்ன நிலவரமோ?
மஞ்சத்தில் விழும் நிலை வருமோ?

:lol2:

Mannikanum Saar,

Athu ''Manggaikkul Enna nilavaramo '' illayaa ?

[V_S]

Thanks Sunil and App for your comments. raaga_kann, beautifully written on 'mannavan paadum thamizh pirandha'. Rightly said about Raja can only bring the needed and real emotions in a pathos song with no dramatic feel. :thumbsup:

[app_engine]

Mannikanum Saar,

Athu ''Manggaikkul Enna nilavaramo '' illayaa ?

:oops: You're right Divine22!

I haven't listened to this recently and somehow the lines I posted got embedded in memory :-) To be honest, I've listened to this song almost 99% of the time on buses only, which could be the reason for distortion. First time it gets recorded like that in mind, the mind then does "auto-play" in subsequent listens...

[raajarasigan]

V_S, just read your review on பூ மாலையே !! mind blowing man!! :D

"this song is a million song in itself" - :notworthy:

[V_S]

Thanks a lot RR. :D Yes, these songs are not reborn.

[V_S]

After Mudhal Mariyaathai, Bharathi Raja had created a lot of expectations in me and I was waiting for another such classic film. This is again another film where I lost count how many times I watched it. Except for some amateur acting, this movie is truly another masterpiece from him. Right from the starting titles to the end climax and bum, I was totally mesmerized by BR, IR and the gang. We were all crazy about the interesting introductions and modulations he gives to every film. My close friend used to mimic as BR which we used to enjoy a lot those days. This film's introduction is again a stunner. The title bgm after the introduction is yet another beauty. You cannot pick the best song in this film. Through this film, BR introduces us to a lovely village 'muttam' and its glorious rocks and sea beaches. We could feel we were one among them.

என் இனிய தமிழ் மக்களே, உங்களுக்கு பழக்கமான இந்த பாரதிராஜா (http://www.youtube.com/watch?v=u1UDN8-aN_Y)
கடலோரத்தில் கவிதை எழுதிவிட்டு வந்திருக்கிறேன்
அலைகளின் பாஷைகளை அறிந்துகொண்டு வந்திருக்கிறேன்
அந்த ஈர மணல்பரப்பில் என் பாத்திரங்களின் பெயர் எழுதி பெயர் எழுதி எழுத்து கூட்டி படித்துவிட்டு வந்திருக்கிறேன்

இது ஒரு மெல்லிய காதல் கவிதை
அலைகளின் உதடுகளால் உச்சரிக்கப்பட்டவை
இந்த இனிய கவிதையை ஈடு இணையட்ற என் இசை தோழன் இளையராஜாவின் இசை கரங்களால் ஸ்வரம் பிரித்திருக்கிறேன்
நீங்கள் நிறம் பிரித்து கொள்ளுங்கள்
-பாரதிராஜா

[V_S]

Just now the love has blossomed. You can hear the dialogues here (http://www.mediafire.com/?jwtdqmzutyy) and here. (http://www.mediafire.com/?yj2xjnz5zny). Moreover, the one he respects as teacher surprisingly expresses her love towards him who was a notorious brawl. He could not believe it. Just imagine the feel. The lead into the song is so fabulous (right from 7:33 of this video (http://www.youtube.com/watch?v=x4pxWZ2aWU0&feature=related)) Athuve jenny'a iruntha? He asks again in dis-belief. teacher? She re-affirms, Athuve naanaa iruntha?.

SJ with her perfect pitching in "adi athaadi… " followed by an amazing pause, and breath-taking visuals involving panoramic view of that house from ground up to sky and birds fluttering out! (only in video, audio files does not have the pause and birds fluttering). Phenomenal shot that is! Only BR area! Cinematographer B Kannan takes us to some unimagined sea locations of muttam during this song. A great treat to watch!

Again a packaged prelude(difficult to decipher what instruments it contains, but gives that folk feel) ending with brisky xylophone and bass guitar signifying the ecstatic feel they both were in at that moment! The words again play wonderfully describing their feel with 'iLa manosonnu rekka katti parakkuthu sarithaana, Oru ala vanthu manasula adikuthu athuthaanaa'. After describing how light their hearts are, the lyricist goes even higher with 'ivan megam aaga yaaro kaaaranam'. Can't describe any better, how light they are feeling and it seems they are in the floating in the air. Every line in this song is pure gem and perfectly describes the feeling of fresh lovers.

The way Maestro has composed this tune is a delight. First he goes straight horizontally as a jet with first two lines. Then he makes a smooth glide and round turn (at right angles) in anu-pallavi, 'uyirodu… uravaadum… our kOdi aanandam..'. Since he takes a turn, he has to slow down and then again puts a heavy pedal to sing the 'aa..aa..aaa' and pallavi again. I would even say something like painting the first letter of love 'L' in the sky, starting going straight and bending at right angles is where the jet makes a curvy turn to take a different path (to sing the pallavi again). Welcome aboard!

[V_S]

Maestro leaves the first words 'adi aathaadi' for the lead singers to sing alone but adds the harmony layer during 'iLa manosonnu rekka katti parakkuthu sarithaana', giving more weight to singing and to lovers hearts, not to get carried away :smile:

The interlude still continues where Maestro left off in prelude. You can hear three distinct set of instruments for three different situations and how BR gets to the core of how it has to be visualized.

Starts with some vibraphone while showing the mood of the hero's and his heart how it pounds. Then starts the first set of violin-keyboard. Just hearing this piece we can conclude immediately that there should be geese flocking around. Just few seconds later Maestro switches to second set with violin with keyboard, but the sound of keyboard now resembles a bell sound which normally comes from goats/cows with bell tied around their neck (for identification). BR hears the change in sounds and cleverly seizes the opportunity by bringing in goats instead of geese. The Maestro switches from violin to some sort of fiddle to ideally reflect the dense herd of goats. I have never seen such a huge crowd of goats. So wonderful to watch. Definitely would love to be among them. Suddenly everything stops for synthesizer and bass guitar which whispers the arrival of heroine to hero who is still in a never ending dream.

Even though it is a duet the whole song depicts the emotions of hero rather than heroine. He still could not believe whether it is true. He looks himself in mirror, crazily runs, roams and wanders, takes some odd showers while the heroine is just as steady as a rock. This is because he is totally into a new zone which he never thought he would be in and all his fear joins with his happiness which makes him behave crazily. All the characteristics of women are into him now. BR is just saying his stone heart has already melted, while the normally tender heart of heroine became stubborn, as she is now very clear about her love. It is just a swap of both their hearts.

Vairamuthu's lines are a clear answer to the above switch.
Das speaks only about his thoughts:
இப்படி நான் ஆனதில்ல புத்தி மாறி போனதில்ல...
முன்ன பின்ன நேர்ந்ததில்ல மூக்கு நுனி வேர்த்ததில்ல..

கட்டுத்தறி காள நானே கன்னுக்குட்டி ஆனேனே...
தொட்டு தொட்டு தென்றல் பேச தூக்கம் கெட்டுப் போனேனே..

தாகப்பட்ட நெஞ்சுக்குள்ள ஏகப்பட்ட சந்தோசம்...
உண்மை சொல்லு பொன்னே என்ன என்ன செய்ய உத்தேசம்...

Jenny in turn again thinks about him rather than herself. She never bothers about her.
மேல போகும் மேகம் எல்லாம் கட்டுப்பட்டு ஆடாதோ...
ஒன்ன பார்த்து அலைகள் எல்லாம் மெட்டு கட்டி பாடாதோ...

வார்த்த ஒன்னு வாய் வரைக்கும் வந்து வந்து போவதென்ன..
கட்டு மரம் பூ பூக்க ஆசைப்பட்டு ஆவதென்ன...

She questions him, while Das thinks only himself.
கன்னிப்பொண்ணு கண்ணுக்குள்ள கத்திச்சண்ட கண்டாயோ..
படபடக்கும் நெஞ்சுக்குள்ள பட்டாம்பூச்சி பார்த்தாயோ
எச கேட்டாயோ..

[V_S]

After all the high energy pallavi, Maestro comes back to ground (reality) for charanam, where he composes in middle octaves. By ground, Maestro also paints the 'O' (shape of earth :wink:) of 'love' in charanam. You can even hear when hero sings 'தாகப்பட்ட நெஞ்சுக்குள்ள ஏகப்பட்ட சந்தோசம்', and when she sings 'கட்டு மரம் பூ பூக்க ஆசைப்பட்டு ஆவதென்ன' there is not much happiness, but they are in a state of pain and tense, how their love would succeed. Beautifully sung by both Raja and SJ. The tune beautifully describes that even without the lyrics. Also you can observe that the hero is in a state of dis-belief and so he always queries his lover.
உண்மை சொல்லு பொன்னே என்ன என்ன செய்ய உத்தேசம்... (what are you proposing now, tell me the truth)
தொட்டு தொட்டு தென்றல் பேச தூக்கம் கெட்டுப் போனேனே..சொல் பொன்மானே (since you came into me, I lost my sleep, answer me what should I do)
And she always has an answer and she believes their love will succeed. That's where the pallavi is repeated signifying 'VE' (of love) (we) can succeed.

This is not just a love duet, but a positive love story. I can never imagine any director, music director, lyricist other than this trio can come up with such extra-ordinary thinking. It's a wonderful creation for us to enjoy for the longest time possible, as long as love is in our heart.

[V_S]

lyrics and climaz bgm (if you like), I love it.

அடி ஆத்தாடி...
அடி ஆத்தாடி இள மனசொன்னு ரக்ககட்டி பறக்குது சரிதானா..
அடி அம்மாடி ஒரு அல வந்து மனசுல அடிக்குது அதுதானா...
உயிரோடு... உறவாடும்...ஒரு கோடி ஆனந்தம்...
இவன் மேகம் ஆகா யாரோ காரணம்...
ஆஆ...அடி ஆத்தாடி இள மனசொன்னு ரக்ககட்டி பறக்குது சரிதானா..

மேல போகும் மேகம் எல்லாம் கட்டுப்பட்டு ஆடாதோ...
ஒன்ன பார்த்து அலைகள் எல்லாம் மெட்டு கட்டி பாடாதோ...

இப்படி நான் ஆனதில்ல புத்தி மாறி போனதில்ல...
முன்ன பின்ன நேர்ந்ததில்ல மூக்கு நுனி வேர்த்ததில்ல..

கன்னிப்பொண்ணு கண்ணுக்குள்ள கத்திச்சண்ட கண்டாயோ..
படபடக்கும் நெஞ்சுக்குள்ள பட்டாம்பூச்சி பார்த்தாயோ
எச கேட்டாயோ.. ஓ..ஓ..ஓ..ஓ..

ல..ல..ல..ல..லா.
ல..ல..ல..ல..லா.
ல..ல..ல..ல..லா.

தாகப்பட்ட நெஞ்சுக்குள்ள ஏகப்பட்ட சந்தோசம்...
உண்மை சொல்லு பொன்னே என்ன என்ன செய்ய உத்தேசம்...
வார்த்த ஒன்னு வாய் வரைக்கும் வந்து வந்து போவதென்ன..
கட்டு மரம் பூ பூக்க ஆசைப்பட்டு ஆவதென்ன...

கட்டுத்தறி காள நானே கன்னுக்குட்டி ஆனேனே...
தொட்டு தொட்டு தென்றல் பேச தூக்கம் கெட்டுப் போனேனே..
சொல் பொன்மானே ஏ..ஏ..ஏ..ஏ

அடி ஆத்தாடி இள மனசொன்னு ரக்ககட்டி பறக்குது சரிதானா
http://www.youtube.com/watch?v=2otXnOcdIeI (climax bgm)

[Sunil_M88]

Incisively laid out, well done V_S sir!

Adi aathaadi - another duet right up there on par with Kadhal oviyam and Chinna ponu selai if not better.

[raaga_kann]

Thanks V_S for bringing out this gem, the last song from IR-BR-VM combo. I think this was the first song where he used multi-layered voices singing in different pitches (Oru manasonnu rakka katti parakudhu saridhaana...) Later he had used this technique in many other songs like Raja Rajadhi from Agni Natchathiram, Vaa Vaa Vannamalare, etc. This song as well as the other song in the film - Kodiyilae did not have the 2nd pallavi portion - He directly jumps to the 2nd interlude after the first charanam. The picturization was a stunner. There was also a sad version of this song by MV-SJ which was missing in the film. The lyrics of this version was far better than the happier version (Eg. Paaraimalae mutti kondu muttaikenna vedhandham..). Anyway I shall not comment much about lyrics part as there seems to be a considerable number of VM fans in this forum.

[Querida]

V_S have not been able to regularly comment on your posts
but still playing catch-up and wanted to express how wonderfully delightful
it was to read your posts to two of my true faves: naan thedum sevvanthi poove (first time I noticed IR's singing way back when and searched like a fevered person for the song) and Poo Malaiye...the beginning never fails to be exhilarating!

Please continue with your insight and poetic eloquence...you only make re or newly discovering these duets that much more valuable :notworthy:

[Sureshs65]

Well said Querida. Lovely posts by V_S. I am amazed by your dedication. Also applies to app_eng in the other thread. You guys are doing a terrific job.

[skr]

Woh what a song and what a humungous write up with so much passion
I totally second Suresh on the dedication shown by V_S and App_eng ..Fantastic job guys ..Keep em coming

[app_engine]

Great write-up, V_Sji, on one of my most fav songs.
(This and 'kodiyilE malligappoo' make this album a timeless classic!)

IIRC, this was a 1986 release, during my initial days at Palakkad. There're countless memories associated with this song...at the minimum, it brings back memory of having to cope up with the 3 months of monsoon (non-stop rain / getting drenched etc) which was a big change from the "hot-gandhaga-bhoomi-rock-radiation-Trichy" college life :-)

That way, to me, the 'adi AththAdee' song is synonymous with the monsoon rain (that I fell in love with over the years)!

[V_S]

Thanks a lot Sunil, Querida, Sureshji, raaga_kann, skr, App for all your praises and encouragement. It's truly an honor for me :D

App, nice to see your palakkad memories through this song.

raaga_kann, please bring forward your any opinion, it would be nice to know and we may be missing your view point, if not put forward.

[app_engine]

Regarding the "vocal harmony" part of adi AththAdee being the first of its kind, I'm not very sure :think:

What about SJ's voice multiplication / harmony in the 'EdhO mOham- vanakkiLiyE' song that predates AththAdee by a few years?

[Divine22]

:oops: You're right Divine22!

I haven't listened to this recently and somehow the lines I posted got embedded in memory :-) To be honest, I've listened to this song almost 99% of the time on buses only, which could be the reason for distortion. First time it gets recorded like that in mind, the mind then does "auto-play" in subsequent listens...

Haha , I know the feel . At times we are so much smitten with certain songs, that we can replace certain words or lyrics to our convenience. :D

[Divine22]

Dear V_S ji,

The passion that is shown in your write ups exhibits how you have lived and breathed with all these
colossal compositions through out yr years, And I can only imagine how many times your ears,mind & heart would have been filled & feasted with these chants (songs)
For it has given you such zest to write this beautifully.

Hopefully some day I can write the way you & App sir!

Simply Phenomenal !!!

[app_engine]

youtube of 'nAn thEdum sevvanthippoovithu' with > 40K views :
(warning : this is not the original version but a private video, :rotfl:)


http://www.youtube.com/watch?v=VQSz3WwF83Y&feature=related

Can't help getting reminded of 'vAn pOlE vaNNam koNdu' when viewing most duets on screen :rotfl2:

[app_engine]

BTW, this link (http://www.youtube.com/watch?v=ifsAIj-oMUY) seems to have the original video of 'nAn thEdum' that features rAsA on screen.

Is he featured in the film song or this one is a mixing-work of some youtube enthusiast?

[app_engine]

adi AththAdee youtube (http://www.youtube.com/watch?v=tX6lVnlFtu4)

[Plum]

It is the original version, app.

[app_engine]

nanRi, Plum!

I suspected so too because rAsA looks younger (than his appearances on stage concerts in the new millennium) :-)

[V_S]

Thank you so much Divine22. As Director Suka tells, 'Engalukku Rajaa'va thavira vEra yaraiyum theriyaadhu'. Very true. Because our environment was like that when we were kids and growing up and all our friends only talk about him and his music. Only one mandiram 'Ilaiyaraaja'. But unfortunately we could not learn music those days to appreciate him better on technical side. Now we have another opportunity (thanks to mayyam) and some time to catch up at least on the emotional content what all we enjoyed/missed those days.

[Querida]

youtube of 'nAn thEdum sevvanthippoovithu' with > 40K views :
(warning : this is not the original version but a private video, :rotfl:)

Can't help getting reminded of 'vAn pOlE vaNNam koNdu' when viewing most duets on screen :rotfl2:

Too true, :rotfl: it's too early for me to laughing this hard!!

one commentator from yt said: "Nallaa ugliyaa irukku...keep it up, summaa vaelai veddi illaamal suthinaal ipadiththaan."

[V_S]

Kaadhaala Kaadhala KangaLaal Ennai Theendu - Thaaikku Oru Thaalaattu

First time we are coming to a relatively lesser known Raja's duet in this section. Other songs 'Aaraariro Paadiyathaaro', 'ILamai Kaalam Inge' are very popular in this movie, but this song is not known much.

Rain drop sounds meticulously created in the prelude by vibraphone and he beautifully develops the drops into a drizzle, culminates with a showering flute. Maestro uses acoustic drums with just hi-hat (?) during pallavi. Husky start by Chitra, 'Kaadhala Kaadhala kangalaal ennai Theendu'. Finally we got rid of 'Nasal' Chitra and her voice is brimming with sweetness, romance and maturity. Beautiful dialogue starts between Chitra and Raja. I was expecting anu-pallavi as that would be interesting to see how Raja develops that dialogue into anu-pallavi, but to my surprise there is no anu-pallavi. Chitra dictates another dialogue, 'Kaadhaal oru vedham kangaL athai Othum'.

Even if there would have been anu-pallavi, it will be different. Every IR song at the superficial level is taken for granted that there has no innovation and it will be a standard one, he throws in surprises at every moment that many of us fail to notice and in turn take the credit ourselves by dismissing it as a routine stuff and claiming proudly that 'See, I have dismissed this one'.

Temple bell sound with that out-of-world 'flute' with tabla continued by violins in the first interlude. One of the best interlude specially for the love situation and one of the best under-rated interlude as always. Hear it to believe it.

Maestro uses tabla-based rhythm during charanam. Every line of charanam he accentuates with different fillers and violins accompany the singers to keep them on track and bring the ambience. The charanam flows like two gentle streams (as the starting word denotes 'neerOdai') until the last line 'Yetho isai kEtkirEn' where the both streams meets and fall as a waterfall to continue their journey together.

Here we go with pallavi again, but Maestro springs another surprise. In first pallavi Chitra was narrating and Raja was singing, here both sing, but here comes the most anticipated anu-pallavi which we missed the first time. Here Raja sings the anu-pallavi what Chitra narrated in the first, 'Kaadhaal oru vedham kangal athai Othum'. The tune of this line resembles little bit of 'Geethanjali' touch. Now I never expected anu-pallavi here as it was not there the first time. But unlike we take him for granted :wink:, Maestro does not take any music fan granted, he understands our mere thought and gives it back at the right time. I never imagined he would bring in such surprise.

Maestro brings the fiery wind and fierce rain in second interlude beautifully which does not fail to haunt us. He even brings the night with rain and wind in front of us. We can even feel the 'saaral' pouring in our face. Such realistic interlude. We need a thick blanket to cover ourself from the chillness and get warmer, as this song gets us cold. As Jai beautifully expressed in another thread, an ideal blanket would be our grandmother's old three-four sarees stitched together. Nothing like that. The softness, love and affection in that blanket cannot be purchased, only experienced.

A very soft and subtle duet with very less instruments and minimum orchestration, yet the impact it creates is huge. A song to remember on any occasion, especially during cold and rainy nights.

சுகமான தாலாட்டு!

http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00617&lang=en

[raaga_kann]

Enakkena Oruvarum illaamal Poanaalum from Thaalaattu – Another masterpiece with the Sogam-Thaalaattu-Mazhalai combo. Anaadhai-Thanimaiye situation further adds a heaviness to the song. The lyrics almost conveys the same meaning as that of Mannavan Paadum Thamizh Pirandha song. As in Mannavan song, here again the duet is equally divided between IR and Sunandha (The same singer who sung the all time great Tamil Thaalaattu song – Mannava Mannava from Walter Vetrivel). Only change - IR takes charge of the first half (in the previous song he had dominated the second half).

Raaja starts the song with a strong grim humming – “Hmmmm….”… You immediately get transferred to a entirely different world, which throws light on the dark side of life. (This Hmmmm humming is one of my favorite preludes of Raaja. He used this type of humming for the first time in the song – Nallvarkkellam Saatchigal rendu from the film Thyagam in the 70s). With a five second solo Piano beat, we are straight into the song.

Ennakenna Oruvarum illaamal Poanalum Unakena Naanirupaen..
Unakena Vazhvadhil undaagum sandhosham Peridhena Vazhndhirupaen..
Bhoomidhaanda Namma thaayi
Veedhidhaanda namma veedu
Idhu podhum podhum.. Kannae Nee thoongu.. (The extension of the word thoongu followed by a twisting piano piece will certainly squeeze your heart).

The interludes convey that this is a night situation song. Particularly the second interlude, with heavy violins taking you on a night travel in a remote village under moonlight… followed by an additional rhythm usage visualizing a bullock cart moving slowly… (Hearing his interludes, anyone can become a half director)…

For a change the female singer slightly overtakes Raaja in this song. This is mainly because of the lyrical value and a different emotional content in the second half of the song. But still you cannot prevent your heart from crying when Raaja sings – ‘Adi Amma.. Adi Amma.. Nee pesum deivama…’ in the saranam. While Raaja’s first half brings out the loneliness and how cruel the life can turn out if there is no one to care for you, Sunandha’s part shows the bright light at the end of the dark tunnel. The encouraging lyrics and her childish voice takes the song to a different level.

In the second pallavi, Raaja breaks down with a cough and Sunandha takes over.

Namakena irukkukira aagayam bhoologam adhu engum poga villai
Nadhiyundu Kadalundu elaamum nam sondham kalangida thevaillai..
Bhoomiyengum Namma veedu
Kannil enna Neerin koadu.
Ini naalai kaalam endrum nammodu..

Pallam ulla bhoomiyellam aathu vellam paayudhu
Paasam ulla kannil ellam annai mugam thoanudhu (The sudden eruption of a flute bit at
this point is a stunner)
Aaru kaanchi poana pinbum bhoomi ingu vaazhudhu
Anbu kaanchi poyirundhaal vazhkai enna aavadhu

Anudhaabam abhimaanam adhu innum saagalae
Adhai polae oru deivam adhai yaarum paakkalae
Nalla kaalam vandhu serum vaadaadhae..ae..aeae..

The soft constant rhythm pattern and the Piano pieces which plays hide and seek thru out the song reminds you of another classic of this calibre – Solai Pushpangale En Sogam Sollungalaen..

http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00619&lang=en&sort=lyrics_asc

This film released just after Raaja had completed the infamous Symphony in 1993. Before the start of the film, there was a special mention about this achievement in the title cards.

The Hero (Arvindsami) was a total mismatch for this song as well as the film. It was a typical village based film best suited for Ramarajan.

Final words -

"UN ISAIKENA VAZHVADHIL UNDAAGUM SANDHOSHAM PERIDHENA VAZHNDHIRUPAEN...”

[raaga_kann]

"Kaadhaala Kaadhala KangaLaal Ennai Theendu - Thaaikku Oru Thaalaattu

First time we are coming to a relatively lesser known Raja's duet "

This was the second film of Pandiyarajan. There was huge expectation after the superhit Kadhal Kaskudhaiya in Aanpaavam. When Raaja came out with a contrast classic, it took a while for the mass to digest. Hence this different, yet excellent experimention of Raaja was pushed to lesser known category. Anyway, no such category exists in IR fans' minds. Thanks V_S.. Though lesser known to the world... It is very close to the heart of each IR fan..

[app_engine]

Thank you V_S for the write-up on 'kAdhalA kadhalA' from ToT!

The director for this movie was 'Balachandra Menon', actor-director from Malayalam field (who introduced Shobana in April-18, as the director-hero of that movie).

It was possibly 2nd movie for Pandiyarajan as an actor but not as the director...

[Sunil_M88]

V_S sir thanks for the share,

This song really inspires me, especially because the pallavi is just backed by a retro western hi-hat as the beat than as you pointed out there is a gust of Indian traditional music in the first interlude. This really proves that Raaja has mastered all genres by tailoring and weaving genre transitions into one song. The thing about Raaja saab is you don't need to listen to more than 2 or 3 of his compositions to understand his versatility, he packs so much into one song that you can be sure he always satisfies everyones needs.

Thank you raaga_kann for the pathos number, the string interludes keeps making me press the repeat button. The second interlude has a middle eastern/islamic feel which subtly escalates the divine quotient for this number.

[V_S]

Thanks raaga_kann, App and Sunil. :smile: Yes I agree even though we fans know about Kaadhala song, not many would have known. Beautiful song shared and nicely written about 'Ennakenna Oruvarum'. Raja cannot be matched by anyone in these kind of dark songs.

[venkkiram]

ஞாபகம் இல்லையோ!
என்னைக் கண்டதும் காதல் கொண்டதும்
காதலின் எல்லையோ!
கண்கள் பார்த்ததும் கைகள் சேர்த்ததும்
அல்லிக் குளத்தின் கரை அருகே அருகே அருகே
துள்ளித் திரிந்தோம் என் அழகே அழகே அழகே
அன்று நடந்ததும் இன்று மறந்ததோ
பொன்மானே ஏனோ!

வெற்றிக் கூட்டணி ராஜா - ஜானகி பாடிய பிரியங்கா படத்தில் ஒலிநாடாவில் மட்டுமே அமைந்திருக்கும் பாடல் இது. தொண்ணுறுகளில் வெளியானவைகளில் என்னைக் கவர்ந்த ஒன்று. இந்தப் பாடலுக்கு இரு வடிவங்கள் உண்டு.

ஒன்றில் ஜானகி ஆரம்பித்து, ராஜா முடித்திருப்பார்.
http://www.thiraipaadal.com/tpplayer.asp?sngs=%27SNGIRR2877%27&lang=en

இன்னொன்றில் ராஜா ஆரம்பித்து ஜானகி முடித்திருப்பார்.
http://www.thiraipaadal.com/tpplayer.asp?sngs=%27SNGIRR2878%27&lang=en

இதில் ராஜா ஆரம்பிக்கும் பாடல் வடிவத்தில் இடம்பெற்ற முதல் இடையிசை மிகவும் அழகு. அதை ஒரு குட்டி சிம்பொனி எனலாம். பல்லவி முழுவதும் பாடகரை விடாமல் பின்தொடரும் கிடார் இசை மனதை இலகுவாக்கும். இந்தப் பாடலில் அப்படி என்ன தனித்துவம், இப்படி நம்மை காலம் காலமாக கட்டிப்போடுகிறது என பலமுறை யோசித்ததுண்டு. அது பல்லவியின் உருவாக்கம். ஞாபகம் இல்லையோ! என ஆரம்பமே உச்சத்தை தொடுவதும், "என்னைக் கண்டதும் காதல் கொண்டதும்" என சடுதியில் கீழிறங்குவதும் மீண்டும் "காதலின் எல்லையோ!" என உயரே எழுவதும்.. பல்லவியின் ஆரம்பம் போலவே பல்லவியின் முடிவும் (பொன்மானே ஏனோ!) மேலே செல்கிறது. ரோலர் கோஸ்டர் பயணம்.

[raajarasigan]

V_S, one kind reqeest..can you write on O vasantha raaja from neengal kaettavai? ungalukku nalla theeni irukkunnu nambaren..:)

[Querida]

V_S, one kind reqeest..can you write on O vasantha raaja from neengal kaettavai? ungalukku nalla theeni irukkunnu nambaren..:)

I second that for sure...V_S please (pretty please) do consider it! :D

[Querida]

I have surely heard "Kadhalaa Kathalaa" song before....
I cannot say it any better than what you have written
thank you for shedding light on what we often take for granted (as any fan....this is begrudgingly admitted but if it allows us to grow....then I'm all for it)....whoever thought ignorance is bliss never discovered a song again :D

[raaga_kann]

[Color=blue]
ஞாபகம் இல்லையோ!


Nandri Venki avargalae.. I think directorukku indha paadalai padathil include panna Nyabagam illamal poivittadhu endru.
In the 90s, many of the directors started this trend of brutally axing a classical composition of Raaja in the
film and it is still continuing. Raaja's ucharippu of Azhage..Azhage..Azhage.. Chance-ae illae.. No other singer can match Raaja when it comes to Tamizh ucharippu...

[V_S]

raajarasign and Querida,
I am elated by your requests. :D Thanks a lot. Sure will write about this wonderful composition soon. It's always a great pleasure to write about Maestro's composition.

[V_S]

venkkiram,
Thanks for sharing and narrating this wonderful Gem. Please do write more and frequently.

[Sunil_M88]

V_S sorry for the annoyance but could you please update the duet list with Sri Ramane from Kangalin Vaarthikal (1998) by Raaja saab and Chithra mam

link for listening - http://www.thiraipaadal.com/tpplayer.asp?sngs='SNGIRR1479'&lang=en

[V_S]

No Problem Sunil. Thanks for the update. I have added it now. :smile:

[rajkumarc]

Great going V_S and raaga_kann.

V_S - Unbelievable writeup for Andha Nilavathaan song from MM, reading which wants me to revisit MM this weekend.

raaga_kann - Truly appreciate your efforts in writing about the Sad songs rendered by IR. They always have a special place in my heart.

[Divine22]

Hi V_S ji,

Kathalaa..kathalaa.. is such a sweetie. I get goosebumps every time I listen to this song, And I do listen to it frequently.
Manasukkulla mazhai saaral adikkirathe pola oru sugamaana unarvai tharum intha iniya ghaanam.

Needless to say, effortlessly suave singing by IR and the great Chitra maam' yet, sweetly intricate... and the flute was marvellous too ..

[Divine22]

Dear Raaga_Kann

Thank you for highlighting this song, I cant remember listening to this song, I guess "methuva tanthi' was the most famous number from this movie, I have always liked Sunandha's sweet & rare voice. The lyrics are deeply meaningful & sad.

Yet, I can clearly remember this movie a disastrous one, from Arvind Swamy, Some nerve he had ! :D

Thanks again..

[Divine22]

வெங்கிராம் அவர்களே,

அருமையான தேர்வு, ரொம்ப அழகான பாடல். காதலர்களின் பிரிவின் வலியை ரொம்ப இனிமையான, சோகத்துடன் வெளிப்படுத்தி பாடி இருப்பார்கள். ராஜாவின் தமிழ் உச்சரிப்பு, பாடலுக்கு மெருகேற்றுகிறது, '90களில் வந்த சிறந்த படைப்புகளில் ஒன்றாக இந்த திரைப்பட பாடல்கள் இடம் சேர்கிறது. இந்த பாடலை நினைவு படுத்தியதற்கு மிக்க நன்றி.

இதே திரையில் வரும் வனக்குயிலே என்னும் பாடலும் எனக்கே மிகவும் பிடித்த பாடல்களில் ஒன்று.

[V_S]

Thanks rajkumarc, Glad you like it. :D MM can be watched anytime, an evergreen film.

Thanks Divine22. Kaadhala will gently sway our body and gradually gets into our heart and soul. :smile:

Sunil,
Here ('http://www.youtube.com/watch?v=aSFr6zKhNtI') is the original of Sri Ramane (duet). Omkaaradi Kande from Nammura Mandara Hoove (1996). Youtube has the solo version, but the soundtrack has duet version. I never listened to Tamil version, may be that's why I didn't collect this song at all. Thanks for introducing Tamizh version. But I love Kannada version :smile:

[Querida]

sorry for the slight digression but it must be said that "Nammura Mandara Hoove" contains a lot of beautiful songs
Halli L resounds as my fave...am indebted to Jaiganes for this find...

[raajarasigan]

raajarasign and Querida,
I am elated by your requests. :D Thanks a lot. Sure will write about this wonderful composition soon. It's always a great pleasure to write about Maestro's composition.:ty: V_S :D

[Querida]

Adi Athaadi is a gem for me just for the use of those heart wrenching violins...I can listen to it always even if they sound agonizingly beautiful...they are so well used in this song...

V_S what a sweet running metaphor you have for the letters of love :thumbsup:
it is true the song has such a free-floating feeling...it is highlighted by those little plinky notes that appear again and again
I love that undulating sound that comes before the violin in the first interlude...
IR's voice goes through such a roller coaster of emotions...the disbelief you noted is for sure well conveyed but so is the floating down to earth feeling again with the wondering worries...
Janaki's lalalalalalala and chorus
IR's aaa...aaa...aaa...aaa though the following chorus answering instead of his singing I feel is kind of odd...
overall you can't help but let your heart race along their journey of realisation

[Sunil_M88]

I recently have been listening to a lot of Celtic music, ranging from artists like, The Irish Rovers to The Corrs and Loreena McKennitt. While listening to numerous songs in this genre, I noticed the pattern possessed by all these numbers reflects a major importance given to string instruments. I really felt who needs lyrics/vocals when you’ve got music like this in the world

If there is one music genre that never ceases to transport me to the mountains, woods and lakes than I really think Celtic deems fit for this. Again having roots in folklore, Celtic music could be played by a person who does not know how to read or write music but still manages to cleverly and carefreely delivering notes to the heart of the listener.

Mother Nature has her stamp all over Celtic music.

What does the above have to do with Raaja Saab?

Well, Raaja Saab does not have to compose to a Celtic sounding piece to transport you to the places mentioned above. However if I had to pick one artist that delivers all the sentiments possessed by Irish/Scottish folk songs, hands down it is Raaja Saab. He does more than transport us to Mother Nature, the subtle sounds and the importance given to instruments really does induce a haunting sound that continues to linger after the song is finished.
Others might differ but though the beat is seems moderately more prominent than the instrumentation; the violin/melody still stands tall. I’m not a director but the video doesn’t hardly does justice to the song. I believe it’s best the listener directs his/her movie in their mind. In hindsight, Myshkin was clever not shoot Kai Veesi. The video is very commercial and its attracted viewers so fair play but as a listener I feel best just listening to these songs rather than watching them.

As a conclusion, Raaja saab leaves no stone unturned and equally satisfies fans of the commercial scene as well fans of more sublime music. Shreya Ghosal is becoming my fav for these types of (Celtic sounding) songs, her Pam pam para from JHS is just another feature in her cap. The violin pieces sound reminiscent of Dheemi dheemi from Saab’s own Shiva and though Raaja Saab can send shivers down one’s spine with his synth orchestration (e.g. Neeral udal kazhuvi) illustrating a very divine atmosphere over here he has hardly used any synthetic sounds. All instrumentation seems acoustic, which is why the song sounds so surreal while also doing justice as a mainstream/youthful song.

Enjoy the song, Rangu rangu from Kannada movie Prem kahani sung by Raaja Saab and Shreya Ghosal.

http://www.youtube.com/watch?v=TCIDs-lzZOw

Raaja saab to me seems like Mother Nature's favourite child. :bow:

[skr]

Kaadhalaa Kaadhalaa - What a lovely dreamy song ..Adichika Mudiyadhu , 1st time hear for me and im loving it ..
Thanks V_S as usual ..

[skr]

Enakkena Oruvarum is also a new find for me ..Lovely Soga Paattu
Thanks Raaga_Kann ..

[Plum]

Thaalattu. Aravindswamy...hoo...ha ha....hoo hoo...pardon my guffaws... I need a few minutes to collect my words as I recollect this.EngE vittEn? Ahn Aravindswamy.Aravindswamy as a poor, abandoned, orphan who grows up fed arai vayiru kaal vayiru by the good folks in the village during his growing up years.Some village that. I'd like to see properly fed unabandoned, non-orphan guys who grew up there...

[app_engine]

raajarasign and Querida,
I am elated by your requests. :D Thanks a lot. Sure will write about this wonderful composition soon. It's always a great pleasure to write about Maestro's composition.

V_Sji,

You have an immediate opening in the SPB-IR thread :-)

Song #161 has been hosted today from the same movie (adiyE manam nillunnA nikkAdhadee). This can be either song #162 or #163 and you are welcome to write the main post :-) I'll do a "oppukku-chappANi" post :wink:

[Querida]

I'll do a "oppukku-chappANi" post :wink:

what in the world...:lol:

[V_S]

Thank you Querida, skr :smile:

App, I didn't realize this song comes so soon in your thread. As I mentioned there, please write your thoughts as usual (even if we want to, we can't write oppukku chappani, :wink:). I suddenly remember an incident when I was studying my +1/+2. I have a very close friend and schoolmate/classmate, who scored very high marks in 10th grade (of course higher than me). But somehow during +1 and +2, he scored less marks in all our school exams, sometimes he even failed. I was wondering, how this can happen, but when asked, he used to tell us that it's very tough compared to 10th grade and all. Then came our +2 public exams. Every one expected some 5 names to be top scorers of school. When results were announced, no one expected this guy would be among 5 top scorers, and he did with extreme ease pushing everyone behind. Coolest brain I have ever witnessed. But what surprised me more is, he was holding a very low profile all the two years, by intentionally not writing full answers, not coming into limelight, but only at the right moment, surprising everyone including the teachers.

Sorry for the digression, but somehow caught into that similarity. Coming to write about Maestro's compositions, is a passion, and I believe we could not hide anything, as he did not for us. :smile:

[V_S]

Sunil,
Great write-up on Rangu Rangu. "Raaja saab to me seems like Mother Nature's favourite child." Can't describe any better.
One of my favorites post-2000!

[venkkiram]

http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00646&lang=en

உஷாரைய்யா உஷாரு ஓரஞ்சாரம் உஷாரு
அண்ணன்தம்பி அக்காமாமன் ஊரு ஊரா உஷாரு
புத்தி கேட்ட ஊரு மாத்துறது யாரு

ஆளான பின்னாலே அத்தமக உஷாரு
அத்தமக வளச்சி போடும் மச்சானேல்லாம் உஷாரு
எங்க ஊரு மாரியம்மா சேலையத்தான் காணுமம்மா
தங்க முத்து மாரியம்மா தாலியத்தான் பாத்துக்கம்மா
கடுக்கன் போட்ட காது உஷார் காப்பு போட்ட கையும் உஷார்
தவலை சொம்பு உஷாரு தலைவரண்ணே வராரு!

பொருளுக்காக சொல்லும் வாக்கு அருளு வாக்கு ஆகாது
அருள வாக்கு சொல்லி பொருள வாங்கும் சாமி உஷாரு
பள்ளிக்கூடம் கட்டி வச்சான் வாத்தியாரு இல்லையடா
தண்ணிக் கூடம் கட்டி வச்சான் தண்ணியத்தான் காணுமாடா
நாளெல்லாம் நொந்தவந்தான் நாமெல்லாம் இந்தியரு
ஊருக்கூரு சண்டியரு ஒருமைப்பாடு உஷாரு

இதுவும் ஜோடிப்பாடல்தான். தம்பி கங்கை அமரனோடு சேர்ந்து பாடிய குத்துப் பாடல். யாரு பாடலை எழுதினாங்கன்னு தெரியல. ஆனால் ஒவ்வொரு வரியும் ரொம்ப நல்லா இருக்கு. ஹிஹிஹிஹி என ராஜா சத்தமிடுவதை ரசித்துக்கொண்டே இருக்கலாம்.

ராஜாவின் பாடலுக்கே உரிய கிடார், ஆர்கன், தபேலா, புல்லாங்குழல், சந்தூர், கிளாரினெட், கோரஸ் எல்லாமே அமைந்திருக்கும் தலைவாழை விருந்து..

இந்த "அன்பே.. முத்தே.. மானே.. தேனே.." வகை மெலடிகளின் வரிகளை ஒப்பிடும் பொது இதுபோன்ற நாட்டு நடப்புப் பாடல் வரிகள் கவனிக்க வேண்டியவை. முன்னது மாறி. பின்னது மாறிலி. இடம் பொருளுக்கு ஏற்ப மெலடிகள் தரும் அனுபவங்கள் அவ்வப்போது வேறுபடும். நாட்டு நடப்புப் பாடல் எப்போது கேட்டாலும், எங்கே கேட்டாலும் ஒரே அழுத்தத்தைக் கொடுப்பவை. பிடிக்கிறது, பிடிக்காதது, கொஞ்சம் பிடிக்கிறது என்ற வித்யாசம் இல்லை. முதல் முறை கேட்கும் போதே பிடித்து விடும்.

இப்படிப்பட்ட பாடல்களை(அண்ணே அண்ணே சுப்பாயன்னே போன்ற எண்பதுகளிலிருந்து அச்சடிச்ச காச, என்னடா பாண்டி போன்ற 2009 ஆண்டு வால்மீகி -- நெடிய தூரப் பயணம் ) மட்டுமே தொகுத்து பதிவு செய்து வைத்துக்கொள்ளனும் என ரொம்ப நாளா ஆசை. நேரம் கிடைக்க மாட்டேங்குது.

முதல் சரணம் - கடைசியில் ஒரு வார்த்தை என்னவென்று சரிவர புரியவில்லை. யாரேனும் கேட்டுச் சொன்னால் கோடிட்ட இடத்தை நிரப்பி விடுகிறேன். நன்றி.

[V_S]

Thanks venkki for reminding this beautiful, earthy and naughty song. :smile: Every two lines he changes the tune which we can never predict. 'Nayyandi sirippu' by Raja is always a pleasure to hear.
Last line of first charanam is 'தவலை சொம்பு உஷாரு தலைவரண்ணே வராரு'.

[V_S]

ஏய்... விடியாத பொழுதாச்சு
அடி ஏய்... விழி கூட சுமையாச்சு
கண்ணீரு கடலாச்சு உன் எண்ணம் படகாச்சு
நீ உள்ள மனம்தானே எப்போதும் செறயாச்சு

Ramarajan has arrived and he is here to stay for few years. The connection between Mohan and Ramarajan is quite amazing. While Mohan saw huge success in Tamizh films from 1980-87, Ramarajan continued this success for the next 7 years from 1987-1994. No one predicted he will be a huge success in cinema, but it happened. May be it's because of Maestro's music in his films, or Annan's comedy track, which is definitely a big plus or the luck on his side, whatever, it clicked for him. Even though we (our friends) used to make fun of his costumes, (no) acting and everything, every Ramarajan film tempted us to watch. We didn't know what was that, but surely we felt that he was one among us and a person whom we see every day in our life. I believe it happened the same to many others too. This was the main aspect which worked in his favor. Looking back, they were all some nice nostalgic moments.

Lot of good things happened at the arrival of Ramarajan, on the music front. We got to hear a lot of lovely 'தெம்மாங்கு' songs from Maestro, not just in Ramarajan films, it crossed over to many other films too that time like 'Ninaivu Chinnam', 'Paandi Naattu Thangam', 'Kumbakkarai Thangaiyya', 'Ponmana Selvan' to mention a very few. I believe this native genre of 'தெம்மாங்கு' is slowly dying today. :sad: I can give many of my western-based songs for these native folk songs. This film, Graamathu Minnal has some excellent songs in this category. Please don't miss the 'Kanna En', 'Nee Pogum Pathaiyil', 'Vatti Eduthu'. It will take days to come out of this film's soundtrack. Even the film is watchable mainly for songs and Annan's terrific comedy throughout.

I remember this film was advertised almost every night on radio (vividh bharti) during my 12th grade (almost a year before it was released). Every forth coming film promos will take about 10 minutes. Surprisingly Revathi also spoke about this film and its music. If a film that had already released, then they will even air some short dialogue clips. Interesting program overall and we never missed that program. Only through radio, I came to know about this film first. I immediately fell in love with 'Nee Pogum Paathaiyil Manasu Poguthe Maane', while others impressed me a little later, but none went away from me. But that time we didn't know Ramarajan, even the promos did not say his name. Only during college days I came to know about him, especially when I was back home for my vacation to get updates from my town friends.

Before going to the song, just would like to mention the situation of the song. Selvaraasu (Ramarajan) and VaLLimayil (Revathi) are lovers (related too). VaLLimayil's grandmother wanted her grand daughter to get married to some rich person (as they already faced poverty), so she begs Selvaraasu (who again is not well off) to move away from her grand daughter's life. So he employs a drama that he already got married to another woman (by bringing in a woman and child known to him, in front of panchaayathu). VaLLimayil was shocked to hear that, but does not believe in it.

The song starts 'Rettai KiLi' when the 'panchaayathu' judges that Selvaraasu should unite with his wife and child much to the dismay of VaLLimayil. That's where Raja utters the above lines in a stunning fashion! A very very feeble thambura sound at the background during these lines, for the sruthi! He could not forget her, but has to obey his grand mother (yes his grand mother too!). Read those beautiful lines. 'Vidiyaatha pozhudhacchu'. Wonderful thought! No damn singer can bring out that pain and emotion, please remember he has not yet started singing, those are just verses he is uttering with open throated voice, still the emotion is right up there!

A short prelude with santoor and painful flute which takes our heart! Chitra starts beautifully with 'Rettai kiLi suthi vantha thoppukkuLLe, othaiyile intha kiLi suthuthamma'. This kind of situation is a cake walk for Maestro. She is separated from her lover. The lyrics exactly conveys that. Hear some new sounds when the pallavi-anupallavi is on. I think it is guitar (or from synthesizer?), please correct me if I am wrong. Beautiful sound that is! More pronounced during the gaps and less while singing. 'En aasai raasa en anba enna lEsa'. But second time, he improvises with 'En aasai raasaiva anba enna lEsa'. When Chitra repeats the line 'En aasai raasa' ' all instruments go for a pause for a second, paying tribute to the lovers!

What is it with Maestro and the flute? The bond between Maestro and flute is boundless. How come every time we hear a different flute. Roughly taking just around 2000 interludes (comparing to 5000 songs) having flute (again having two interludes, but just counting only one), none of them is same or even similar. Every one of them is different and displaying varied range and emotions, even some situations are same or similar.

While the afflictive flute starts, we can hear its bass component (yes another flute) at the right end of the ear :wink:. Has any one heard two flutes playing the same tune together, one higher and another one providing a kind of bass. That's so nice to hear. Adding to that, violins melts any stone heart. Along with violins we hear another peculiar ringing sound. Initially I thought it obstructs the violins little bit, but it adds more meaning as described below. I see flute as a internal communication media from him to her with the second bass flute acting a base platform to communicate. Similarly violins communicate from her to him, while the ringing sound acts as a string for connection. These small intricacies add more meaning to the composition and situation musically. They always long for each other, yet connected at the same time in wireless mode :wink:

In second interlude, Maestro tricks us by first coming up with violins again with that ringing sound, followed by the twin flute, but it is not just a swap, totally different playing altogether.

Once he got the connection established from violins (her), selvaraasu (Raja) continues with priceless humming which takes us to the pinnacle of pain and warmth at the same time. I believe only music directors can do that, professional singers can do, but we will only get mp3 quality, not the original CD audio quality. :wink: I believe this humming where all the soul of the song is concentrated.

I was wondering where our bass guitar guy has gone. The first bass guitar chord kick starts in charanam when Chitra starts singing charanam and complements every word beautifully. Charanam lines are soulfully composed and very well written.

காத்தாலே ஆடி வரும் சிறு ஓல காத்தாடி
கயிர் அறுந்து போனதென்ன ராசா உன் கையாலே

When Raja sings these lines, everyone will shed a drop or two or atleast their eyes would become wet. Pensiveness at its best!
ஏய்...தேனே உன்னாலே தானே புண்ணாகித்தான் போனேன் இப்போது நானே

The finishing of charanam is very interesting. Maestro brings in the anu-pallavi as the closing line of charanam. No other line would have expressed their feelings better.

One of the best lullaby-pathos-duet, we have ever heard. Although it is a pensive song, hear the tempo of this song. It is not slow for a pensive song. It is marching at a nominal speed, which is unique aspect of many such Maestro's composition. He does not bring down the tempo to make it a pathos song, rather he stresses on the tune and orchestration to make it this way. Genius unparalleled!

I forgot the most important feature of the song. Can we predict what time of the day this song situation would have been appropriate? Yes, absolutely, it cannot be anytime other than the night. This is the time, where there is enough time to think more about anything we love. Maestro appropriately picked up the tune, orchestration, lyrics based on this setting. But here is another big question. Even though it was composed for a night situation, is it only recommended for night listening?

My recommendations would be: :wink:

1. Having an oil bath in the sunday morning, in the MuTram ( a portion at the centre of house normally open to sunlight) from our mother's hand and listening to it. Do we still see such houses nowadays?

2. Laying in 'kayaththu kattil' midst of 'ThennanthOppu' looking at the paddy fields dancing to the gentle breeze, during the afternoon and drinking the sweet 'ILaneer'.

3. Returning to our home town/village in bullock cart in the evening during sun set, and listening to it.

4. Finally at the 'Thinnai' in our village home during night. The 'thinnai' I am talking about is a closed roof one supported by wooden/stone pillars. The audio should be visible to a room, where the window besides the thinnai leading to, so that everyone can enjoy listening to this lullaby and peacefully go to sleep.

A song for anytime of the day. A song like this three times a day keeps the doctor away. :smile:

http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00169&lang=en


PS: As I said above, please don't miss the other gems in this film.

[venkkiram]

Thanks venkki for reminding this beautiful, earthy and naughty song. :smile: Every two lines he changes the tune which we can never predict. 'Nayyandi sirippu' by Raja is always a pleasure to hear.
Last line of first charanam is 'தவலை சொம்பு உஷாரு தலைவரண்ணே வராரு'.

நன்றி வி.எஸ். சரியான பதத்தை கண்டுபிடித்ததற்கு. பல முறை கேட்டும் என் காதில் சரியாக விழவில்லை :)

[Sunil_M88]

V_S Sir, Nandri for sharing your moments of nostalgia. Super song!!! Ennaku adu romba pidhikkum :)

Thoroughly enjoyed your description about Raaja saabs reciprocity with the flute.


What is it with Maestro and the flute? The bond between Maestro and flute is boundless. How come every time we hear a different flute. Roughly taking just around 2000 interludes (comparing to 5000 songs) having flute (again having two interludes, but just counting only one), none of them is same or even similar. Every one of them is different and displaying varied range and emotions, even some situations are same or similar.

The flute here, again just like Raaja saabs other songs is to die for. I really do feel guilty about not understanding these great songs.

[rajkumarc]

Beautiful, beautiful song and another wonderful post V_S :clap: :clap: Your post pretty much nailed the essence of the song.

One gets completely arrested by that emotional start by IR. followed by his humming before the start of the first charanam. There is no letup, you got to loop through the song a few times by reading along such a wonderful post by V_S. The way IR brings out the sad emotion especially with his voice is unparalleled :notworthy:

[V_S]

Ennaku adu romba pidhikkum :)
Sunil,
I am amazed by your learning interests. :notworthy: Wow! And thanks for your comments. Flute is again synonymous with Maestro.

Thank you rajkumarc. Yes these kind of emotional songs is a perfect fit for Raja. As you nailed it, Raja is unparalled in this area. :thumbsup:

[Sunil_M88]

Thanks, naan muyarchi.

I want to learn at least half if not the whole language :)

[V_S]

Thanks, naan muyarchi.
Wow! again. Small correction, but. naan muyarchi panrEn. (OR) naan muyarchi seyrEn :wink:

[Sunil_M88]

hehe I shall stop as I feel I might mince the words lol

[app_engine]

Fantastic post, V_Sji on rettakkiLi of grAmaththu minnal!

A very favourite album - this!

Chitra special!

Ofcourse, this song makes eyes wet!

(BTW, the film was a big bore - me and my college mate cum workplace colleague watched in a pAvam theater at Palakkad. Other than the impeccable music, Revathy was the only tolerable feature IMO)

[V_S]

the film was a big bore. Other than the impeccable music
+1, but Annan's comedy is big relief for such a boring film. Here are some scenes I enjoyed a lot.

Revathi treats Raja's back pain problem.
Raja: Marvellous
Annan: Intha oorla wirelss'laam kediyaathunga
Raja (after Revathi leaves): Sweet girl
Annan: No, no, adhu aadu girl
Raja: What?
Annan: sweet n'a mutaai, girl'na ponnu. neenga vaLLimayila muttaai vikkara ponnu'nu solreenga. Aana adhu Aadu mEikkara ponnu, athanaale, adhu 'Aadu girl'. :lol:

Annan and Senthamarai go for a morning jogging with Raja (their eyes are on his money), but Raja is an experienced jogger, so they could not follow him. Annan gives an idea to take short cut, through vayakkaadu, so that they can catch him. Also Annan had Bethi matharai in the morning.

So Senthamarai asks him, 'Nee BEdhi matharai sapptirukken'nu sonna?
Annan: Yov, Odarathu vayakaadu thane, onnum theriyaathu odiyaa! :lol:

Annan and Senthamarai comes to Revathi's house and try to convince her grandmother and asks her to convince Revathi to marry Raja. They also say, if she does this, then she does not need to suffer in poverty.
Annan: Nee pasum pal'la pal veLakkuva.
Paatti: Appo, en pEthi ethula pal velakkkuva
Annan: Nee vechcha antha micha paal'lathaan. :lol:

This is the best one!
Annan and Senthamarai now try to convince Ramarajan to forget Revathi and get away from her life.
Senthamarai to Ramarajan: Nee vaLLimayilu'kitte, unna maranthutu, Raja'va kalyanam pannikka sollu, ava sammathippa.
Ramarajan to Senthamarai: Neenga unga samsaaratha ungala maranthuttu, avara (Annan) yEthukka solla mudiyumaa.
Annan: Itha Naan sollikodukkala, avanaa solraan :lol:
Senthamarai to Annan: Naan unna namburen paa
Senthamarai to R: Ava naan thaali kattina pondaatti paa
Ramarajan: VaLLimayilum enakku appadithaan
Senthamarai leaves in frustration
Annan to R: Ore Oru KElvi thaan kEtta, anda sarasaramum aadi pocchu, ana ore oru mistake pannitta
Ramarajan: Enna
Annan to R: udhaaranathukku avar ponna sollirukka koodaathu :rotfl:
Ramarajan: ????
Annan: uhun, ivan muzhiye sari illa

[app_engine]

Ramarajan to Senthamarai: Neenga unga samsaaratha ungala maranthuttu, avara (Annan) yEthukka solla mudiyumaa.

Annan: Itha Naan sollikodukkala, avanaa solraan



:rotfl:

[baroque]

woke up to இந்த மான் உந்தன் ....கரகாட்டக்காரன் this morning.:musicsmile:

பஹடி இளையராஜா with waltz சரணம் romances சித்ரா in folkish composition .
இளையராஜா'sகரகாட்டக்காரன் :thumbsup:


http://www.youtube.com/watch?v=y20UnmGg0WY&feature=related

vinatha

[V_S]

Saan pillai Aanaalum Nee Aan PillaithaanyA - Manaivi Ready

First about the movie. Just an average flick. Not a single scene would impress you, yet you would not want to stop the movie at any time. Not a good story line, no good comedies, not much action scenes, but it just goes through fine. After Aan Paavam, expected a similar exciting stuff from Paandiyarajan, but he somehow did not live up to the hype, yet he steals the climax and end in just couple of shots which would otherwise would have taken another 30 minutes for other directors. I forgot watching the movie. When I was watching on youtube, I saw the time remaining was just 2 minutes towards end of the film. I was curious how is he going to finish it. I was even assuming, there is no last video available in youtube, but the way he finished it, is pure Pandiyarajan stamp! Watch it to believe it!

Father aspires his son to be a violin vidwan, as he is an exception in his whole generation of not being a violin vidwan. As promised to his father, he wants to atleast revive the music tradition left by his father to his son.

His son on the other hand, been mediocre in school, always tries to compromise on his father's ambition about him. Once he leaves for a marriage of one of his school friend's sister and ends up marrying his friend's sister by accident. Whether he succeeds in continuing his father's ambition or not is the crux.

Father gets a promise from both his son and daughter-in-law to sacrifice their marital life till he completes his arangetram in violin. Both agree to it, but could not control their emotions. On his birthday, wife wanted to give him some gift, since she does not know him much, she gets a help of his neighbor, a teacher to buy a gift. The teacher takes this opportunity and buys some wrong gift to tease him. He buys him high-heeled shoes, fairness cream et. al which irritates her husband. He thinks even his wife is doing this. That's where the song starts.

With the prelude flute you can clearly hear the husband is not happy with his wife, but when synthesizer starts, we can hear the tone in apologizing mode with the 'kenjals', while his wife apologizes to him. When Janaki starts the pallavi, each line is punctuated with the flute displaying still husband's anger now and then, but surely and slowly it is coming down. The tune in anu-pallavi is something extra-ordinary and adds so much love as she displays to her husband.

First interlude literally speaks. Definitely reminds me of late Shri Kunnakkudi Vaidyanathan. Maestro rips the violin apart. There is even few dialogues uttered by Pandiyarajan which is repeated by violin beautifully. Great fun to listen to this violin piece and one of the best of Maestro.

Charanam lines correctly portrays both their minds. Husband reminds her how she got married. While she acknowledges that, the lyrics takes a wild turn and ends beautifully. Very simple, yet effective. Raja shows that grit in singing, while Janaki's singing displays love and affection wonderfully.

In repeat pallavi, we can see the stubbornness is coming down as he agrees 'Athennamo nejanthaan', when she sings 'Saanpillai aanaalum, nee aanpillai thaanyaa'

The second interlude flute flows (with some great bass tracks) in a convincing mode suggesting husband is gradually getting better atleast when alone, but he shows the grit again in the company of his wife, just to show off. So Maestro springs a surprise by bringing in the same prelude 'kenjals' again and finishes the interlude with some soothing flute and santoor.

2nd charanam takes back where they were in first charanam and come together during the end as expected.

While Maestro studiously stuck to the situation when composing, Pandiyarajan studiously captured the visuals for the situation and to the music which has to be applauded. But one question remains, what is so special about this composition. First and foremost, it has Raja's stamp all over it. Eventhough it does not have major twists in tune and orchestration except the mind-blowing prelude, some outstanding violin, some great punctuations at every line, great singing, inline lyrics (started off with nothing, but ended up saying everything :wink: ), he stuck to the carnatic classical grammar and introduced folk and fun elements on the way.

Some might say, it is an average and routine stuff, but would like to point one thing. Everyday we wake up to the morning. There is no exception to that. Again at night we go to bed. Is it boring? No. Same way we come out and see the same sky all our life, do we get bored? No. Why? One day we might not see much of a difference in sky compared to previous day, but another day, we see full of clouds and rain. Some day we see some beautiful cloud pattern with variety of colors. Same way during the evening and night. Personally, some day it might be a regular day, some day we might have surprises. But every day is different and unique even though it has same 24 hours.

Similarly in his composition Maestro has a sprinkled some beautiful pattern (as mentioned in couple of paragraph above) here and there to make it unique and different as we see every day, but he didn't quite force it to be totally different for the sake of it, as it was not needed at all.

This again goes to prove that Maestro can do the majestic Pazhassi Raja, Guru or Hey Ram, classical Saagara Sangamam or Sindhu Bhairavi, folkish Muthal mariyaathai or Virumaandi, artistic Veedu or Nizhal Kuthu without songs, yet minimalistic heart felt music, he can even do Manaivi Ready, as the situation demands.

A simple fun duet to nourish our every day and to make our life happier!

http://www.youtube.com/watch?v=O2K9s1Kyym8
http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00339

[app_engine]

After reading the first line, my mind played the wrong 'AN piLLai -sAN piLLai' song (http://www.thiraipaadal.com/tpplayer.asp?sngs='SNGIRR0066'&lang=en) and I got confused. (May be because, the 'thAnyA' misses the 'yA').

Yes, this is a super-fun-ride song, in the Pandiyarajan tradition :-)

Nice write-up, V_S-ji as usual!

[V_S]

Thanks App :smile:. I agree. Added the 'yA' now.

[groucho070]

V_Sssssss!!!! I yam finished. I yam updated. To miquote aNnan, "warre wah...what a Raja appreciation speech laanguvEj top!". And that quote does not justify the epic writing on those beautiful pieces of arts with soul. Truly mesmerisingly fantastically epic!!!

Some notes:
1. Never thought of the invisible, reluctant, involuntary handing over of baton from Mohan to Ramarajan. Interesting theory.
2. This was when we were kids, the songs of AnpAvam was making waves. It was Deepavali, we were at mom's parents place. We saw the cassette that had AnpAvam/Thaikku Oru TAlAttu (Pandiyarajan double) combo, and we really loved the Kathal Kasakkuthaiya song. Tape pOttavudanE, it played Kathala Kathala, wrong side. My aunt (mom's sister) rushed out of the room, stopped the player and yelled, "Passanggala, ungalukku vera pAtte kedaikkala?". Antha range-ukku antha pAttula oru "idhu" irunthathu, or maybe its because she was an ageing spinster that time :smile:.

Thanks V_S, not only you take us back to the time, not only you serve us fantastic meals, you also introduced the ingredient and the "how to", you also served a sweet dessert of aNNan's comedy. Thank you, thank you, thank you!

[V_S]

You are most welcome grouch and Thank you for patiently reading all my lengthy posts. Very Nice to hear your 'Kathala Kathala' experience. :lol: And thank you for the wonderful appreciation and kind words. It's always a pleasure to serve you all. :D

[Sunil_M88]

Thanks V_S sir! :)

Nalla paadal. The arrangements build as the song moves forward and even when the song has finished, naan adhai meendum kedka vendum.

[V_S]

"when the song has finished, naan adhai meendum kedka vendum"

Kalakkunga Sunil! :clap:

[V_S]

I have not travelled much in my school days, except once to Delhi and once to south TN (Madurai, Thanjavur, Kumbakonam), that too, when I was in my 4th of 5th grade. So my knowledge about other districts was almost nil, except whatever I studied as a part of curriculum, but those were negligible. Going to Vellore or Thiruvannamalai itself was a very long distance to us. People there appeared alien to us (in fact it is the reverse). In my school days, teachers sometimes used to tell the speciality of each TN region. Whenever they talk about Coimbatore, first thing they talk about is the Sirvaani waterfall, river and the dam. One thing they always mention about is the water. It is very 'soft'. I could not even imagine how the water can be soft, as we have never experienced. That's the exposure we had. Not all water is soft? Pardon my ignorance, but that is the truth. :smile: It took almost 5 to 6 years to experience that softness in water. That was when I entered my first day at my college hostel in Coimbatore. I was so very happy about it when I realized. Cannot forget my first day at hostel. A river of pride for TN. Now we are going to dive into various rivers through a gem of Maestro's composition which talks about all these rivers of pride.

The first trio (or triplet) of this thread. Even though the title of this thread says 'duet', I believe we can include this song here, as there is a reason to it too. We will come to it later.

Again we are into Ramarajan arena, this time with 'slim' Gauthami. First slimmest Tamizh heroine ever. Ramarajan this time with a different hair stye (but did not suit him at all :wink:). Not seen the movie, so unable to comment about it nor about the situation. But every song is nothing short of spectacular. Starting with Aasaiyile paathi katti (both versions), Arumbaagi Mottaagi, Jivvu Jivvu Jivvunu, ThOppOram Thottil Katti, one side of my Meltrack/Coney 60 (don't remember exactly), cassette was having this film songs, while another side being Enga Ooru Paattukaaran. Introduced many such classics to my college friends/hostel room-mates and these were my regular listens and were great companions during exam times. In fact, these songs ran parallel to my studies :smile:

One big relief about this song is, it is not a duet and it is not a love duet. At-least we need this break right, as we have seen many so far. In that sense this trio (or triplet) would be very interesting to see how Maestro handles the tune, singing and interludes. Song starts straightaway without any prelude. I like Sunantha's voice more than S P Shailaja's voice, but definitely SPS voice suits for this song. Another sad state of affairs of how these singers are forgotten today. The lyricist mentions about all the rivers Siruvani, Bhavani, Thamaraparani, Vaigai, Kaveri, Paalar, but suddenly switches to a lake Chembarapaakkam (I think it is in Madhuranthakam) sarcastically when he mentions about Chennai, as he indirectly points out the condition of those famous fives rivers in Chennai.

Another aspect about the lyrics is, the rivers are not mentioned just randomly or just for the sandham. It has a purpose and reason why each one is mentioned in a particular order. Starts with Coimbatore, Siruvani river, which is located in central west of TN and moves little north-east to Erode Satyamangalam where Bhavani flows (Bhavani joins Kaveri near Erode in Bhavani). From there, we travel to south west district of Tirunelveli where the water, rich in copper, Thamaraparani is mentioned next. Lyricist then takes us north to Vaigai where Madurai is located and then further north to the Trichy and Srirangapatnam on the banks of longest river, Kaveri. Then to north-east to Arcot, Kancheepuram where the Palar river flows. It was a beautiful river ride covering almost the entire state, even taking the tour in the shape of TN map, like a 'V' turn from west to south-west to north-east. From here, it would have been great if there was a mention of the last river at Chennai. Here the lyricist has to compromise by taking the biggest lake, near Chennai. Still it was a historical as well as geographical water ride through the song's first portion. Well done!

Another good thing to note about the singers choice by Maestro at appropriate places. Maestro starts with his female singers to sing, as the rivers are synonymous to Goddess, while he takes the later portions when approaching Chennai. Also please hear the tune when rivers are mentioned and when the last lake is mentioned. The tune will have a smooth flow just like a river stream, and suddenly will have a jerk in the tune, when Chemparampaakkam is mentioned, as there is not much flow of water in a lake. Thinking of highest order!

Three instruments for three singers. Three amigos, shenoi, flute and the guitar! Starts with shenoi (or clarinet?) with guitar (hear the sound of guitar) in a question and answer mode. Then comes the flute but this time the same guitar acts as a background for flute. Maestro finishes the interlude with shenoi again. We can even relate each instrument to the singers. Even the order of instruments used is reflective who is going to start the charanam and who is going to start the repeat pallavi. The 1st interlude hints that by using three instruments. Charanam continues where the interludes left off. Please note all three singers sing the 1st charanam (why I am saying this?). 1st charanam lyrics is a little let down after some good pallavi.

Now can we guess how the second interlude would be? Maestro just uses two instruments, guitar and shenoi. No flute. What does that indicate? 2nd Charanam is sung only by two singers (of course guitar is for Raja)? This is where he beats us. Hear the shenoi carefully. It is not just one shenoi, two of them, the brighter one on your right ear and a feeble one on your left ear. What does that now indicate?. This should be clear enough. Hear also that funky folk guitar sound, how did he bring that sound?

2nd charanam completely belongs to Raja. Yes he sings the whole charanam, except the two female singers hum the 'rambambambambamba' together which was already hinted during the 2nd interlude. This also answers my first question, why this is a duet. Everything done in a structured way, yet we cannot predict it. The lyrics goes philosophical this time, compares how the water adapts itself based on the soil, but humans fail to do that even after drinking the sacred waters.

The pallavi-anupallavi, charanams all have one thing in common with respect to the tune. All starts off in a smooth manner, but at the end of every portion there is jerk in the tune (chembarampaakkam, rambambambambamba areas). I certainly believe Maestro would have some strong reason about it when composing the tune towards the end of each portion. My two cents on this one is, every river water has flow into the sea (after consumption), but by the jerk, I think he says, there is not enough water even for people, so the flow to the sea is highly interrupted*. But Chennai has a different take (lake), let's leave it alone. There is another reason why Chennai rivers cannot flow into sea.
*Purely my take.

Maestro almost takes us to a virtual tour of glorious TN rivers through this composition, giving us the opportunity to look back about its marvelous history and at the same time also describes the current scenario (at that time) and expresses them intelligently through the tune, orchestration and some wonderful, jovial singing, yet conveying the message efficiently.

A lively composition depicting the pride of our rivers with (no) pinch of salt!

http://thiraipaadal.com/album.php?ALBID=ALBIRR00148&lang=en

[app_engine]

Interesting take on the rivers, V_Sji!

BTW, I have not listened to this song before and the pallavi melody strongly resembles another old song. sattunnu ninaivukku vara mAttEngudhu :-(

Ofcourse siruvANi water is tasty. And the CBE people never get tired of talking proudly about it.

Plum would be amused with their claim that it is "second sweetest" (http://wikimapia.org/9767043/Siruvani-Dam-and-Reservoir) water on the world :lol: appO edhu firsttu?

[app_engine]

Look at this picture : (http://www.indianaturewatch.net/displayimage.php?id=102486)
(well, the caption says "second sweetest" :lol2:)

http://www.indianaturewatch.net/images/album/photo/12820335644a4c321787c95.jpg

[V_S]

Thank you App. :smile: You have not listening to this before? But this song was popular too those days.

I too have the same question, which one is first?
Wow! that picture is stunning! Just like a dream world. Thanks for sharing!!

[groucho070]

Ah, V_S, geography lesson for non-Indian resident like me. Thanks. The siruvani song also missed our airplay, me think. Plus we didn't own the album (songs were in mix-collection albums)

[V_S]

Thanks grouch. :smile: History and Geography lessons were boring those days because the way it was presented to us. Now, with Maestro's music, and relating these subjects with his music, suddenly these subjects became interesting to me. Remember we already had a 'Communication Theory' lesson in 'Naan ThEdum Sevvanthi Poovithu' song. :wink:

[Sunil_M88]

Nice share V_S sir, I felt this song has an ample dose of bhangra in it. Kula deivam fits in to the same equation. Inda isai, ennai natanam seyyavum.

[V_S]

Nice catch Sunil, never struck me. Wonderful bhangra! :smile:

[V_S]

Here we go once again with Ramarajan's yet another 'Enga Ooru' series film (with Gauthami again). Enga Ooru Maappillai has some wonderful songs in it. Glittering Vaanathila VeLLiratham by Mano and Chitra, earthy Thottathanaithilum Vetri by MV are among the few.

'En Kaaviriye' starts without a prelude. Typical Raja's percussion starts when he repeats the pallavi. This tabla pattern stays the same till the song ends, except it takes a pause just before charanam starts and during second interlude. This is to emphasize and arrest the listener to only one mood.

As we all know, when two different melodies when played together, the result is a wonderful harmony (in counterpoint). One important point here to note is we still hear the same two melodies. We can feel how it sounds when listened together and how it feels when listened separately, just like a love duet. :smile: Yet, the component is only two (normally).

This is where Maestro stands apart. He also employs the same counterpoint in first interlude by introducing two set of violins. While we dissolve in the (counter) melody, Maestro creates a child out of the two set of violins (without we noticing it) which evolve as the third one (@1:03). You can clearly hear that.

Suddenly the love duet (of violins) transform into parents who give birth to their child, which is the third violin. What Maestro implies here is the husband acts as wife's mother and he treats her like his child and pours his love and affection towards her when she is in pain. So, here the third violin is most powerful as it acts as a tool of motherly affection. Have we ever musically felt that there can be birth without any physical involvement (apart from the fact that the whole composition is itself a creation). This is it! If this is not divine, what else? If the creator is not our Maestro, who else?

He does not stop there. The third violin pattern can be repeated in flute also. He introduces flute just to say the child of affection has started to speak. Further introduces Santhoor to say it has started to walk. Maestro finishes the interlude with a surprise package (as always), yes guitar. Why guitar here? Keep guessing :wink: Every instrument Maestro picks, there is a reason to it. These are very special moments in any Maestro's composition which otherwise gets unnoticed and on top of it considered standard stuff!

When Chitra/Raja starts charanam, there is no other instrument other than the tabla, but slowly violin creeps in there to support the tune and the mood.

While we are getting serious, let us get some easy breathe. One portion to tell why we love Ramarajan and his extreme acting skills. When Chitra/Gauthami finishes the line, 'anbu oru nOy dhaanE… marunthu nal anbu thaan inbam adhan sEy dhaanE… inggu adhu thaan illaiyE', @2:06 just observe Ramarajan's acting. He just waits for his turn to sing and when his turn comes, he kicks his head in style before singing 'kaNmaNi….. kaaththiru…kanavugaL ninaivugaL kaninthidum kalanggaadhE', not knowing that is not at all needed there. For such a serious song, we cannot control laughter by his casual acting. We don't want to call it amateur as we loved his unwanted attitude there. Every second we used to comment about his acting and the way he used to amuse us. Looking back, those were glorious moments.

At the end of charanam, when everyone thinks Maestro would repeat the pallavi, yet again he finishes with 'un kaaladiyE….. enRum enakku…..' with a memorable fractional pause before it.

Please remember Maestro finished the first interlude with guitar. Here he answers us. He picks up the second interlude promptly with guitar again. Flute starts gathering the mood again with some terrific yet subtle guitar chords. He takes off the seriousness in the whole song with some lighter moments during this interlude. That's why Maestro hinted us at the end of first interlude, saying don't worry guys we will make you little happy. Two great instruments, guitar and flute chosen to bring back the lovers happy days, again each instrument for each one of them, as they play together.

I can't take my eyes of Ramarajan's 'madichu kattiya vEtti', with 'kattam pOtta sattai' and Gauthami's 'half sari'. Brings so much innocence and earthy village life and carefree hearts of young lovers. We can't see this anymore in TFM. Here we have to note the director's touch. While guitar and flute are playing, director implies two hearts trying to merge with each other. When violin is played after that, director shows a single path in visuals where they both begin to ride their whole life together. Great touch that is! Maestro already acknowledged that, when he heard the situation from the director earlier. Clear example of 'Always ahead of time'. At the end of this interlude there is a pause after the violins for 1/2 a second to gear up for second charanam. Extra-ordinary stuff there!!

En Kaaviriye…. Kanneer Etharkku….Beautiful ending for this wonderful song!

While this song is rich lyrically, Raja and Chitra explores and bring out the inherent soul through their singing, Raja being a tad better than Chitra in bringing out the emotion as this is a cake walk for him. Hear him sing the second charanam, chance less!

Until I heard 'Mozart I love you' I did not know who Mozart is. Until I heard 'I met Bach in my house" I did not know who Bach is. Until I heard 'Mad Mod Mood Fugue' I did not know what WCM is. Following them is itself a toughest job on the planet, but Maestro's appetite can just be heard from the first interlude itself, on how he improves the WCM technique and brings a new concept out of it for a subject and situation purely based in rural TN village and for a film unknown even outside rural areas. We have not have seen the above legends, but through Maestro we are witnessing their intellectual brilliance and ingenuity. What a great tribute this has been!

Creator at his best in all possible directions. A composition which gently caresses our hearts by giving right amount of feel and emotion and not being unduly pathos. Same way, rhythmically not too slow for a sad song, which we find quite often. Maestro clearly knows where, when and how to tap to bring out the bestest of emotions.

A perfect medicine to heal anyone's pain!


http://www.youtube.com/watch?v=eag_agb1oDM

[Sunil_M88]

Thanks a lot V_S sir

I feel the video couldn't of been better for a song like this, it is one of them few instances when I've drowned in the song and the video equally. Can't imagine the song without the video. I would love to watch the film because of this song :) Is it worth the watch?

[V_S]

Sunil,
If you ask me, Yes, as I love these kind of films where there is earthiness and innocence written all over. Most of all, no violence will be there unlike most village subjects of today. There may not be major twists and all. But if you go by intellect, it may not work for you (for me too).

[Sunil_M88]

Fair do's

Just visited the whole album - M. Vasudevan sir's racy rendition in the Western "Thottathu anaithilum vetri" is dazzling. I've never heard such a Western song for Tamil or for that matter Indian film. The first interlude sounds very rural like yet has class all over it thanks to the strings and orchestration and the second interlude plays on all conventions for a Western i.e. the whistle transports me to the American Old West. This song further elaborates, what genre has Raaja saab not attempted :clap:

[app_engine]

Yet another great write-up, V_Sji!

:clap: :clap: :clap:



For such a serious song, we cannot control laughter by his casual acting. We don't want to call it amateur as we loved his unwanted attitude there. Every second we used to comment about his acting and the way he used to amuse us. Looking back, those were glorious moments.


:rotfl:

A couple of days back, I saw pictures of Sivaji's grandson's marriage on the web...(possibly msn.co.in or yahoo.co.in)...Ramarajan, with his typical "colorful" shirt is an eye catcher in one of the pics :lol:

[V_S]

Thanks App Sir! :D Yes, I want him back to films desperately!

[Querida]

Whew...caught up! Just like I like have a bunch of new songs (for me) to listen to and faves to relish (used to have all the "Gramithu Minal" songs on a cassette...but didn't know until now that they are all from one album...listening to these songs after more than 10+ years...:ty:
You'll have to excuse me for not quoting from each post, but overall will comment how well your descriptions highlight the intricacies of the Maestro's works of art

Sunil...took a double take thinking you were quoting another hubber...wow keep it up!!
I at best speak Tamil with light stress and tons of English mixed in...but it hasn't stopped me from speaking it...good luck to you.

[V_S]

Thanks Querida :smile: Good to know you already had Grammathu Minnal songs. No problem, please take your time.

[V_S]

Every long train journey is always memorable. Consider for instance, a train trip from Chennai to New Delhi, or Chennai to Calcutta, or Chennai to Mumbai. As much as we enjoy the journey itself, we also enjoy the stops in-between, especially the major junctions. From Chennai to New Delhi, starting from Vijayawada, Nagpur, Bhopal every station is unique. Getting down on those stations and experience the beauty of that station and a little view of the land itself gives us so much joy. Painfully when the train starts, our hearts would still be in those stations, hard to say bye to those people. This film and this composition (in fact all the compositions in this film) is truly a major junction in Maestro's film journey, if I am not wrong.

We have to mention about the legendary film which this film got inspired. This film I believe was made as a tribute to the evergreen epic 'ThillAna MohanAmbAL'. While Thillaana Mohanambal itself paid rich tribute to indian classical genre, this film paid a rich tribute to the vanishing indian folk art. Just like Thilaana MohanAmbAL is a major milestone for A P Nagarajan, K V Mahadevan, Nadigar Thilagam, Padmini, Nagesh, T S Balaiah, this film is again a major milestone for Maestro, Annan, Gangai Amaran, Ramarajan, Senthil, KOvai Sarala and others. While the former truly drove on NT and KVM's shoulders, this one I would say drove on Maestro and Annan's shoulders. Each film is unique and different in every aspect, just that the basic building block is somewhat similar. Entertainment-wise both were remarkable films for everyone and at anytime. These two films are always young at heart. These two films are also a major milestones for Tamil Film Industry. I know many may prefer each one of their choice and many may not even want to compare one film against another, I was only taking some basic facts out of it, nothing more.

We have listened some usual ways the song starts. Starting with one instrument and then builds up gradually adding more instruments on the way. Here too we can hear the same, but he starts with two instruments at the same time. While the two guitars play in tandem (but not same, should be counterpoint again), gaandharva Kuzhal nadham comes from nowhere in between those guitars and we are blown away in for some complete delectable aural treat!. Like we first use to hear the train sound before we see the train itself now through that flute. The flute even signifies the train horn with train running on those tracks (two guitars). The beauty is how the flute sits between those two different guitars eminently. This is the basic building platform (station :wink:) for this amazing composition.

While the free flowing flute is on the way, suddenly we hear some wonderful punctuating chords almost stopping the flow, like a kadivaaLam. Because we are into a major junction on our train journey, after a long hour travel. It is astonishing to see how Maestro has given varied folk flavors even with all similar folk/village subjects. In Maestro's musical journey, even every film of his is of utmost importance musically, there are films which made a indelible (bench) mark to all listeners of all ages. In that perspective, this film is one such kind, where we can rest and leisure on his 'Oasis' musical junction.

Hero misses his angavastram (shoulder thundu) in air and it exactly flew to his lover and she imagines that as a garland. At every guitar accent, director aptly throws in garland. When flute plays she looks her heart through his heart (angavastram) as in mirror and shies away and puts that angvasthram deep inside her 'trunk petti' like she keeps him deep inside her heart. Any other instrument other than flute would not fit in here. An instrument always very close to heart and is a symbol of love. When guitar chords play she locks him in her heart (locking is a single activity so the director aptly uses a guitar chord for that) so that he cannot escape. Then goes the dream sequence.

Maestro and Chitra starts the pallavi in a breezy fashion. Then he creates that killer anu-pallavi lines in 'Sindhaikul Aadum jeevane Kanmaniye, Sandhika Vendum Dheviye Yen Uyire' and enhances the feel by singing himself. I fall flat whenever I hear these lines by Raja. The train started its journey after a stop!. We can hear lot of instruments during the pallavi-anupallavi. He starts of with tabla, synth, bass guitar and some bell sound and adds flute during anu-pallavi. If you hear closely, except tabla, no other instruments are providing constant rhythm (for train rhythm) or giving support throughout the pallavi. Other instruments just comes and goes in quick succession. On top of it, everytime the same instruments comes again, it paints a different picture there. The timing of each other instruments is such that, we cannot even hear that they are sounding separate one after another. They all sound together. How does he do that?

I interpret this whole orchestration during this whole pallavi-anupallavi lines as, when we are cruising along in the train, we encounter lot of memorable scenarios. We see a stretch of paddy fields, a lonely small hill, a big pond or lake, sheeps flocking, birds chirping, a distant village, two people chatting on one of small train station where train does not stop, what not. Bell sounds, flute, synth sounds can be related to each scene we see. But all these fall one after another, but when we look back, all form collectively together in our memory. I don't know if Maestro did this intentionally, but it feels good and even more pleasant when I imagine the situation like this. The composition becomes live due to this.

Excellent locations; solitude mandapam, revolving camera, birds fluttering, goats flocking around randomly, beautiful morning with sun rays, camera coming down slowly across the leaves to have a full view of that mandapam, what a beautiful sight!. When violin starts playing in the 1st interlude, we can hear that merger or 'sangamam' as the lovers join hands the roam freely. When flute comes in, we can clearly hear the search tone asking where is my lover?. Once he sees her, the director finishes by symbolizing, 'here is my sunflower'. Another mesmerizing flute playing. How many different flutes, infinity and beyond! Again one the best Maestro interludes I have ever heard, especially for the mind blowing flute!! All we witness just in the train journey we are in!

Ramarajan's costume has to be appreciated here:smile:. When the song starts he is clouded in a 'giraffe' pattern shirt with white dhoti matching white slippers. During the 1st interlude the color changes, but still it is 'giraffe' shift. During charanam, jarry but plain pink. During second interlude and charanam he switches to bright but plain orange (kaavi). Flowery, but fiery pink again during the end. Hats off Ramarajan and the costume designer :lol:

What is that temple which comes in the charanam? Exquisite location again!! I think there are two temples, one is just remains. I love the cinematography from 2:29-2:36. Absolutely stunning! We can feel like we are moving down along with the camera. Raja starts the charanam graciously. How Maestro tunes this sweetest charanam. During 'Anname enthan swarname' Raja sings that enticing aalap which cannot be matched at all. That's why his brother having realized it, captures this moment taking the shot way up high into the temple towers. :thumbsup: Wonderful rendition. The charanam starts at lower octaves, peaks up in the middle and comes down at the end, giving the required sweetness, tenderness and breeziness. As I said earlier, the feel we get when we sing this charanam cannot be got from today's compositions. In today's composition, we are mere spectators watching others sing and scream while we hear passively and helplessly (please don't scold me, I know I am getting old :smile:). It is very difficult for us to get into that composition, as there are not much tug of heartstrings like these compositions do.

Again acting-wise too, they just act studiously what is needed, not going overboard stretching their hands like we see nowadays for anything and everything. Once he stretches, heroine comes running towards him and once she hugs him then he folds his arms. Way too dramatic!

வேல் விழி போடும் தூண்டிலிலே, நான் விழலானேன் தோளிலே
நூலிடை தேயும் நோயிலே நான் வரம் கேட்கும் கோயிலே
அன்னமே ஆ..ஆ.. ஆ… அன்னமே எந்தன் ஸ்வர்ணமே (appadi podu raasa aruvaala!)
உந்தன் எண்ணமே வானவில் வண்ணமே
கன்னமே மது கிண்ணமே (love Raja singing kinname as kiLname)
அதில் பொன்மணி வைரங்கள் மின்னுமே (die to listen to this line!)
எண்ணமே தொல்லை பண்ணுமே
பெண்ணென்னும் கங்கைக்குள் பேரின்பமே

Another best part in Raja's singing is when he sings 'en uyire' in repeat pallavi. 100% soul in that! No stylish gimmicks, straight from the heart to our hearts and no communicator needed there to translate!!

Shenoi starts the second interlude with bass guitar punches throughout. Again revolving camera, beautiful to watch. Violin and flute takes over the baton from shenoi and what an ending with flute when Kanaka steps down! I visualize this whole interlude as another train approaching our train from opposite direction on a curvy track so that I get to see two trains almost seen as single long train!! While the shenoi acts as the second train's siren, violin, flute acts as siren for my train where I am in and when two run parallel, we feel that jerk provided by the jerky flute. Bye to that train!

Another lilting charanam, this time ornamented by Chitra's excellent singing. Cakewalk song for Chitra. No match again!

பொன்மணி மேகலை ஆடுதே உன் விழி தான் இடம் தேடுதே
பெண் உடல் பார்த்ததும் நாணுதே இன்பத்தில் வேதனை ஆனதே
எண்ணத்தால் ஆ..ஆ.. ஆ… எண்ணத்தால் உன்னை எண்ணித்தான் (what a beauty! incomparable!!)
உடல் மின்னத்தான் வேதனை பின்னத்தான்
சொல்ல்லிதான் நெஞ்சை கிள்ளித்தான் என்னை சொர்க்கத்தில் தேவனும் சோதித்தான்
மோஹம்தான் , சிந்தும் தேகம்தான் (note how Raja pronouces sindhum, it's chindum :wink:)
தாகத்தில் நான் நிற்க ஆனந்தம்தான்

After this charanam, when they sing the pallavi again, there is again a temple at the background. Curious to know which one is that? A serene feeling, hearing the pallavi in that background!

One of my best and favorite Maestro's composition, not just a duet. A rich folkish composition based on indian classical template looking firmly to the ground while taking its listeners to heaven. Whenever I listen to this song, I remind myself of that wonderful train journey. During school days, playing cricket on a ground adjacent to the railway track was one of our weekend activity. As and when we use to see express trains passing by, we will leave the cricket behind and run along-side the train as long as we can, waving hands to the passengers and see their smiling faces and waving hands in reciprocation. Such a pure joy I get whenever I listen to this one. Whether I am inside the train or outside the train, this song has a direct relation attached to the journey, not just the train, the journey of life. As I said, this composition is like a 'Oasis' for a tiring body and soul, but only to be realized later that this is not just Oasis, our ultimate home where a complete silence can be felt! This is what all Maestro's composition is all about. Silence within ourselves!!



http://www.youtube.com/watch?v=4mFlraANM04

[tvsankar]

VS,
ipo dhan 2 naala log in aren. unga post parthen.. Train journey a nenachu kaetadhilla indha paata.
unga post full um padichitu... andha view la parkanam..... This is right comments for ur post for the Great song.

Musical journeya... neraiya paatu iruku... adhu ellam Direct a feel panna vaikum. idhu village passenger train madhiri....

Beautiful write up VS............

[Sunil_M88]

Loved the use of the train stop/junction metaphor in this write up, V_S sir :bow: It's songs like these that prove it's not about where the Maestro has reached but in it's true essence it's about the journey in his career. :clap:

[V_S]

Welcome back Ushaji and thanks for your wonderful comments. :smile: We were missing your posts very much.
Sunil, Thanks for your kind words, happy that you liked it. :smile: Yes, well said about Maestro's musical journey.

[rajeshkrv]

thanks for this wonderful duet by Raja & KSC.

IMHO, this wonderful duet was overshadowed by the popular Manguyile poonguyile.both being different genre this duet is a pleasant experience by itself.

[app_engine]

'indha mAn', one of the best among IR-sung duets! KSC is excellent too.

Great write-up, V_Sji!

Hilarious recap of grAmarAjan's costumes:-) This was the biggest hit movie at home when 5 of us bachelor's rented one in a colony where almost all the neighbors were co-workers. This rented cassette & VCR became nagam-sathai and one lost count how many times the movie / songs / comedy was enjoyed.

Like you said, rAsA & Gounder were the heroes of this landmark movie, with great support from others!

[V_S]

Thanks rajeshkrv for your comments. :D Good to see you here. Yes this is my pick of the whole soundtrack. Still every composition as you said is a different experience by itself. Terrific and authentic karagaattam compositions in Mundhi Mundhi Vinayagare and Maariyamma Maariyaama, anytime listens. Will take you to Goddess directly, especially the later one. I have seen people dancing with karpooram in their hands during that song. Lively! Then those lilting duets, Maanguyile poonguyile, Kudagu malai. Sweet title song paataale budhi sonaan and everlasting, big mood changer ooru vittu ooru vandhu, never tired of laughing to that song. Terrific Shanmugapriya! Everything is epic about this soundtrack and cannot be re-created.

[V_S]

Thanks App for your kind words and nostalgic memories. :smile: Yes, No one can forget this landmark movie and songs.

[rajeshkrv]

V_S
Thanks rajeshkrv for your comments. Good to see you here. Yes this is my pick of the whole soundtrack. Still every composition as you said is a different experience by itself. Terrific and authentic karagaattam compositions in Mundhi Mundhi Vinayagare and Maariyamma Maariyaama, anytime listens. Will take you to Goddess directly, especially the later one. I have seen people dancing with karpooram in their hands during that song. Lively! Then those lilting duets, Maanguyile poonguyile, Kudagu malai. Sweet title song paataale budhi sonaan and everlasting, big mood changer ooru vittu ooru vandhu, never tired of laughing to that song. Terrific Shanmugapriya! Everything is epic about this soundtrack and cannot be re-created.


there are some songs and some postings you cant resist and this was one such..

you keep rocking and i will keep posting as well.

[Plum]

V-S - romba naalaa indha threadla oru appreciative post pOdalAmnu irundhEn. VaNangalai. Finally, I got the right mood and time to do it - :clap: for a brilliant series! Keep writing...

[AravindMano]

V_S saar, yet another brilliant post :clap:

[Divine22]

V_S Sir,

What an excellent write up as always!!! Felt like taking a memorable train journey that can be cherished forever !

Keep the journey going...

Thanks ;))

[groucho070]

V_S, wonderful as always. Seriously, you made me forgive Ramarajan and I actually can't figure out why I didn't accept him then in the first place. Non-acting? MGRness? Those atrociously colourfu costumer (even pricking my colour-blind eyes), or was it that the songs deserve better actors? Maybe the latter. But in your writing, you highlighted the uniqueness of the entire Ramarajan package that now translates to nostalgic side-car to Raja's roaring big bike. Superb, V_S, thanks for converting me.


பொன்மணி மேகலை ஆடுதே உன் விழி தான் இடம் தேடுதே
பெண் உடல் பார்த்ததும் நாணுதே இன்பத்தில் வேதனை ஆனதே
எண்ணத்தால் ஆ..ஆ.. ஆ… எண்ணத்தால் உன்னை எண்ணித்தான் (what a beauty! incomparable!!)
உடல் மின்னத்தான் வேதனை பின்னத்தான்
சொல்ல்லிதான் நெஞ்சை கிள்ளித்தான் என்னை சொர்க்கத்தில் தேவனும் சோதித்தான்
மோஹம்தான் , சிந்தும் தேகம்தான் (note how Raja pronouces sindhum, it's chindum :wink:)
தாகத்தில் நான் நிற்க ஆனந்தம்தான்

I suspect this is Valee, making reference to Kannadhasan's work (AtthAn, ennathAn), and the thEn reference in Santhattil pAdatha kavithai. But not sure if both are Valee, if not, squash the " making Kannadhasan reference" theory.

Awaiting more posts :-D

[AravindMano]

lyrics it is the gangai amaran wonly.

[Querida]

V_S was a delightful journey itself reading your post :D
As expected I have always felt more attached the aforementioned popular "Maankuyile" and also the title song is matchless...
but this song has faded for me (this was one of those video cassettes we had "borrowed" ie never returned... and we watched this movie during lazy weekend afternoons) the only part that endures was how exquisite "'Anname....Anname enthan swarname' is sung :notworthy: just gives you that delightful chill...
there is another piece I think I may be wrongly associating with this movie...it's just the music....where they keep spinning around holding hands and laughing...and the irate brother appears in the end of the song??

anyways thank you V_S for bringing those memories and a new appreciation for this song :) Just as you wonder how the Maestro creates such magic, I think we all wonder how well that magic allows you to create such rich and detailed posts... :clap:

[groucho070]

lyrics it is the gangai amaran wonly.Oh, thanks. Than that theory is created by a GA hater. Vayitterichal :evil::razz:

[skr]

V_S Sir ,
:clap: :clap: :clap:
Your write ups are simply marvellous

[skr]

V_S ji ,
Have you written about Kadhal Oviyam from Alaigal Oyvathillai yet ? (Hope ive not missed or forgotten about it)
I dedicated this song to a friend of mine who is a guitar lover a couple of days ago with a small write up

'One of the love songs of the millenium IMHO.
What an intoxicating feel you get when listening to this , just unimaginable magic.Just the initial hymn with the bells sounding in the background and then that resonating chorus leading to the mellifluos Veena strings with Bass at the background.This is Bliss Unparallelled .
Check the Bass breezing along first playing the same notes in the Bass as the Veena and then it goes in its own path in an unflinching style , as the song goes Kadhal Oviyam . Just the bass line alone is so addictive.
Check the 2nd interlude , where the bass reaches proportions of enormity as it first gives ample support to the voice chorus and then it shows its friendship to the Veena by giving some lovely company.
Awesomeness beyond awesomeness.
Feel the love in all its purity'

V_S - Eagerly looking forward to your detailed passionate write up of this song :)

[Sunil_M88]

V_S ji ,
Have you written about Kadhal Oviyam from Alaigal Oyvathillai yet ? (Hope ive not missed or forgotten about it)
I dedicated this song to a friend of mine who is a guitar lover a couple of days ago with a small write up

'One of the love songs of the millenium IMHO.
What an intoxicating feel you get when listening to this , just unimaginable magic.Just the initial hymn with the bells sounding in the background and then that resonating chorus leading to the mellifluos Veena strings with Bass at the background.This is Bliss Unparallelled .
Check the Bass breezing along first playing the same notes in the Bass as the Veena and then it goes in its own path in an unflinching style , as the song goes Kadhal Oviyam . Just the bass line alone is so addictive.
Check the 2nd interlude , where the bass reaches proportions of enormity as it first gives ample support to the voice chorus and then it shows its friendship to the Veena by giving some lovely company.
Awesomeness beyond awesomeness.
Feel the love in all its purity'

V_S - Eagerly looking forward to your detailed passionate write up of this song :)

SKR, here is V_S sir's write up on Kadhal Oviyam

http://www.mayyam.com/talk/showthread.php?9369-Raaja-s-magical-duets&p=707139&viewfull=1#post707139

[skr]

Thank you so much for the link Sunil ,
I searched about 5-6 pages and lost patience .
On the brighter side , happy that this thread is on the verge of completing 50 pages.

Yesterday was listening to this song and was instantly transported to dreamland. It was on repeat for long and now again its continuing with the added joy of reading V_S Sir's post in the background. Bliss Unparallelled .

[V_S]

rajeshkrv,
Thanks. Very eager to read your posts. Please post frequently.

Plum,
Your kind words and comments are very encouraging to me. I will try my best.

AravindMano,
Thanks for your kind words, glad to hear that. Thanks for encouraging me always.

Divine22,
Thank you for kind comments, happy to hear you liked it.

Grouch,
Thanks. Wow! great to know that I have converted you too :D. It's my bad habit, sorry :smile:. I too don't like his (non) acting and MGR'ness as you rightly observed, but somehow he is not going away from me. :lol:

Querida,
Thank you for your kind comments and support. Yes, this song is very close to me just because Raja sang this one. :smile:

skr,
Delighted to read your response. Thanks for the crisp write-up on one of the towering composition. Thanks Sunil for providing the link. Not sure, if I have done justice to that song.

Thank you, Thank you very much everyone for your kind and encouraging words. I am elated and overwhelmed by all your wonderful comments. :notworthy: I also need to thank you for your patience in ignoring all my horrible grammatical errors and typos. I will try to improve.

[kiru]

Awesome writeup V_S.. one of my favorite songs. The rhythm seems to have a stop-and-go feel .. is it just an illusion ? The editing also seems to cut exactly at that location.
I consider this song as a very good example of a single note fill/harmony (bell like sound).
A junior guy from my home town who used to hang out in my room in CEG fearing the ragging in Stanley used to lose his heart over Kanaga. Seeing today's movies looks like we have a cultural shift. I am with you on singing trends.. it seems more demonstrative than involving.. I guess it is all because of over-commercialization of this art from.

[KV]

V_Sji, pardon my late entry. Lovely, beautiful writing. There's an innocence and poetic nature to your imagery which is so enjoyable reading. :clap:
SriRaamar dharisanam innum pannalaya neenga?

[V_S]

Thankyou very much kiru and KV for your nice comments. :D That's a beautiful term, 'single-note filled harmony'.
KV, sorry, innum SRR paakala. Thanks giving holiday and many guests at my home. Thought of taking them, but none interested, instead visited 7th sense. Missing that so much! :sad:

[skr]

Seekrama Paarunga Sir ,
A movie not to be missed , waiting to hear your take about the songs and BGM pretty soon :)

A friend of mine who got married recently saw Sri Rama Rajyam and this was his status
Saw 1st movie after marriage...Sriramarajyam is 'Raaja'raajyam...There might be controversy whether Raama is God but definitely no confusion; Ilayaraaja is God!

[kiru]

Seekrama Paarunga Sir ,
...
Saw 1st movie after marriage...Sriramarajyam is 'Raaja'raajyam...There might be controversy whether Raama is God but definitely no confusion; Ilayaraaja is God!
I like your friend skr :-) I am blessing him with as many smart/cute/healthy kids that he wants :-)

[kiru]

Thankyou very much kiru and KV for your nice comments. :D That's a beautiful term, 'single-note filled harmony'.
..
Minimum number of instruments needed by a MD -
MSV - vocals + tabla
IR - vocals+ tabla + triangle
(ok, I will stop here.. :-) )

[V_S]

skr, I don't know if I will watch the film in theatres, as here today is the last day of screening. Little dissappointed.

kiru, pardon my ignorance. Can you please eloborate on your last post. :smile: What is triangle by the way?

[V_S]

A Film known mostly for one song 'VeLLi Kolusu Mani', even more than Ramarajan. Even more, Arunmozhi started getting more songs starting from Soorsamharam and a #1 hit song in this film. This is again a repeat Ramarajan-Gowthami starrer film. We are on a roll with Pasu Nesan's films. Enjoying it thoroughly. :D Every song including Raja's delightful solos, Dhinamum Sirichi mayakki, Intha, Raasava nambi vantha yaarum, SPS's solo, Kattil Illai and a magical duet with legendary P Susheela, are all real agmark folk treats.

While other songs in this film are fast, fun and love songs, this is the only sad song, but there is much more than that in this composition. Let me keep it small and simple this time. :smile:

I have not seen the film nor do I know the situation of this song. From the lyrics it seems a lullaby sung by a mother and father for their kid while they are separated. Mother describes the situation beautifully how their life is without the father, while the father gives them hope at other end even when he is not with them. Three notes on Santoor and Flute alternate between each other in prelude. The sound of santoor aptly describes the sound of a bell tied to the top of a thottil, so that when the cradle swings, the sound is audible. The baby hears the sound of the bell and smiles, while the mother hears the sober flute and cries as her husband is not with him. The sound of the flute denotes the breathe she takes out of anxiety to see her husband. Two contrasting moods created by Maestro in first 14 seconds with just two instruments.

Then PS takes straightaway with aariro aaro aaraariro'. PS adds a little bit of telugu flavor (only these two words) while singing TN folk slang. Instead of 'Mannan illa' (இல்ல) and 'Sondham Illa', she sings 'Mannan IllaE' and 'Sondham IllaE' ( இல்லே) (may be that's what Maestro intended or that's her style). Other than that, the bhaavam, clarity, singing, voice, all are unmatchable. Just the pallavi-anupallavi is enough to put us to sleep. Simple tabla rhythm gently caresses and carries the tune too far beyond to where it is intended to reach.

The flute in the interlude further saddens her and also us. That flute playing is beyond anyone's imagination. Should be Arunmozhi again. Surprisingly Maestro adds a synth flute (?) later on while it takes a different turn. First and the only time we can hear both the (synth) flute and santoor playing together. Even while the mother was swinging the cradle, she was always thinking of her husband. So she was never with her child mentally, only physically. This was the reason we heard the santoor and flute playing alternatively and not together. Now, Maestro plays a different flute (synth flute) along with santoor. This implies that the synth flute actually echoes the real flute which was played during the start of the interlude. At the start when the real flute was played, she was again not with her kid mentally, but the inner soul of her understands that, and echoes the real flute with synth flute along with santoor so that the kid and her mother's soul are together, so that the kid is not left alone. Sometimes, we may have noticed this in us too.

The first charanam aggravates her further, as she could not complete the song. Recognizing that communication from other end, her husband continues the lullaby thereby giving strength and hope to her and their kid.

Let us take the second interlude. It starts with santoor, continued by flute and then again the santoor flows followed by continuous flute. Compare this santoor flow to the prelude and the first interlude. It was little slow and separated then, by now it is continuous. The baby smells the father's voice which she heard just before and tries to jump out of the cradle resulting in the sound of bell becoming continuous. Still the flute sounds pensive, but better than the first interlude one as the mother hears her husband's voice. I expected a happy interlude this time (just like the santoor) as now there is a hope. Still Maestro plays the synthesizer (playing like a violin) in pensive mood. This is the peak of sadness in the whole song. I used to wonder why. Did Maestro go wrong this time? Never! We all know he never goes wrong, not even a single note, but then how does he answer this? As soon as she sees/hears her husband's voice, she runs and fills his chest with her tears and weeps out all her sorrows to him. That's a great answer for the pensive synth used. The best part of the song. That's where Raja gives her and his kid the needed strength through his sheer majestic voice and singing in 2nd charanam.

A typical (we always take him for granted isn't it?) Maestro sad melody. Nothing path-breaking, but like eating 'nei vittu rasam saadham' from our Amma's hands. It is a simple dish, but it has that love and affection which no other restaurant can give. With that, I feel like lying in my mother's lap for a very good night sleep with this sweet lullaby. Good Night!

http://thiraipaadal.com/album.php?ALBID=ALBIRR00498&lang=en (Please don't miss the other gems).

[groucho070]

Gee V_S, just reading this I get lump in my throat. I hope I will not stumble into the clip. Grouch is mellowing down, Plum :sad: Appreciate your post as usual, V_S.

[Plum]

Ha ha grouch - Fatherhood symptoms. pOga pOga pazhagidum :)

[app_engine]

V_Sji,
Sweet write-up for an excellent lullaby!
One of my favourites :-)

[V_S]

Thanks grouch and App for your wonderful comments :smile:.
grouch, Very sorry, if my post disturbed you. I could not find the video clip of this song, still searching.

[Sunil_M88]

:ty: V_S sir

I think Raaja saab has probably produced the biggest catalogue of lullabys for tfm? Could someone please post some numbers as I would love to explore these.

[V_S]

Thank you Sunil. Yes, it would be long list of lullabies from Maestro. Will try to sort and list them out.

[Sunil_M88]

No worries sir, even if I ask for a few I'm sure most HC IR fans would feel the need to list most of them if not all trying not to miss any superhits as they're all individually special. So I take my request back as it might be too much to ask for but if you have started compiling then it's OK you can post them in latest Raaja song thread if you wish.

sorry for the dig.

[V_S]

Sorry for all the delay. After a long time, here is my next post. Written randomly, please bear with me.

[V_S]

Kanne En Kaarmugile - Thangamaana Raasa

We have seen earlier the fastest melody in 'Poo Maalaye ThoL SEravaa'. How Maestro made us dissolve in the melody rather than putting us into dance mood even after employing super tempo. That's the balance only Maestro can have. That is Maestro special. Please remember that was a happy song. How about the same technique for a sober song. Woooh! It should be even more unbelievable. If he is maintaing that fast tempo, how is he going to achieve the sad mood in that pace? Just the thought of it makes us so thrill. So this should again be a very special composition then, right?

For that composition to happen, here again we welcome yet another Ramarajan's film, Thangamaana Raasa. Yahoo! This time with the most popular heroine that time after karagattakaaran, yes Kanaka again. But you know who the real thangamaana raasa is. :smile: Many might say he does not deserve all these greatest melodies from IR. While it might be true to certain extent, without him, we would not have known these songs. I even think Maestro has some special inspiration when it comes to Ramarajan. The results are Maanguyile, SOlai malai Oram (my top most favorite of Ramarajan), Madurai marikozhunthu, Sorgame Endraalum, KannE en Kaarmugile and countless native earthy melodies, which no actor could get. I would even give up many IR melodies for these breezy folky melodies from his films (including female solos) which are closest to my heart ever.

I don't know the situation of the song, but husband consoles his wife (for whatever reason she is down). Maestro teases us again with a short 6 second prelude. Bass guitar (with just three chords), a xylophone and a flute provide a short and wonderful prelude. Other composers would have just gone may be with just the flute hinting the mood, which is usual. Maestro adds value in every second and in every note. He adds bass guitar and xylophone along with flute. Bass guitar and xylophone go together while the flute plays alternatively. Bass guitar and xylophone play twice in between the flute, but the third time there is no xylophone only bass guitar, if you observe. The bass guitar punctuation to the flute the third time, just before the pallavi is just superb. If you listen to xylophone, it echoes, echoes back, as she thinks back in time about the grief. The bass guitar brings her back to the current time (base, ground reality) by playing along with it and it succeeds the third time as we don't see the xylophone (for the third time). Her husband has entered the scene now. Flute brings the overall mood of the song. Clever usage of the instruments, faithful to the song situation. Isn't it amazing, how Maestro creates the mood, impact and magic in just 6 seconds?

I even presumed the prelude would be long, by hearing the flute, but Maestro cuts short without wasting time. We would certainly guess a slow sober melody from the prelude, but when Raja starts singing the pallavi we will know how fast this song is going to be. The song races like a bullet once Raja starts with no dip anywhere till it ends. Beautiful 'theppa kuLam' surrounded by coconut trees, serves as a perfect backdrop for the perfect start. This is not the only sad song which is fast, there are countless others, but unless we take a notice of the tempo and other intricacies, they would just be another take-for-granted-tabla-based song for us. Another interesting aspect of this song is how he weaves so soulful melody out of such a fast tempo. Only Maestro, 'uLLa varaathe' territory. Anu-pallavi is even more interesting when Chitra chip in. The guitar which comes along the pallavi gives the strength to both of them. While the pallavi is going at steady pace, Maestro applies brake at 'aanandam kai koodattum', the wow factor! the humming and santoor takes it to pallavi again and hands it over safely and sweetly.

The interludes were waiting to start, you can see the anxiousness when the violins start, not even fraction of second wait there for pallavi to end, as if the pallavi is continuing. You will also get confused that, since tabla (in pallavi) stopped the violins took over (in the interlude), or since violins took over already, tabla has stopped. So much precision there! If there was even a fraction of second break, the song would not have sounded the same. Ultimate playing by those gifted musicians!. :notworthy: By the time we start to think about this interlude, it is over, super fast interlude. Two heavy violin sets in counter point, so energetic to listen. The last violin pattern sets the momentum for the flute to exactly mimic it and continue in the same manner only to be stopped by some glorious santoor (the only slow portion in the entire song). The transition from violin to flute is seamless. The guitar interlacing for the flute is just brilliant! (the guitar portion is not clear in the video) Can't stop rewinding this piece. The santoor at the end of the interlude is the only vehicle to connect to the charanam, which is quite amazing, considering its pace. Only Maestro could achieve it! Visuals cannot even imagine to match this outstanding interlude.

Two hearts are abound with lot of thoughts and exchanges as conveyed by the gush of violins at lightning fast. When flute arrives and mimics the violin pattern, implying they agree to each other and that's where the santoor comes in and cools off, like a gentle stream. If you noticed, the guitar has started when violins were playing, but due to their dominance it was not heard until flute takes over. This guitar is the heart beat of the entire song. You can hear even during the charanams. Unless we make an attempt to hear it, it will not be audible to us, but if that is not there, there is no life in the song, or there is no song itself, which most composers fail to impart and imprint its importance in their compositions. I think they go by just the situation. We can see here (and in many compositions), how Maestro uses this instrument wherever he can, without disrupting the situation and also explains its importance in a subtle way.

Charanam tune is so lovely especially when Raja sings 'sOgathil sangeetham sugamaanathu sonthangaL thiraipOduthu'. He cleverly uses the anu-pallavi tune to finish off the charanam. Chitra's best singing can be heard in 'Thodarum Uravu' when she elongates 'Uravu', Wow! those seconds are memorable. When Chitra finishes second charanam, 'uyirum uranium unarvum neeye, unnil ivaL paadhiye', the flow of tabla, guitar, santoor all make a wonderful treat for ears.

Second interlude again has only violins (in counterpoint) with no flute. First time we can hear the violins cry unlike the first interlude where we saw some heat exchanges. I like this violin interlude very much as it clearly brings out the emotions close to ours. The santoor is bit differently played here, especially at the end, when we expect Maestro will prolong the santhoor atleast for two more beats, he abruptly cuts there giving a second silence instead. Fantastic to listen to this one.

There are lot of high nuances like this in the instruments used and the way it is used, more importantly way it is not used (silence) in this composition. Only Maestro's brain could ever conceive such highest quality surprises at ever turn. Let us recap the intricacies what we saw so far in this master composition.

1. Gives ample scope for guitar to such a folkish tune.
2. First 6 seconds tells us the whole story. Shortest time to tell a story :) A world record by any means!
3. The take over of violins after anu-pallavi, dramatic. Both interludes carry some excellent and complex layering, but sounds so simple and pleasant.
4. Again we see WCM (counterpoint) technique for a breezy rural based song.
5. Gives importance to silence wherever needed to bring out the contrast brilliantly.
7. Usage of flute and santoor. Flute giving sober mood while santoor giving soothing feel, so that the overall composition does not go sober totally. This is the balance which Maestro is famous for!
8. Composition based on rich indian classical raaga.

Top of all, a super fast sober melody (first and last in history?). The song finished in just 4:40 minutes. Not a single second wasted in this composition. If there are songs for slowest sober melodies, Maestro again proved that only he can better himself, none other. Why the composition has to be fast? Please try singing the song slowly. The striking aspect is missing and it looks very dull. Moreover, Maestro's interlude will not be same if it would have been done slowly which takes the credit of the composition. It would have also consumed more time (more than 5 minutes) and the composition will appear diluted. You cannot get this power pack. Not just in orchestration, the tune and singing are handled with utmost care. The video does not look fast as it sounds, looks perfect.

A song to be remembered for its timeless nature. So wonderfully crafted like a sculptor taking care each and every hit he makes on the sculpture. Not one miss hit and no additional hits, everything is perfect as carved like 'Ten Commandments'. by God. We are no Moses to preach or follow, but only to admire its greatness and love as much as we can.


http://www.youtube.com/watch?v=f5Q_5Nsk_0Y

http://thiraipaadal.com/album.php?ALBID=ALBIRR00639&lang=en

PS: With this, we come to the end of our 80's collection. :sad: I know we have missed a few, we will cover later.

[groucho070]

Just saw this
grouch, Very sorry, if my post disturbed you. neengga vera, before getting married, I'd spend weekend nights having drinks and crying to NT films/songs. Masochistic pleasure. :smile: Going to read your latest post.

[V_S]

Great to hear grouch about the eternal bond between you and NT's legacy. Absolutely, no doubt about that, always a great pleasure. And thanks a lot for reading patiently my ever boring lectures. :smile:

[groucho070]

To listen to the song and read your writing, nothing gets better than that (well, right now, nice hot banana leaf lunch would do, but you know what I mean). Wonderful observation V_S, the six second deadline to quickly assess the situation and pick up on it, wow! Also, the xylophone sound you mentioned. Are they, like, the real one or synthesised one? There's something similar about this song and Nilave Mugam Kaattu from Ejaman. Maybe the musicals can explain that.

As usual, V_S, wonderful! And instead of jumping headlong into the 90s, why not go back and pick up stuff you missed?

[V_S]

Grouch,
Great find in Nilave Mugam Kaattu!. Yes the resemblance may be because both belong to same raaga? (sindubhairavi?). Even the feel is similar. Maestro has composed many compositions in this fashion, but each has its own taste and flavor. Like Maratha Vechchavan, even the previous one En Kaaviriye. I feel the xylophone sound is from synthesizer.

Sure will be very glad to continue with the missing ones from 80's. Thanks for the great offer and your great compliments. :D

[crvenky]

VS, amazing write up. One more addition I want to make in Maestro's singing: when he stretches the line after 'karmugile..' Watch in the video @ 3:50 and 4:1. It provides a different perspective to the melody. Great work!

[V_S]

crvenky,
Thanks a lot for your nice comments. :smile: I watched the video again many times, but unfortunately I could not get it. Would you please elaborate on it? Eager to read that perspective.

[app_engine]

Very interesting write-up, V_Sji (actually a lot more interesting to read your article than watching the dull video :lol2:).

I'm hearing this song for the first time, nice song!

[V_S]

Oh Nice App sir! How did you like the song (since your heard for the first time)? Thanks for your wonderful comments. I watched the movie only once but no memories of it except I know Annan and Senthil were there, but I had the audio cassette of this film.

[Sunil_M88]

If I didn't watch the video or read your write up, I would've definitely missed the sober point of this song. It's down to the jovial singing, santoor and dholak that the Maestro changes the face of the song for the better side. Look forward to your write-ups on the 90s. :thumbsup:

[V_S]

Thanks Sunil :smile: Will catch up the missed one in 80's (should be very few) and will go onto glorious 90's. :D

[app_engine]

Thanks Sunil :smile: Will catch up the missed one in 80's (should be very few) and will go onto glorious 90's. :D

Did we have all of those from 70s, V_Sji?

[V_S]

App,
I had these songs in my list of 70's collection, but all in 1979. Not sure if we had IR duets prior to this year.

Maalai Sevvanam 1979 Ilaiyaraaja, Swarnalatha Ilaiyaraajaavin Rasigai --> I don't know why I classified this in 70's as the movie never got released. May be from IR's tone and orchestration. Please clarify if any one has more details about this movie and when the songs were relesed. Still would be covering this next, most probably.
Thenamarathula 1979 Ilaiyaraaja, P Susheela Lakshmi (covered)
Thottam Konda Rajave 1979 Ilaiyaraaja, Jency Pagalil Oru Iravu (covered)
Unakkena Thaane 1979 Ilaiyaraaja, Sarala Ponnu Oorukku Puthusu (covered)
Saamakozhi 1979 Ilaiyaraaja & S P Shailaja Ponnu Oorukku Puthusu (covered)

Please add missing ones to this 70's list, will be happy to write about them.