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

V_S

22nd June 2011, 06:03 AM

App & Sunil,
Yes there are lot more totally considering all languages. If you are looking for just 'Greatest IR duets' it might limit to 75.
1. Ignoring male-male duets which he has sung a lot.
2. Ignoring songs which are sung by more than 3 or more singers.
3. Ignoring songs by Ilaiyaraaja and Chorus only. (considering them as solos)

Here is the list I have got from my collection. There are still a lot missed here.

Ey Thannee 1979 Ilaiyaraaja, S Janaki Kadavul Amaitha MEdai
Maalai Sevvanam 1979 Ilaiyaraaja, Swarnalatha Ilaiyaraajaavin Rasigai
Thenamarathula 1979 Ilaiyaraaja, P Susheela Lakshmi
Thottam Konda Rajave 1979 Ilaiyaraaja, Jency Pagalil Oru Iravu
Unakkena Thaane 1979 Ilaiyaraaja, Sarala Ponnu Oorukku Puthusu
Saamakozhi 1979 Ilaiyaraaja & S P Shailaja Ponnu Oorukku Puthusu
Siru Ponmani 1980 Ilaiyaraaja & S Janaki Kallukkul Eeram
Thoppiloru Naadagam 1980 S P Shailaja, Ilaiyaraaja, Malaysia Vasudevan Kallukkul Eeram
Kann Malargalin Azhaipithal 1980 Ilaiyaraaja & S Janaki Thai Pongal
Kadhal Oviyum 1981 Ilaiyaraaja & Jency Alaigal Oiyvathillai
Vizhiyil Vizhunthu 1981 Ilaiyaraaja & B S Sasirekha Alaigal Oiyvathillai
Onnum Onnum 1981 Ilaiyaraaja, S Janaki Ellam Inba Mayam
Yeriyile Elanthamaram 1981 Ilaiyaraaja & S Janaki Karaiyellaam Shenbagapoo
Ponnoviyam 1981 Ilaiyaraaja & S Janaki Kazhugu
Alalu Kalalu 1981 Vani Jayaram, Ilaiyaraaja Seethakoka Chiluka (same as Vizhiyil Vizhunthu)
Thamizh Sangathil 1982 Ilaiyaraaja & S Janaki Auto Raja
En Gaanam 1982 Ilaiyaraaja & Jency Eera Vizhi Kaaviyangal
SollikKodu Sollikkodu 1982 Ilaiyaraaja, B S Sasirekha Kelviyum Naane Bathilum Naane
Rasigane 1982 Ilaiyaraaja, S P Shailaja Manipoor Maamiyaar
Mettil Olli Kaatrodu 1982 Ilaiyaraaja, S Janaki Metti
Sevvarali Thottathile 1983 Ilaiyaraaja & Uma Ramanan Bagavathipuram Railway Gate
Chinna Ponnu 1983 Ilaiyaraaja & S Janaki Malaiyoor Mambattiyaan
Velakkuvecha 1983 Ilaiyaraaja & S Janaki Mundhanai Mudichu
Meham Karukayile 1984 Ilaiyaraaja, Uma Ramanan Vaidhegi Kaathirunthaal
Oru Jeevan [Pathos] 1985 Ilaiyaraaja, Chitra Geethanjali (Tamil) (Similar to happy version)
Malarae 1985 Ilaiyaraaja, Chitra Geethanjali (Tamil)
Oru Jeevan 1985 Ilaiyaraaja & Chitra Geethanjali (Tamil)
Thulli Ezhunthathu 1985 Ilaiyaraaja & Chitra Geethanjali (Tamil)
Ooroama Aathu Pakkam 1985 Ilaiyaraaja & Chitrai Idhaya Koil
Antha Nilavathaan 1985 Ilaiyaraaja & Chitra Muthal Mariyaadhai
Poo Maalaye 1985 Ilaiyaraaja & S Janaki Pagal Nilavu
Dhevanin Kovil 1986 Ilaiyaraaja & Chitra Aruvadai Naal
Naan Thedum Sevvanthi Poovithu 1986 Ilaiyaraaja & S Janaki Dharma Pathini
Adi Athadi 1986 Ilaiyaraaja & S Janaki Kadalora Kavithaigal
Kaadhala Kaadhala 1986 Ilaiyaraaja, Chitra Thaaikku Oru Thaalaattu
Naarinil Poothoduthu 1987 Ilaiyaraaja, Chitra Irandil Ondru
Rettai Kili 1987 Ilaiyaraaja, Chitra Graamathu Minnal
Vatti Eduthu 1987 Ilaiyaraaja, Chitra Graamathu Minnal
Saan Pillai Aanaalum 1987 Ilaiyaraaja, S Janaki Manaivi Ready
Siruvaani Thanni 1988 Ilaiyaraaja, Shailaja & Sunantha Enga Ooru Kaavakkaaran
En Kaaviriye 1989 Chitra, Ilaiyaraaja Enga Ooru Maappillai
Indha Maan Undhan 1989 Ilaiyaraaja & S Janaki Karakaattakaaran
Mannavan Paadum 1989 Ilaiyaraaja & P Susheela Pongi Varum Kaaveri
Kanne En Kaarmughile 1989 Ilaiyaraaja, Chitra Thangamaana Raasa
VeLLikizhama Thala Muzhugi 1989 Ilaiyaraaja, Chitra Siva
Machi Mannaaru 1990 Ilaiyaraaja, Chitra En Uyir Thozhan
Sorgame Endraalum 1990 Ilaiyaraaja & S Janaki Ooru Vittu Ooru Vanthu
Enga Ooru Kadhala 1990 Ilaiyaraaja, Asha Bhosle Puthu Paatu
Nethu Oruthara 1990 Ilaiyaraaja, Chitra Puthu Paatu
Amuthoorum Thean Piraiye Aara 1990 Ilaiyaraaja, S Janaki Urudhi Mozhi
Kalaya Nijama 1991 P Susheela, Ilaiyaraaja Coolie No. 1
Kuyil Paattu 1991 Ilaiyaraaja & Swarnalatha En Raasaavin Manasile
Indiran Sundariyo 1991 Ilaiyaraaja & S Janaki Ennarugil Nee Irunthaal
Maadhulam Kaniyey 1991 Ilaiyaraaja, S Janaki Saami Potta Mudichu
Enni Janmalaina 1991 S Janaki, Ilaiyaraaja Sri Yedukondala Swamy
Punnagayil Minsaram 1992 Ilaiyaraaja & S Janaki Bharathan
Valli Valli 1992 Ilaiyaraaja & S Janaki Deiva Vaakku
Aagaya Thamarai 1992 Ilaiyaraaja, S Janaki Naadodi Paattukaaran
Oru Ganam 1992 Ilaiyaraaja & S Janaki Naadodi Thendral
Maniye Manikuyile 1992 Ilaiyaraaja, Mano & S Janaki Naadodi Thendral
Kannamma Kaathal 1992 Ilaiyaraaja, S Janaki Vanna Vanna Pookkal
Nooru Vayasu 1994 Ilaiyaraaja, Female Singers Adharmam
Netru Vantha Kaatru 1994 Ilaiyaraaja, S Janaki Kannmani
Nyaabagam Ilayo 1994 Ilaiyaraaja, S Janaki Priyanka
Nilaatha Venila 1995 Ilaiyaraaja, Swarnalatha Aanazhagan
Thendral Vanthu 1995 Ilaiyaraaja & S Janaki Avatharam
Arigarattha 1995 Ilaiyaraaja & S Janaki Avatharam
Oru Santhana Kaattukkulle-Duet 1995 S Janaki, Ilaiyaraaja Ellaame En Raasaathaan
Nil Nil Nil 1995 Ilaiyaraaja & Uma Ramanan Paattu Paadavaa
Entha Jenmam 1996 Ilaiyaraaja, S Janaki Ezhumalaiyan Mahimai
O Prema Devathe 1996 Ilaiyaraaja & Chitra Ghulaabi
Kaalapaani - Maarikoodinulil 1996 Chitra, Ilaiyaraaja Kaalapaani
Omkaaradi Kande (Duet) 1996 Ilaiyaraaja & Chitra Nammura Mandara Hoove
Tholmele Tholmele 1996 Ilaiyaraaja & Sujatha Poomani
Chikkamangaloora Chikkamallige 1996 Ilaiyaraaja & Chitra Shiva Sainya
Bhoodyaviya Habba Habba 1997 Ilaiyaraaja, Napolean, Sunitha Bhoomi Geethe
Naal Thorum 1997 Ilaiyaraaja & Kavitha Krishnamurthy Devathai
Oru Aalampoovu 1997 Ilaiyaraaja, Chitra Punniyavathi
Aalaramarathu 1998 Ilaiyaraaja & Sujatha Annan
Vayasu Pulla 1998 Ilaiyaraaja & Sujatha Annan
Ye! Konji Pesum 1998 Ilaiyaraaja, Sujatha Kaathal Kavithai
Koottu Kuyilai 1998 Ilaiyaraaja, Hariharan, Bhavatharini & Chorus Manam Virumbuthe Unnai
Aalapirantha 1998 Ilaiyaraaja, Chitra Veera Thaalaattu
Amman Koyil 1998 Ilaiyaraaja, S P Shailaja Veera Thaalaattu
Azhagey 1999 Ilaiyaraaja, Chitra Anthapuram
Asalem Gurthukuradhu 1998 Ilaiyaraaja & Chitra Anthapuram
Sri Ramane 1998 Ilaiyaraaja & Chitra Kangalin Vaarthikal
Ini naalum 2000 Arunmozhi, Ilaiyaraaja, Swarnalatha Thirunelveli
Kommallo 2002 Ilaiyaraaja & Sadhana Sargam Ninnu Choodaka Nenudalenu
Sihi Gaali Sihi Gaali 2007 Ilaiyaraaja/Nanditha Aa Dinagalu
Elli Iruve Swarave I 2007 Ilaiyaraaja, Nanditha Ajanthaa
Yaarum Thodaatha Ondrai 2007 Ilaiyaraaja & Shreya Ghoshal Ajanthaa
Elli Iruve Swarave II 2007 Ilaiyaraaja, Nanditha Ajanthaa
Koothu Onnu Koothu Onnu 2008 Ilaiyaraaja & Beji Dhanam
Maalai Nila 2008 Ilaiyaraaja & Manjari Kangalum Kavipaduthey
Chandamama 2008 Ilaiyaraaja, Shreya Ghoshal Mallepuvvu
SMS - Shubha Niyogam 2008 Bhavatharini & Ilaiyaraaja SMS
Karugamani 2009 Ilaiyaraaja, Bela Shinde Azhagar Malai
Nannanne Noduvanu 2009 Shreya Ghoshal, Ilaiyaraaja Bhagyada Balegara
Chendulli Chenduli 2009 Ilaiyaraaja, Shreya Ghoshal Bhagyada Balegara
Muthuthara Muthamma 2009 Ilaiyaraaja, Bela Shinde Nannavanu
Ambum Kombum Komban Kattum 2009 Ilaiyaraaja, Manjari, Kuttappan Master & Team Pazhassi Raja
Rangu Rangu 2009 Ilaiyaraaja, Shreya Ghoshal Prem Kahani
Oli Tharum Sooriyan 2009 Ilaiyaraaja, Bela Shinde Vaalmiki
Viduthalai Kuyil Naan 2011 Ilaiyaraaja, Neha Ayyan

Please fill in the missing numbers. We can discuss songs one by one.

PS: Corrected singers name, added songs as per Sureshs65, App and Sunil_M88.

Sunil_M88

22nd June 2011, 06:09 AM

:ty: V_S :clap:

22nd June 2011, 07:29 PM

Adra sakka!!! Adra sakka!!! Whattey listu!!!
Thanks a ton V_S! A consolidated list like this is surely nice to have.

app_engine

22nd June 2011, 07:35 PM

We can discuss songs one by one.

Superb list :thumbsup:

V_S,
Why don't you please take the lead in discussing them one by one? :-)

V_S

22nd June 2011, 08:10 PM

Sure, Thanks a lot guys for your encouragement! Let me try:smile:

Sureshs65

23rd June 2011, 01:22 PM

V_S,

Amazing list.

I think I did not see 'tiruvonam tiruvonam vandhallo' from "Kavalai Padaadhe Sahodhara" in that list. That is Raja and Sujatha.
'Kalayaa nijamaa' from Coolie No:1 is by Raja and Susheela.

skr

23rd June 2011, 05:58 PM

That was a wonderful list V_S ..
Like App does in the Golden Era thread , i guess you being a wonderful writer should also start taking us on a wonder trip by describing all the compositions :)

Btw one thing which i always wanted to ask you Hubbers is how do you guys sort your IR Songs considering there are so many..Is it something like Yearwise or Moviewise or customizing based on language/duet songs/solos/orchestra/actor etc ?

23rd June 2011, 06:47 PM

The collection on my hard disk is rather assorted. The oldest folder 'Raja' is a mixture of songs from various time periods and languages, but mostly mianstream/popular hits. Then for the next few years (being faithful to a programmer's ethics) there were IR new, IR latest, Raja latest, IR new latest, etc!
Its marginally better now with any new addition to the collection going under the respective language, but overall its still an organizer's nightmare!

skr

23rd June 2011, 07:10 PM

Tell me about it being an organizer's nightmare..Its so difficult to classify songs of Maestro..
As of now im having an excel list yearwise with the movie name..So its divided into folders of years and movies in that year will be in different folders under that folder..The list comes upto more than 700 movie folders over 35 yr and comes upto 16.5 GB..But then its only Tamil ..Again the problem is if you wanna hear an awesome song , you may not know the film and you need to search..But having an excel list helps ..

V_S

23rd June 2011, 08:03 PM

Sureshji, Yes there might be many missing and mistakes here and there, but I usually correct the singers whenever I listen to them. Thanks, I will correct it and include this song to my list once I get them.

skr,
Yes it takes years to organize, not just hours or days, because Raja has given us so much in these 35 years. Whenever I get any new songs (not literally new, just new to me) I usually write all the tags (song name, album, album artist, actual artist, composer, year, grouping (includes raaga, emotion, instruments etc), comments etc) immediately and upload to my itunes library. In iTunes I have a huge playlist for every criteria, but it's an ongoing process to create playlist. In iTunes we can create smart playilst based on tags and grouping. The one which says Ilaiyaraja's duets where we have to specify the criteria what we want. That's it.:smile: iTunes - Best software if you have a huge collection.

Sureshs65

23rd June 2011, 09:09 PM

Wow. Never knew listening to Raja was so much work. Honestly V_S I envy you. I will never get there. No way.

I have absolutely no organization at all. One reason being I listen mostly from CDs and tapes. So in a way you can say I am organized :) I probably should get one of the old style Apple ipod with some 80GB and then convert the songs and upload them. Not going to happen anytime soon!!

23rd June 2011, 09:35 PM

Ah! skr, V_S, you guys surely are advanced in your cataloging there! Suresh, my new additions are all originals as well; like you said, makes it simpler to organize.
V_S, just curious, how did you put together your list? Type panningla sir?

skr

23rd June 2011, 09:55 PM

I had a 160 GB ipod..i tried to be too cheeky and even tried to add album image for all films but it was a never ending process..A big problem is the songs may have different spellings of Ilaiyaraja..so it goes haywire at times and you will have trouble searching esp if you have a huge collection..Media Monkey is a good software for tagging songs ..

Sureshji , get one soon :) Sometimes with CD's and tapes it becomes difficult to search for specific songs..I got my 160 GB 3 yrs ago at Maya Plaza for just 14 K.Now i suppose it shd just be about 10K or so..but again overloading too is an issue and sometimes collecting songs may overrule ur listening interest ..

V_S Its impressive to hear u tag songs then and there..Seems like u have a very impressive collection of Different Raja playlists .. Interested to know what all playlists you have ..

V_S

23rd June 2011, 10:01 PM

Yes sir, I started organizing from 2003 (after I came here) and still doing it. I type everything, spending hours together at night after everyone sleeps. It's a very tedious process, but I am doing for Raja (and my favorite composers). Once the tags are perfect, we can create any number of smart playlists to our taste, without that it is very difficult.
In fact when I see it on iPod, it is very easy to listen not to search anymore. After uploading to iTunes and iPod I check if I mis-typed any names, if so the singer names will appear twice for example (Shreya Ghoshal, Shreya Ghosal), so I go back and correct it.

Even the original CDs has some tags, but not the tags I wanted. For example in Composer field, they might leave it blank or with all sorts of 'Ilaiyaraja', 'ilayaraja', I had to correct it to 'Maestro Ilaiyaraaja' so that If I select a Composer it had to be all songs from him. Again it's not just Raja, but the same holds true for every other composers and singers.

Just the word 'Music' gives me lot of pleasure, so I don't feel tired doing it. Just from old MKT, KL Saigal to Karthik, Shreya and Sonu music is always special.

skr

23rd June 2011, 10:30 PM

V_S You are a true music fan..
Amazing to know you take so much effort in organising your songs..
but what the hell you are doing it for good music ..It must be a delight seeing your musical collection ..

skr

23rd June 2011, 11:29 PM

Sometimes i feel i shd get a 1/2 TB Hard disc and load everything into it..There will be so much space that even if there are repeats it shdnt be a problem..
Some good Raja playlists i can think of are..
Singer hits such as SPB/KJY/MV/SJ/PS Hits , Duet Hits , Vintage 70's , Magical 80's ,New Hits ,Director wise such as Mahendran/Balu M/Mani/KB etc,Malayalam Classics,Non filmi,Counterpoint Brilliance,Boss of Bass , Raja's Fugue,Fusion Raja, Laya Raja,Natana Raja,Orchestral highlights,Rare Gems,Mindblowing BGM's,Carnatic Classics,Raga classification and so many many many more ..Phew

V_S

23rd June 2011, 11:30 PM

Thanks skr for your compliments.:smile: Our composers (especially old-time composers) have given us so much, I don't want to miss them. They and their compositions are our treasures. I certainly feel quality is only there.
Actually if you see, it does not take that much time unless you are doing too much at one time. Since I have huge interest in old compositions, especially hindi songs from 1930's till 1970's, I spend most of my time there listening and organizing, apart from old tamizh songs (starting from MKT, PUC, G Ramanathan, SVV, C R Subbaraman, RajeswarRao, Ghantasala, KVM, MSV-TKR, MSV the list is endless), western classical and old western songs. Recently started collecting old Malayalam songs. Whenever I go to India or someoneone coming from India (will be eyeing whoever goes or comes) will be getting huge collections. All these add up to my collections and organizing time.

So in a way you can say I am organized :) I probably should get one of the old style Apple ipod with some 80GB and then convert the songs and upload them. Not going to happen anytime soon!!
Sureshji, For example, If you have 4000 songs of IR and if you tag 20 songs per day (not strictly again daily), you will complete it within one year.

V_S

24th June 2011, 08:19 AM

Btw one thing which i always wanted to ask you Hubbers is how do you guys sort your IR Songs considering there are so many..Is it something like Yearwise or Moviewise or customizing based on language/duet songs/solos/orchestra/actor etc ?
All my hard disk folders start from My Music-"Type of music Indian, Western".
My Music->Indian->1. Hindi 2. Malayalam 3. Tamizh 4. Kannada 5.Telugu (each folder)
My Music->Western->1. Individual composer folders 2. Classical (Middle age, Medeival, Renaissance, Classical, Romantic, Contemporary) folders->Composers for each era (one folder each)
Under Indian->Tamizh->1. Devotional. 2. Classical. 3. Film Music 4. Private Albums, 5. Misc.
Under Indian->Classical->1. Hindustani 2. Carnatic 3. Ghazals etc.. (individual composers has subfolder under each category)
Under Indian->Tamizh->Film Music->Composers (one folder for each composer)
Under Indian->Tamizh->Film Music->Composers->Maestro Ilaiyaraaja (one folder for each year starting from 1976 to current, same holds true for every composer).

With respect to Hard drive these are the only folders. Rest classifications including sorting the songs year wise or movie wise (however you want) under each playlist all taken care by iTunes. The tags can be created after uploading to iTunes and it will be reflected in the hard drive on the respective music file itself directly. So any new song will go to its respective folder in hard drive and uploaded to iTunes. Hope this helps! :smile:

V_S

24th June 2011, 09:22 AM

Let's start with Sunil's first favorite of Raja's duet, 'Thennamarathule Thendral Adikkuthu Nandhavanakkuyile' from Lakshmi.
Perfect, fast, rustic, innocent folk song. I can certainly feel the way Raja composed is the way it is usually sung in villages, with no adulterations. No forced additional improvisations just for listeners sake and pleasure, like we hear nowadays. In fact any song of Raja is like that. We will never be in any confusion whether it is folk, classical, western. Again there is no question about the mood and the setting of the song. It will directly take you on your first listen where it is intended to take you. As a listener there is a clear cut vision in front of you with no ambiguity what this song is conveying to you , eventhough you are only listening. Such magic cannot be conveyed by most other composers at the first listen. Just like when a baby smiles, it immediately captures our heart and you forget yourself and smile with no inhibition. this song is like that, immediately will fall in love. The vocals add to the innocence all over. Bubbly young and unique voice of Raja. Also can hear legendary P Susheela enjoys singing with Raja. All the music complexities are hidden and will be unknown to you, unless you are ready to go to next level of exploration. The interludes eventhough uses western instruments, the tone it creates is clearly folk, that's the magic for you! All the instruments have to bend for Raja. Is this the reason why Raja calls even western classical music is ours.
http://www.youtube.com/watch?v=E5RqfXUqXcc

Sureshs65

24th June 2011, 12:26 PM

V_S,

Wonderful song to start with. Well written description by you.

I heard this around a year back when I bought a CD which had only Raja. Love this song.

tvsankar

24th June 2011, 02:23 PM

VS,
Nicely told........... Raja music pola.. simple a solra madhiri... Great a Fill pannitteenga.............
Pl continue your service...............

Plum

24th June 2011, 03:35 PM

One Tip on organising - I used to have a lot of folders and sub-folders which tends to get too much of a maze. So, I simply decided to have it in the file name which goes something like

<Language>_[Year OR Decade]_MovieName_SongName

(e.g.) Tam_1976_Annakili_MachanaParthingaLA or Tam_1970s_Annakili_Machana
Where data is unknown which is usually for film name or year it is Tam_1970s_Unknown_Songname

It makes searching a song very very easy. Rest of it depends on the tags - I have only used simple Windows Media player so far and fairly tagged them all. But then I have only about 800 songs of IR on hard drive so it wasnt that difficult

skr

24th June 2011, 05:58 PM

All my hard disk folders start from My Music-"Type of music Indian, Western".
My Music->Indian->1. Hindi 2. Malayalam 3. Tamizh 4. Kannada 5.Telugu (each folder)
My Music->Western->1. Individual composer folders 2. Classical (Middle age, Medeival, Renaissance, Classical, Romantic, Contemporary) folders->Composers for each era (one folder each)
Under Indian->Tamizh->1. Devotional. 2. Classical. 3. Film Music 4. Private Albums, 5. Misc.
Under Indian->Classical->1. Hindustani 2. Carnatic 3. Ghazals etc.. (individual composers has subfolder under each category)
Under Indian->Tamizh->Film Music->Composers (one folder for each composer)
Under Indian->Tamizh->Film Music->Composers->Maestro Ilaiyaraaja (one folder for each year starting from 1976 to current, same holds true for every composer).

Wonderful organisation of songs V_S :bow:
Would want to come one day to US and take your collection :)

skr

24th June 2011, 06:00 PM

Getting back to the actual topic ..
Nice description of Thennamarathule ..

app_engine

24th June 2011, 07:26 PM

"தென்ன மரத்துல தென்றலடிக்குது" என்று ராசா பாடினாலும், கேக்குறவங்களுக்கு தென்ன மரத்துக்குக்கீழ நின்னு கள் குடிக்கும் அனுபவம் :-)

V_S

24th June 2011, 07:48 PM

Thanks Sureshji, Ushaji, skr, App. Ilaiyaraaja is always very special to me as a singer as no one other than him can convey the right emotion perfectly for any song as he is source and 'kartha'. As App always mentions 'karumbu thinna kooliya' very true and it a pleasure and honor to write about him.

Plum, Very nice tip and that should ease some complexities of sub folders, thanks.
skr, Another tip which I forgot to mention, please don't forget to take multiple backups(again depends on how frequent you update your database) as this is all your hardwork;)

Sureshs65

24th June 2011, 07:52 PM

It makes searching a song very very easy. Rest of it depends on the tags - I have only used simple Windows Media player so far and fairly tagged them all. But then I have only about 800 songs of IR on hard drive so it wasnt that difficult

For you it is easy, because you use the 'Plum mode' to play the songs :lol: The retrieval is fast and the clarity is superb!!!

Sunil_M88

24th June 2011, 09:20 PM

V_S :bow:

When I started this thread, I wasn't sure about the outcome but you my friend have given us a new face by being the life to this thread. I respect your hard work in organizing your library of Raaja's material.

App
I heard the songs you posted :) and I felt as V_S rightly implied that Raaja's vocals definitely get into the skin of the character as witnessed in Kuthikkira Kuthikkira. His youthful laughter towards the end provides a rustic appeal which draws us deeper into mother nature.

V_S

24th June 2011, 09:34 PM

Thank you so much Sunil! Delighted to see you enjoying Raja's vocals. Rightly said, it is mother nature. I also request you and our friends to contribute their favorite Raja's duets.

rajkumarc

24th June 2011, 10:04 PM

Sorry for the digression... discovered this thread a bit late. Brilliant job V_S in listing out IR's duets and thanks a lot for the invaluable info on organizing your music library. I spent a lot of time too tagging & organizing all my music files, starting first with IR's first and it took me more than a year to figure out a workable solution. As you rightly said, it does give one lot of pleasure to do this work as the music collection is surely a treasure that will be worth preserving at all costs. Maybe we should discuss this in a a separate thread especially on backup solutions and organizing tips.

Will let you continue with the objective of this thread :smile:, eagerly looking forward to your writings on IR's duets.

V_S

25th June 2011, 12:41 AM

Thank you sir! :smile: Please fill in your Raja favorites.

Sunil_M88

26th June 2011, 04:17 AM

Karunga mani from azhagar malai - http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00745&lang=en

the female singer is uncredited :(

The darbuka percussion gets the song going and the mood is set with the ambient female chants which supports the glaring folk touch. Raaja's rawness is what polishes the song. Any thoughts on who the female singer is? She compliments Raaja at every step of the song. Usually I consider myself good at reviewing songs but this is of them song which you do not just hear but have to experience it to capture the essence of it. Believe me, it does cast a magical spell.

Sunil_M88

26th June 2011, 04:25 AM

I just referred to V_S's ever educational list and the singer is Bela Shinde

V_S

26th June 2011, 04:46 AM

Sunil, yes it's Bela Shinde. Wonderful pick and one of the best of Raja duets and one of the best Raja songs ever! Beautiful flow like a gentle stream! The highlight is the soul is retrained by the use of synth and not live instruments. It all depends on the composer how best to use the resources.
One of the best interludes in recent times and long one too (37 secs). One best innovation in the song is the magic flute @3:33 (end of second interlude) which comes just for a second. What happens if there is no flute there? Even after doing all the hard work in the interludes, this is the only place where it gives lead to the singers, just like a bridge between two different sides of landscape. If it's not there, the song is out of place. Here again, we are taking about the precision that how every note and every instrument counts and no note is wasted and there is not one extra note!

Sunil_M88

26th June 2011, 05:41 AM

Sunil_M88

26th June 2011, 05:57 AM

Amma Paamalai (I think it's a private album, apologies if I'm wrong)

Thiraipaadal suggests all songs are by both Raaja and Bhavadharani but after hearing the only duet is Kolloorammaa.

http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00739&lang=en

V_S

26th June 2011, 10:24 AM

This film's music is again is full of hits written all over. I am not sure how this film fared but the storyline is impressive and ahead of its time (but this is another topic to discuss). Starting from Ilamai Enum Poongaatru, Ponnaaram Poovaaram, Thaamtha Theemtha and Kalayo Silayo. All the above songs were all solos put to perfection by well known singers at that time, SPB, SJ and PJ. They already proved with their full song rendition. All left for Raja is just one song, Thottam Konda Raasave, that too a duet, so actually only half of the song Ilaiyaraaja has to sing with chorus too becoming part of the song. Apart from that, he has to bring young Jency upto speed to support him to come up as a winner. As a fan of Raja as a singer, the pressure is on me :smile: How he is going to prove against the giants. The song he has chosen is totally different from all the above four. They were striking melodies. Also there is a common misbelief that if Raja gives 3 or 4 good songs in a movie, the remaining ones will be a average/passby stuff and most of them would tag this song as such. Every song has come out of the same person with same amount of interest, it is just that some don't like it. How did this song fare against the rest.

I believe this song is sort of wedding reception/night song but in tribal outfit. As the lyrics suggests, the song describes the beauty of the bride. Excellently brought out by Kaviyarasar Kannadasan in tribal slang. All the songs in this film is by Kaviyarasar. Some of the best lines:

பூத்தமல்லி காத்தடிச்சு பொண்ணு ரூபம் ஆச்சுது கண்ணு ரெண்டும் பேசுது
பொட்டு வெச்சு பார்த்தா தாமரை பூவு சூடிச்சு பார்த்தா அம்மன போல
கட்டி தங்கமே தோட்டத்து மாம்பழம் உன்னை வெல்லுமா

Starts with haunting tribal chorus and beats with that beautiful flute. When he starts 'Thottam Konda Raajave Soodikonda Raasaathi' with that brisk and full open throated voice, he hits you with the soil rawness and takes over you completely. Raja's diction again is unquestionable, perfect in every sense and he tried the same for Jency and that's where the duet sync's up beautifully with the added chorus and interludes.The energy he brought up in the song is so overwhelming. Very fast paced song peaking up at the end.

And these are times Raja started proving that this is his home turf and these kind of songs are cakewalk for him. Those times we used to discuss 'is it possible to sing film songs with this voice?' Again a popular conservative misconception that time was only voices like SPB, TMS, PS, PJ were suitable for singing. As we kids (and even elders) used to think the voice was so raw and never heard much before, but slowly and steadily this immaculate voice captured everyone and rest as we know is history. Then came another contrapuntal belief that only if he sings the title, the film will be hit.

So, Did Raja stand the test with this tribal song? Of course, Yes with a bang!
http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00476&lang=en

app_engine

26th June 2011, 06:10 PM

Great write-up, V_S!

A dearly loved album and song :-)

We've touched upon this tribal thingy a few times on 'last song heard' thread.

Director : ராஜா, அடுத்த பாட்டு சிச்சுவேஷன் ஒரு காட்டு நடுவுல, ட்ரைபல்...

IR (not allowing the director to finish talking, charged up already, as if he were under a spell) : கெளம்புங்க, ரெகார்டிங் தியேட்டருக்கு!

V_S

26th June 2011, 08:20 PM

Thanks App. Very apt description about Raja and Tribal situation. No need to essay, just the word is enough, rightly said.

V_S

27th June 2011, 09:21 AM

Unakkenathaane Innerama - Ponnu Oorukku Puthusu.
Here again comes Raja, Jency duet. (I stand corrected as the list says S P Shailaja, but it's clearly Jency). Starts with flute, guitar and santhoor. The flute clearly tells it is a song of the night. Couple sing their pain of their separation and about their sleepless nights. But it's not that simple of emotion. The song has little bit of every possible emotion due to their separation. Longing, nostalgia, discontent. The interludes switches back to their dreams. Not to forget the bass guitar in all folk galore.

The first flute interlude is very different, it just comes and goes between the percussion when the situation changes from night to day as they dream of their nostalgic past.

Here comes the best part:
I used to listen to this song frequently and wonder and question at one place, but I didn't get answer until recently till I watched the video. Thanks to dhinakar for the youtube video. Beauty is @2:13 there is a sudden stop in the song for a second. Wonder why? Never expected a stop here as it has to continue. It is as if Maestro says to the couple, just wait guys, I am switching you guys back to another dream. Then he says you are set now. :smile: Wow! :notworthy: (Friends that was just my interpretation, please put in your thoughts on this sudden stop). Here in their dream, guitar plays to signify their brighter days.

While switching back and forth (from night to day and back) is under way till second interlude, again Maestro swings another surprise in third interlude. Here there is no switch back, but a switch forward to a travel sequence in the night where there is a typical village song/dialogue to divert the sleep of the bullocks and cart drivers.

Wonderful piece, but don't know who the singer is:
தேவாரம் ரோட்டு வழி தென்சென்னை போற வண்டி
போடி வழி போகும்முன்ன ரோடு ரொம்ப மோசமடா, ரோடு ரொம்ப மோசமடா

Here again Maestro lends his typical voice, beautiful piece in the song.
ஏய்.. வந்த பாதைய மாத்தாதீங்காடா, அப்படியே ஒட்டுங்கடா..

ஒடம்பு வலி தெரியாம ஒட்டுங்கடா காளைகளா
பத்திரமா கொண்டு போனா பருத்தி கொட்டை வாங்கித்தாரேன், பருத்தி கொட்டை வாங்கித்தாரேன்

And then the third charanam continues just after a brief temple darisanam.

Sober Melody! Raja and Jency bring the right emotions by not going too pathos and not going too sentimental and not showing too much emotions. The balance is perfectly done. Please remember still this was one of their first songs for this situation.

Also from the tune, it seems to me it is hindustani based raaga. Blending and bending hindustani classical for a pukka TN folk based song. Only Maestro can take these audacious steps. :notworthy: No words to explain the intellectual brilliance, except I get a lump in my throat.

Unakkenathaane Innerama - Two in-swingers, two out-swingers and one right in the blockhole and knocked out the middle stump!
http://www.youtube.com/watch?v=23HjxccyBxk

tvsankar

27th June 2011, 12:05 PM

V S,,
Very NIce Write up............ Mood.. Feelings.. Expressions... Indha paatu dhan romba best example for Raja.......
you tube iruka.. nice... paatai. adhigam kedukadha oru picturisation nu feel panren.....
naan Typical village Brought up......... indha night - amaidhi.. elam 10 manikae irukum enga oorula.. apo - enga veetu road melae.. unmaiyana
maatu vandi pogum. sila samayam, varisaiya pogum... idhu epavum nadakaradhu dhan.. anal indha paatai kaetadhum,
enaku vandha acharyam.. epadi - nejathil irupadhu pola.. isaiyil.. endru Raja mel.. Indha paatin mel irukum indha acharyam.. inniki varaikum..
irundhudae irukae.. idhu dhan Composing and the Orchestration value enbadhu... idhil Raja Raja dhan.............

Thanks V S.................. Ungalin Writings ku..............

app_engine

27th June 2011, 06:27 PM

Here's a comment in BR's blog (http://baradwajrangan.wordpress.com/2009/01/10/between-reviews-a-little-midnight-music/#comments) by Raj (Plum's close friend) on mAttu vaNdi song :

deepauk, with due respect to his 90′s songs, you must remember his 70′s songs – during those times, he used to reserve the upbeat folksy ones for himself – think amman kovil kezhakkale, solam vedhakkiyile, oru manjakuruvi, samakozhi etc – and the odd unakkena thaane innerama and vaadai vaattudhu. The last two transport you to a gramthu thinnai and kayithu kattil with only the nilavu staring at you from the top, and a gentle breeze flowing through. I swear, if you have never been to a village, but have listened to these songs, and if you later visit a village and are in the scenario I mentioned, you will feel deja vu – thats how authentic they are. To me, that is Raja. It is not that his music can evoke an ethos and place I knew before, it is like hearing his music even if alien to me creates that atmosphere so much so that when I later visit such a milieu, I feel deja vu even though I have no other reason except that Raja has evoked that mood in me.
I had this experience with Godavari theeram – Raja’s music was the last thing on my mind when I visited west godavari district for a few days but it was his vayyari godaramma, vennello godaari, kinnera sani and the second interlude of suvvi suvvi that kept looping through my mind involuntarily, automatically. Now that is some art for you…

Excellent write-up V_S!

I think the singer is neither Jency nor SPS...the odd one-song name doesn't come to mind quickly :-( I remember posting that name in the last-song-heard thread...

app_engine

27th June 2011, 06:59 PM

ok, her name is Sarala.

There is a nice blog post (http://nagoorumi.wordpress.com/2011/06/05/%E0%AE%95%E0%AF%81%E0%AE%B0%E0%AE%B2%E0%AF%81%E0%A E%95%E0%AF%8D%E0%AE%95%E0%AF%81-%E0%AE%B5%E0%AE%AF%E0%AE%A4%E0%AE%BF%E0%AE%B2%E0%A F%8D%E0%AE%B2%E0%AF%88/) about her :-)
http://nagoorumi.files.wordpress.com/2011/06/sarala-2.jpg?w=217&h=300

app_engine

27th June 2011, 07:02 PM

A new tidbit there :

கண்ணன் ஒரு கைக்குழந்தை – என்ற சுசீலா பாடிய பாடலை முதலில் இவரை வைத்துத்தான் இளையராஜா பாடச் சொல்லியுள்ளார். பாடலின் அந்த வரிகளை பாடிக்காட்டினார்.

V_S

27th June 2011, 07:39 PM

Ushaji,
Well written about your nostalgic moments. :clap: Unga graamathukke pona oru feeling. This song should be heard at night looking at the sky, stars and moon. It gives a very gentle feel and before this songs finishes we will be asleep. An excellent lullaby!

V_S

27th June 2011, 07:47 PM

App,
Engenthu sir pidikkireenga intha valuable information. Wow! :clap: Still there are secrets about the song, now it is not Jency. But the voice sounded like Jency. That's a great valuable news and all credit goes to Sarala ji. Thanks. I agree the authenticity Raj mentions in BR blog. Beautifully explained. Especially I love the bell sounds of bullock carts. That is enough to take you to our respective villages. Master of mood!

rajkumarc

28th June 2011, 02:05 AM

Lovely posts V_S on Thottam Konda Raasave & Unakkenathaane. Both are lovely, earthy songs sung with a raw feel that can be found only in IR's voice.

Sunil_M88

28th June 2011, 03:38 AM

Aridharathai Poosikolla Asai Illayaraja, S. Janaki (http://www.thiraipaadal.com/tpplayer.asp?sngs='SNGIRR0360'&lang=en) from Avathaaram.

The drainage of water from a bucket is heard and it seems like that water is being used to clean. Theres literally no instruments in this track, only a xylophone and keyboard riff and kanjira makes up for the mild percussion after the first interlude which paves way for a flute and pads to give an ambiance. The violin and synth flute at 3:49 can only be done by sir :)

tvsankar

28th June 2011, 11:41 AM

Sunil,
Thanks for Aritharatha.. In this album. this is the song am inspired a lot.... lovely no..............

28th June 2011, 06:54 PM

V_S, awesome posts! :2thumbsup:
Thanks for bringing up Unakkena thaane; very very soothing melody.
This is turning into some kinda 'golden phase' in this part of the hub, with App and you going great guns in writing about some lovely songs. Feels like one of those magical VVS-Dravid partnerships! Keep 'em coming folks! :thumbsup:

Raikkonen

28th June 2011, 07:05 PM

Ninaitha varam kettu (http://www.youtube.com/watch?v=4XPxlIcpPQw)

Just brilliant. :bow:

Plum

28th June 2011, 07:18 PM

app, epdiyA indha pazhaya links ellAm pudikkaRInga. andha Blogical Conclusion comment "Raj"-ukkE maRandhurukkum :shock:

V_S, what app is to the Raja-SPB thread, you are to this thread(now, isnt that high praise?). oru series pOdunga nIngaLUm ingE...

BTW, that pause and the thevaram rottu vazhi is absolutely mesmerising as you observed. adhirasam sAptutkittE irukkaRachE, nadula "you think that's sweet, take this" apdinnu vAila jAngiri ootaRA mAdhiri...

BTW, sing these two in succession and tell me what you think
தேவாரம் ரோட்டு வழி தென்சென்னை போற வண்டி
போடி வழி போகும்முன்ன ரோடு ரொம்ப மோசமடா, ரோடு ரொம்ப மோசமடா

kathAzhang kAttu vazhi kaLLi patti rOttu vazhi
vandi katti pORa peNNE...

V_S

28th June 2011, 07:29 PM

Plum, you hit the nail on the head. I was humming when I was writing that post, but somehow another song was coming often to my mind, it was in the tip of my tongue, but could not recollect the song, left it, but you rightly pointed out. Wow! You are the man! Excellent!

Thanks a lot rajkumarc, KV and Plum for your praises! I will try do my best!

28th June 2011, 07:37 PM

Possibly same source... after all its quite a generic gramatthu isai passsage.
Manick Basha:Manickkam :: Raj:Plum ?

app_engine

28th June 2011, 07:42 PM

app, epdiyA indha pazhaya links ellAm pudikkaRInga. andha Blogical Conclusion comment "Raj"-ukkE maRandhurukkum :shock:

நான் என்ன பெரிசா புடிக்கிறேன்?

எல்லாம் கூகிள் செய்யும் லீலைகள் :-)

V_S

29th June 2011, 11:00 AM

Saamakozhi Yei Koovuthamma - Ponnu Oorukku Puthusu
This film though not a big hit those days but most talked about film and had a big history in my life. When we were kids (including my cousins), my parents, chithi almost all my mother side relatives went to this film leaving us with our grandparents, stating it's an 'A' movie. We don't know what is 'A' but just that letter caused some embarrassment but also convincing enough for us not to see that movie. Till now I haven't watched this film, so good you know :smile: Most talked about film that time especially for the songs and all songs were by Raja except a solo by SPS.

The song needs a deep analysis and research, as it has numerous dimensions, I am not qualified, but just gives a pleasure in writing by random thoughts. I heard Ushaji's famous analogy about elephant and blind men and raja's music, it works perfectly for this song. Even when we finished with our perspective another new one comes through, just like we keep digging his treasures daily unending. Just putting my thoughts, but will not be complete.

The song starts with a beautiful mood of 'mayakkam' or half sleep mood with the help of lazy violins. But bass guitar starts the proceeding right from first note. It's beautiful to hear the counterpoint right at the prelude between synth and guitar followed by synth-based rooster call followed by that single beautiful guitar chord. We have so much history behind the crowing of rooster. Again as the title and implicit 'Nadu' Saamakozhi, this is not the call at the break of the dawn and not the call to register it's territory, but this call is in the middle of the night and it's a call for romance and desire. The lyrics exactly tell us that. Just this prelude is enough to bring the mood and location of the song. Rest of the song says how Maestro enhances the mood. I used to listen to that bouncy guitar which comes just when SPS sings 'Saamakozhi'. Very gentle, but yet so powerful in bringing the erotic mood.

The first interlude, solo violin will tear our heart strings, followed by WCM violin concerto finishes by a bell sound. The violins has a touch of melancholiness.

The charanam is very interesting and the most loved part of the song. Hear how Maestro uses the bell sound to perfection at the end of every word and not just every line. That again gives enormous strength to the overall folk structure. That break at each word though sounds discontinuous, the bell sound sort of connects every word beautifully just like a stone between gold in a jewel/necklace. Maestro intentionally tuned this way to give room for ornamentation. This is one of the most beautiful place in the song. Again, another superb innovation in the bell sound is, it's just a single knock everytime, but when SPS sings 'Mohathile', how the sound progresses, like some perl fell on the floor with some gorgeous sounds (muthu chitharal). I can't express this in english, not accommodating. :notworthy:

Here comes the most awaited second interlude. Flute though somewhat resembles the senthazham poovil flute, just invokes such a gentle mood. Again there is nice touch and go play between guitar and synth bell sound, which closely establishes the actual play going on. It agains ends in a bell sound exactly when Sudhakar and Saritha hit their heads in love. The third interlude has some amazing counterpoints first between violins and synthesizer, and second between guitar and synthesizer. But not even a split second you get distracted by all these western techniques, it's all combined for an all-in-all folk treat. The percussion bongo rhythm gives the added folk flavor.

This song has unusual imagination and innovation (as always) throughout, but worth pointing out.
This is a perfect folk song backed up by western instruments and WCM techniques including counterpoint, though not seen unless watched keenly. Without bass guitar? no chance.
Raja comes to sing only from the second charanam, that too only from second line of second charanam and till the end, I have not seen many songs like this or this is the only song.
This one has one of the shortest interludes those days, despite having three interludes.
Only the first 'Saamakozhi' has 'Yen' following it, all others has only 'Yei'. Very interesting.
Normally Raja uses fillers at the end of every line, but here he uses after every word in charanam, sounds beautiful.
Unusual and short ending just with Samakozhi yei koovuthamma.

Both S P Shailaja and Raja excelled in singing. Raja even though enters almost at the interval, he carries on, bringing some excellent adaptation and huskiness required for the mood. SPS brings that domination as the lyric and the situation demands excellently. One of the best Raja duets of all time. Even without watching you can clearly hear the SPS domination over Raja, but that is intentional. Just curious to know the raaga of this song, is it the same 'bouli' as Senthaazham Poovil? I think the raagam used in the song is very apt for the time (past midnight/dawn). Raagams like bhoopalam, bouli will be mostly used for this time (but for different purpose :smile:), but bringing such a fantastic and different mood out of this ragas is purely Raja's magic. I haven't listened such a beautiful folk composition in long time.

Eventhough the mood is erotic, I have cried so many times hearing this composition and still crying as I am hearing this one. This is also one of the reason I don't watch this song as all the imagination I had created on this song will be distracted. Such a great earthy and heart-felt folk song which again takes us to the village, people, not just that, I am not shy in telling it again. The innocence in the song always captures me completely and it will take this whole night and beyond to come out of this. I can never get such a feeling in any of the folk songs composed by others. May Raja be with us for many many years to come to make our days worthy of living!

http://www.youtube.com/watch?v=M7h6g6Q8Xcg
http://www.youtube.com/watch?v=6ftz26vJtDc
http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00500&lang=en

Plum

29th June 2011, 12:42 PM

நான் என்ன பெரிசா புடிக்கிறேன்?

எல்லாம் கூகிள் செய்யும் லீலைகள்
andha google-ai bendu nimirthi vElai vAngavum oru thiRamai vENumla?
For instance, when I read your post on unakaena thaane, immediately I remembered "raj"'s comment and wanted to link it. But adhu apdiyE mindlEyE ninnu pOchu. That is the difference

tvsankar

29th June 2011, 01:48 PM

VS,
Very Nice write up.. 2 naala TFM page enaku open agalai. ipodhan work aradhu..
padika mudinjadhu.. adharkaga indha mail. padichitu reply panren.........
Thanks for ur writings VS.

groucho070

29th June 2011, 01:52 PM

Eventhough the mood is erotic, I have cried so many times hearing this composition and still crying as I am hearing this one. Nengga remba menmayana aalo? I never had this experience (since my hardcore-ism was only in 80s and early 90s), but yeah, there's a disturbing feeling this song gives. Not a bad one, it's a nice disturbing feeling. Anyway, great writeup. Engellam varamatten, vara vachutengga.

29th June 2011, 02:46 PM

V_S, nice pick, interesting thoughts.
One little doubt - that bell sound that you refer to, it sounds more like a santoor to me (maybe keyboard generated).

Sunil_M88

29th June 2011, 04:58 PM

Another educational post :clap:

Even though there are irregular comical sounds in the prelude the mood shifts to a pathos in the first interlude where it's a hard to decipher whether the instrument is a sarangi/ Ravanahatha/ violin. The beauty of sirs numbers is that notes that are apt for a particular instrument are experiment on various other one which pleasantly confuses the listener. The charanam is very interesting as VS said and yes KV's suggestion of a keyboardish santoor would be the best match.

app_engine

29th June 2011, 05:36 PM

Excellent, awesome write-up on sAmakkOzhi!

V_S, you've made the forum come alive & kicking!

I've mentioned many times about OrampO and the 'minor Ilayaraja maNamigu coffee bar' :-) The 'poNNu oorukku puthusu' movie was made fun of all the time by my cousin. He was so humorous and I used to laugh all the time listening to him.

I believe this movie was about a village rule of only XXX number of people inside a village and even when they get a visitor, someone has to spend the night outside the village to accommodate the number :lol:

I'm not sure whether this song happens when Sudhakar / Saritha gets to spend the night outside the village or something like that - must have been a hilarious movie. Yes, it was a commercial success.

They included the 'oru manjakkuruvi' song weeks after the release and advertised in the poster as 'another song has been added' :-) A movie that ran solely for songs / IR!

V_S

29th June 2011, 07:42 PM

Thanks everyone for your kind words.

App, nice to read your thoughts as always about this song, film and your experience. Your mighty experience says it all.

Grouch, Yes it gives such a nice feeling (especially the charanam flow) listening to this song which automatically brings happy tears. It's amazing that still we can hear these songs with same amout of interest. Glad to see your post here and please bring back your 'hardcore IR fan' experience.

KV & Sunil, yes you are correct, that sound was from santoor. As I was writing in a flow I didn't mention it clearly, pardon my English.

V_S

30th June 2011, 08:31 AM

Siru Ponmani - Kallukkul Eeram
Simple straight forward melody with most concentration on word power play. The song is mostly about how singers utilized the power play to maximum and won, without losing any wicket. I think Maestro created the tune for already written lyrics. Lyrics by Gangai Amaran (?) is the highlight of the song. There is no two thoughts about it. Beautiful lines!

சிறு பொன்மணி அசையும் அதில் தெறிக்கும் புது இசையும்
இரு கண்மணி பொன்னிமைகளில் தாள லயம்

விழியில் சுகம் பொழியும் இதழ் மொழியில் சுவை வழியும்
எழுதும் வரை எழுதும் இனி புலரும் பொழுதும்
தெளியாதது எண்ணம் கலையாதது வண்ணம்
அழியாதது அடங்காதது அணை மீறிடும் உள்ளம்
வழி தேடுது விழி வாடுது கிளி பாடுது உன் நினைவினில்

நதியும் முழு மதியும் இரு இதயம் தனில் பதியும்
ரதியும் அதின் பதியும் பெரும் சுகமே உதயம்
விதை ஊன்றிய நெஞ்சம் விளைவானது மஞ்சம்
கரை தேடுது கவி பாடுது கலந்தால் சுகம் மிஞ்சும்
உயிர் உன் வசம் உடல் என் வசம் சதிராடுது உன் நினைவுகள்

SJ and IR share top honors here. Main secret to success is the breath control. Raja and SJ has taken the song to new heights with amazing breath control and perfect pitch, yet sounds they did it very easily. But there are some anxious moments (atleast to me). The rhythm pattern sounds bit anxious, if it will lose to singers or the singers will lose to the rhythm pattern, so tight-knitted. So free flowing and we cannot afford to even breath. Again it's just not about breath control, the emotion conveyed is truly amazing. Playing just the rhythm pattern separately, followed by humming the tune will obviously will have a feeling that both will not go together, but inspite of those anxious moments, both go perfectly in sync. Even the singers might find difficult to sing for this rhythm pattern, always conscious about missing it, but no worries, leave the blame to Raja and he will take care of it. Such a beautiful rhythm innovation. Bass guitar and tabla both provide unique rhythm. The bass lines goes higher appropriately when SJ sings 'nidhamum thodarum kanavum ninaivum ithu maaraathu' and drops back when the first line is sung. Again how many bass lines?

Apart from lyrics and singing, we haven't explored Maestro pet territory, orchestration. Any song has to be blessed by Raja's orchestration without that it does not get it's jenma saphalyam. WCM Violin and flute galore in prelude with flute even substituting the vocals with kenjals and konjals. Gush violins with santoor finishes the prelude and gives a lead to SJ. First interlude starts with santoor and violins and mesmerizing flute followed by some unique sound from phaser (or flanger?). How he gets new sounds even those days with these limited and same instruments. Sound is not all new to him. After this, there is a sudden violin crescendo and veena giving an aural treat. He uses electric guitar like no one. Observe the guitar sounds just before second charanam, you will surely be blown away.

Eventhough it looks straight-forward, unlike railway track, he has to walk parallelly on more than 9 to 10 tracks. Right from getting the tune for lyrics, basing the tune on perfect CCM raagam (suddha dhanyasi?) and at the same time mixing it with folk, accommodating WCM over that without compromising it's technique, getting the right rhythm, bringing right emotion to the tune and most of all singing himself. Most of all bringing the nativity and soul thus keeping it close to everyone's heart. Is it not a tough job? And this is just one of the song out of 300's (may be) that year, all this might have happened in just minutes.

Any time we can listen this song. The song gives a serene feeling like traveling in a train non-stop gazing through the fields, trees, lakes, birds and landscapes, stretching our hands through the window, breathing and feeling the fresh air. A mind-blowing experience. I don't remember hearing this song in 1980, but only in late 80's I got introduced to this gem, may be because the film didn't go well. App should be knowing better about it's reach that time. But it stuck on to me very close from then on.

Siru Ponmani - Keep it straight, No udaans!

PS: Appreciate JV for using the song as it is in his Subramaniapuram. Even better picturized than original.

app_engine

30th June 2011, 06:12 PM

Great post, V_S!

I don't remember hearing this song in 1980, but only in late 80's I got introduced to this gem, may be because the film didn't go well. App should be knowing better about it's reach that time. But it stuck on to me very close from then on.
...
PS: Appreciate JV for using the song as it is in his Subramaniapuram. Even better picturized than original.

There you got the answer :-)

That Sashi & co chose to showcase this number as the "80's mileau" simply underlines the impact it had on youngsters then.

It had decent radio time - at par with koththa mallippoovE. However, teakkadais (that I was exposed to) had a preference to kotha mallippoovE. It looks like "Sashi's audio shop" loved siRu ponmaNi.
(My village teastaller had the vinyl and played all four songs in series everytime, yes, including that sweet eNNaththil EthO jil enRadhu).

V_S

30th June 2011, 07:32 PM

Thanks App, I got it. Should be a great song among teenagers that time. Listening on vinyl should be a great experience. I need to see all the vinyls you saw right now. :smile:

V_S

1st July 2011, 09:12 AM

Kann Malargalin Azhaipithazh - Thai Pongal. :notworthy:

This film again has some wonderful compositions starting with stunning Theertha karaithanile by KJY and Jency (humming) but solo again by Jency and Panivizhum Poo Nilave by MV and SPS, and beautiful folkish 'Thaane Sathiraadum' by SJ and BSS. But coming to our hero's song Kann Malargalin Azhaipithal, Raja is stepping into a new territory (only in singing). All his earlier songs were mostly folkish, and I think this is his first song in western (70's pop delight) and it's a challenge for Raja. See how he starts gracefully and compare with his earlier songs like Thottam Konda resale and Thennamarathula. Totally different singing and you will be stumped to hear this.

One of the graceful starts to one of the graceful duets, with guitar and violins. The call and response in prelude with violin and flute and then with keyboard and flute which gives an indication how the song will start. Very soothing melody and charanam is so lovely composed. The first interlude with violin-violin providing counter melody followed by santoor and flute and violin filling occasionally. We can surrender ourselves to this flute. First interlude ends with grand violins and whistle. Sameway second interlude starts with violin-violin counterpoint, but completely different than the first interlude. Then again the magical flute which ends with violin again.

There are many many lovable portions in the song.
Charanam starts gracefully and peaks up and just dips a little bit at the end giving eternal beauty. Please hear this line 'enkenna oru gaNamo ViLakangaL tharum manamo Namakena vizhithidum malargaLo manangaLo.

In second charanam when IR sings 'Thaamboola niram thaanae maamboovin iLameni', then SJ hums this sublime 'aaah' then starts 'Thaangadhu inimele thoongaadhu manam naaLai'. This humming does not come in first charanam only in second charanam. Also this is also one of the reason IR starts second charanam (but SJ starts the first charanam, so she does not get that chance and Raja does not sing that hum), as IR would have thought that SJ should get to hum which adds another level of sophistication to the song. I would dies for that humming!

Again at the end of song at this line when SJ sings 'ini varum iravugaL iLamayin kanavugaL thaan' Raja hums at the background to bring another rare counter melody.

Again the rhythm pattern in the song is amazing with typical raja's rhythm. The best part is when SJ starts first charanam 'naan aaLum manam poovo, nee naaLum thamizh paavo'. The beat pattern is 1 beat, a pause, followed by three consecutive beats, especially at 'Naan Aalum'. Then it follows the natural rhythm pattern. That first four beat jerk is absolutely stunning piece and used rewind to get enough of it. Great piece of work there. Feels like some start of bump in the ride and then cools off.

All the above beautiful portions in the song tells me a beautiful story. Right from prelude, tune in 1st and 2nd charanam and interludes have a beautiful pattern.
The prelude and interludes always starts with a violin which creates a tension, then the flute comes and eases the tension and then again violin at the end of ludes builds it once again giving the easiness to the start of the charanam. Charanam peaks and dips a little bit and gives away to interlude again to start building tension with violin.
Do you find a pattern there. Just like riding a bike uphill and then comes a downhill where we don't have to pedal and then comes uphill once again. Or even takes this pattern to kayaking on a river or a stream. Whenever any Raja song I listen we can draw many imaginary patterns and just enjoy that joyous trips. And our imagination has no boundary and remember this is also a kind of meditation which Raja takes us to. What else do we need?

http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00624

You have to watch this video to admire how this graceful song has been pictured by the director understanding every nuances of the song structure. That amazing 'Kaaka valippu dance' and wide open Radhika's mouth. Wow! it's a great treat to watch!
http://www.youtube.com/watch?v=EL2x2doWd6k

PS: I will be out of town next week, so this would be last song for this week, will continue a week after. Enjoy and have a nice weekend!

groucho070

1st July 2011, 09:21 AM

Crikey V_S :shock: eppadi....speechless...

Sureshs65

1st July 2011, 02:54 PM

V_S,

Aaah..aaah. You and app_eng are tearing it apart I say. Wonderful writeup. Swamped with work but still have to come and read both your columns. And the writing is so good that I _have_ to comment, even if it is to say that it is good !!! Wonderful stuff. Hope the mods ensure these threads are archived properly.

1st July 2011, 06:57 PM

V_S, very enjoyable posts! Siru ponmani, in the vonly-hub-fossible lEngvEj, is vonly-IR-fossible. Like you said, the incorporation of several styles of music and that too so seamlessly, speaks for a true genius behind the scene. And yes, this portion in Subramanyapuram was created really beautifully, abdiye 80s ku pona oru peelingu.
I'm listening to Kann malargalin after a very long time... lovely swing this one's got to it.

vithagan

1st July 2011, 08:29 PM

Wonderful thread.. !!

Nice to see great collections of Raja.. will be building playlist from these list ;)

Thanks all for your contribution.

My 2 cents to start..

Munnam Seidha Thavam - Vanaja Girija
Unnai Edhirpaarthen - Vanaja Girija

app_engine

1st July 2011, 08:29 PM

Great post V_S on kaNmalarkaLin azhaippidhazh!

From the time I read your post, 'thamboola niRam thAnE mAmboovin iLa mEni' keeps playing in my mind non-stop! What a sweet melody there!

BTW, thaippongaL - who acted? Not many know (definitely not me)

Whether the film even got released? Not many know (not me, I heard the songs only in IOKS)

Still people talk about kaNmalarkaLin azhaippidhazh (either heaping praises like V_S or picking on the 'money-money' kind of beginning, crying 'copy-copy-thuLi-visham' kind of other extreme).

Such is the power of brand IR :thumbsup:

Plum

1st July 2011, 09:26 PM

Ask me App. Ask me. It is the self-same Koodai thalayan Chakravarthi whom we discussed during Rishimoolam discussion few days back.

app_engine

1st July 2011, 09:54 PM

Koodai thalayan

:lol:

BTW, V_S, can you see who the real encyclopaedia is :wink:

Sunil_M88

6th July 2011, 05:09 AM

Aan azhagan – Nilatha venila
The song commences with WCM and this is pretty much reflected until the first interlude appears, :omg: the shift to rural sound just plays with your soul. The reverbed flute along with the synth pads used by Raaja sir is highly manipulative as well as being healing. When the flute bit does come we feel at home and even more so with the accompanying Shenai. The two bar percussion beat in the charanam takes the rurality feel to even more stretching emotional heights, where one feels in a nature trail trip. Before the second interlude, the pizzicato resurrects the WCM in the song, but what follows is a surprise packet –
PATTERN 1) the song starts on a WCM note with midi jumping from left to right ear (on headphones :bow: ) – 2) first interlude and charanam, visualising a village with a warm atmosphere. 3) ????
Yes the 2 interlude is the surprise packet where Raaja merges WCM and the rural sound flawlessly. The earthy orchestration is in many of sir’s songs but in this one the flute with the strings generates a progression chord which takes the song that special step higher.
Well, that’s the instrumentation over. The saying, “music directors keeps the best songs for themselves” has been doing rounds for ages and this feather in Raaja sir’s cap is certainly a big one as his singing is glaring with passion. Though the instrumentation is complex it is still pleasant on ears and evokes the deep satisfaction subtly and simply and this is because the melody of the song itself is the greater part. Raaja and janaki maa do more than justice to this song. Songs with this rural classiness are only understood by Raaja sir so therefore he puts himself to the mic.
Simply put this song can be termed as – Rural yet enchantingly classy
It had become quiet here because the life of this thread is absent and though I’m no match for V_S in writing about Raaja sir, here is a song that should surprise everyone. Enjoy!

http://www.thiraipaadal.com/tpplayer.asp?sngs='SNGIRR0030'&lang=en

tvsankar

6th July 2011, 05:24 PM

Dear Sunil,
Thanks to ur Great Write up. Ur writings tells a lot about Raja's works..........

My hearty thanks to u........ dono about WCM and etc........ But i love Raja's songs.. I love to read
about Raja's works................ U made my day... Thanks a lot Sunil............

6th July 2011, 05:57 PM

Same pinch! WOW! What a mesmerizing song, I don’t even remember hearing this song before. Some very nice observations there, Sunil.
90s, to me, is a timeperiod when IR seemed to have done extensive experiments in syncopations. This wasn’t too prominent before the 90s and it hasn’t been there after too. Many melodies in this period have a good dose of very intricately composed syncopation phrases… an aspect, which I feel, IR tried to incorporate in order to produce songs that could serve to the changing audience (the time when a storm named ARR loomed large and held sway), while still retaining his stamp of creativity. Very nicely sung by IR and Swarnalatha.
This song has surely made my day too. Shukriya Sunil bhai!

V_S

6th July 2011, 09:35 PM

Thanks grouch, Sureshji, App, KV for your wonderful compliments. It's always Raja who writes through us!
Sunil, again Nillatha Vennila is another blinder of a song! Thanks for writing in detail and enjoyed your post thoroughly!

V_S

7th July 2011, 09:47 AM

Kaadhal Oviyam - Alaigal Oiyvathillai
I don't know how to start describing such a complex and powerful composition. It has so many ingredients to make it the best of the best. An all time Raja's best song and best duet. We can see the style of Raja's singing style changes from folk to western to romantic. If we concentrate on the singing, we will lose out on the lyrics, if we concentrate on lyrics, we will lose out on the magical orchestration, if we concentrate on each, we will lose out on the soul. Beautiful singing by Raja and Jency, except Jency is very stylish in her Tamizh diction with 'dhehame', and 'tholhalilae' and 'deiveeham'…

With this song, again new bass lines unleashed... Very rich bass lines throughout.

Song starts beautiful with Vedic chant with temple bells and switches immediately to medieval/renaissance chant with church bells followed by veena. One of very few songs, where we can very clearly hear the bass lines without straining our ears. He has so many interesting ideas in this song.

During first pallavi, there is no percussion, just the lead guitar and bass guitar acts as percussion, and when that beautiful 'Oh oh oh' humming, no instruments at all and followed by hi-hat percussion when pallavi is sung second time by Raja.

Violin, veena, magical flute, amazing chord progression all decorates the first charanam, but choir with unique percussion takes our breath away, so elegant. The bass lines are pretty surprising for the tune. Experts please clarify. The bass lines for the first two lines of charanam are same, but the tune you can hear it steadily goes higher. The bass goes higher as per the third and fourth line, but the bass still moves higher, but the tune drops down at 'Endrum Kaanalaam', wow! truly amazing!

Thedinaen oh oh oh en jeevane (bass lines are same)
Thendralile midhandhu varum thaen malare (bass lines are still same, even if the tune goes higher)
Nee en naayagan kaadhal paadagan (bass lines goes higher as per the tune)
Anbil odi inbam kodi endrum kaanalaam (bass lines goes still higher while singer drops down 'endrum kaanalam')

Same happens in second charanam, bass lines drop when chorus goes up. How he does with enormous ease. Very unconventional chord progression.

Second interlude bass guitar is really loud, with choirs, giving way to violin, followed by mesmerizing conversation between veena and bass guitar . How he descends the veena with guitar chords amazing. Another scintillating violin tremolos in conversation with bass guitar, unimaginable piece!

Again, picturization could have been much better, given it's BR.

Without even watching the song, we can clearly visualize the situation that it depicts two hearts of different religion that beat as one. This start right from 'Om Shatamanam bhavathi shataayuh purushah shatendriyah aayushyevendriye pratitishthati' with temple bells. The meaning though loosely based says to bless a person with vedic life of 100 years and to perform all Nithya karmas as prescribed by Vedas like yagnams, service to parents, acharya and Lord. Raja takes us back to hindu vedic age and also reminds one of the lovers about his generation/culture. Immediately he switches back to Medieval/Renaissance age where we hear the pious chants in praise of Lord culminating with divine church bells. Again with this the lover is reminded of her rich history and culture. It can also be seen as a blessing to lovers by both the Gods whose hearts beat as one from now on. Also the religion is only for the body and not for the soul which is clearly expressed in orchestration. So we can see that throughout the song, the marriage of our instruments, veena and flute with guitar, violins and acoustic drums.

Through this song, Raja also expresses that music has no religion, language or any barriers. But it is one of the form to realize Eternal, God.

Powerful yet gentle song to cleanse our soul and keep us in trance, only Raja can do it!

groucho070

7th July 2011, 10:03 AM

V_S, speechless Part 2. More sequels to come.

Sorry to keep bringing my wedding CD back. Two of AA songs was featured in it. After tali kattufy, first song to appear was this (very apt, temple/church thing), followed by Ayiram tamarai.

Edit. Elsewhere I think I mentioned the lineup the other way. This is the actual one.

Querida

7th July 2011, 11:39 AM

:musicsmile:
V_S each of these songs have been given a new life with your write-ups
the ones never heard given full attention and dedication
the ones often heard are treasured even more
such an enjoyable treat to read through your details and then to find those highlighted instances in the songs
though I admit there is a real danger is just getting carried away in the beauty of each song...

Sunil seriously never remember hearing that song from Aan Azhagan...I remember leaving the movie midway due to its silliness...didn't even register the song...
:musicsmile:

Sunil_M88

7th July 2011, 04:35 PM

I am still an alien to Raaja sir's music and I just happen to select that song at random and wrote about it not knowing if its popular or unpopular. I hardly have a clue about the lyrics so please excuse for not writing about them.

Usha ji - WCM refers to western classical music.

KV - With my lack of vocabulary I know I must of dragged on what I needed said, but I'm glad you introduced me to this term, Syncopation. Thanks for this apt word which depicts the unpredictability in rhythm pattern shifting.

V_S - I have heard this song randomly an I'm really pleased that now I know the movie name thanks to you. Excellent post, I'm definitely going to put this is my top 5 of Raaja's duet playlist :) I could sense the medieval/renaissance throughout the song and this aspect is where Raaja sir triumphs big time, he delivers this with ease with every innovative piece and this supports the fact he is still growing by his ardent addiction to experimenting with genres.

AravindMano

7th July 2011, 06:08 PM

V_S, lovely write ups in these pages, take a bow!

app_engine

7th July 2011, 06:23 PM

Phenomenal write-up, V_S!

:clap: :clap: :clap:

A song that is very dearly loved by me:-)

Sunil_M88

7th July 2011, 06:36 PM

This number is a recent one (2007) and is one of the five songs which Raaja sir has ever sang with Shreya Ghosal. Yaarum Thodatha Ondrai from Ajanthaa, sounds like a seduction song though I don’t want to jump to conclusions, from hearing the song I immediately visualised this song being pictured in the night. I don’t know how the song was shot but thought I’d share my perspective, without making subliminal erotic references and apologies if I do, which I should clear is unintentional :P I’m not dirty minded :lol2: and for all I know I completely could be getting the wrong end of the stick about this song hehe Is this song in the Raaja erotica thread, if not it should be – indeed very manipulative.

The song begins with the effect of dripping bubbles, ermm... could possibly relate to a shower scene. :huh: The flute sounds synonymous with clouds shifting here and there paving for a sunset and the mandolin just accelerates the sun setting greeting the night.

The first interlude begins on a mystery note, iterating the enigmatic atmosphere of the night where which the saxophone (a fundamental instrument of seduction songs) and develops the sensual mood of the song further. The second interlude pictures lovers out in the open air engaging in a waltz dance and the flute sounds like bird tweets which answer that the song is like cycle of a day going from time to time. The waltz sound comes back and we enter the second charanam.

This song is one of them songs which Raaja sir paints on a canvas and each sound is a stroke of the brush painting the finishing emotion. The beat is laid back which is the norm in this genre, but the unpredictability is thumping building up of orchestration controlling that prevailing power punch.

It is the singing that is the best colour in this picture. Raaja’s nananana humming is corny but this song wouldn’t be complete without it, he sings with his melow husky voice which no one else could of pulled off as this song demanded that otherwise the painting would of lost its sparkle and turnout bland. Shreya Ghosal excels in these types of songs and the fine ease with which she illustrates each emotion is one her attribute.

http://thiraipaadal.com/tpplayer.asp?sngs='SNGIRR0146'&lang=en

skr

7th July 2011, 06:51 PM

Fantastic write up V_S ..
Each and every line of your post is worth Gold ..
What an unbelievable romantic song ..

skr

7th July 2011, 06:55 PM

Lovely write up Sunil..
Ajantha though an underrated album had lots of good melodies..
Nice hearing this song after a long time ..

tvsankar

7th July 2011, 07:16 PM

Sunil,
Thanks for ur 90s Raja's duet........ yet to complete ur wriitngs.. Really very nice to see ur posts.....
Endless thanks to u.......

Pl continue ur wriitings Sunil...............

V_S

8th July 2011, 12:21 AM

I am truly delighted and honored to see all your overwhelming responses to my post. I must take a bow with huge thanks! I know this song takes a special place in every wedding and how apt Raja picked up the correct vedic verses required for the song.

Grouch, glad that this song and 'Aayiram thaamarai 'brings back your wedding memories. Raja is always part of our life wherever we go. As Raja says, all these songs are already inside you before I create it, it's just that I am tapping it at right moment so that you realize and make it popular among yourselves. How true!

Sunil, Yaarum thodaatha is one my recent favorite, in fact I love the whole Ajantha soundtrack. It gives a unique experience if you listen in every other languages. Very well narrated by you, I have to listen again with your description in the evening.

Thanks again grouch, Querida, Aravind, App, sunil, skr, Ushaji.

tvsankar

8th July 2011, 01:03 AM

VS ,
naan unga post ku inum reply pannalai..... Thanks solliteengale..

ipo dhan padichen.. Excellent post of Raja's Musical Understanding....................................

with Ur Writings.. am listening this song........... got a new dimension.......... Thank u VS.

V_S

8th July 2011, 01:07 AM

You are most welcome Ushaji!

rajkumarc

8th July 2011, 01:26 AM

Wonderful posts V_S on some stunning, divine songs that are dearest to me. Will have to listen to those songs again reading your posts to notice the intricacies pointed out by you. Thanks and please keep them coming V_S.

rajkumarc

8th July 2011, 01:27 AM

Sunil - Wonderful writeup on Yaarum Thodatha from Ajantha. I love IR's humming in the pallavi, my favorite piece in the song :smile:

V_S

8th July 2011, 01:32 AM

Sure my pleasure, rajkumarc!

V_S

8th July 2011, 10:15 AM

Vizhiyil Vizhunthu - Alaigal Oiyvathillai

As this song tells us the whole crux of the movie, this song is an epic. Just see how IR and BR convey the crux in just under 4 minutes.

Lovers cannot see each other anymore by the strict orders of the elders, (the cause is mainly they are from different religion). Still they deploy a clever mechanism to pass the message (letter) through the harmonium of hero's mother (who is a music teacher who teaches his lover).

The song starts with teacher sincerely teaching the swara sahityam of Suddha Dhanyasi, while the student's mind is keen to see the letter jumping out of the harmonium. It is interesting to see the swaras accompany Raja's singing. The imagination by Raja here is purely wild. The lover is not just reading a letter, she imagines as if her lover is singing for her, but since she is in her music class, Raja cleverly overlays the swaras as sung by the teacher in background with his singing. I have never heard anything like this!

Still more interesting is suddenly the swaras become actual words when Raja sings 'Vandhuvidu'. Here Sasirekha also sings 'Vandhuvidu' along with Raja, while the teacher stops singing swaras as she hears her student is singing something else. But remember both the voice of teacher and student is performed by BSS. So she was singing swaras initially and when Raja sings 'Vandhuvidu' she joins him. Absolutely stunning piece this is! Through this word ' Vandhuvidu' BR tells the heroine to come back to normalcy from her dream. Realizing this, Maestro wants BSS sing this word together and VM exactly finds the apt word for this situation. Just imagine for this one word how these three men put together a great talent and how beautifully that word sits perfectly to tune, singing and visually. Truly a top class performance by three Jambavans. :notworthy: Just this first part of the song tells us the lovers craving for each other.

Then she continues to sing the next lines to the surprise of her teacher and that's where Mridangam kicks in and suddenly realizes where she is. That mridangam with accompanying beautiful haunting keyboard sound (??) (like little bit of flute and xylophone) suddenly takes the song to different heights as if the lovers see liberation, freedom from their environment. Just by hearing this piece we can visualize ourselves running crazily on the beach wet sands during twilight time, or hearing the birds flying out of their nest, or hearing the group of birds migrating or feel the fierce ocean waves hitting the hard rocks and wander aimlessly. There is no limit to anything. This is what exactly BR and IR did and the lovers are enjoying their time bountifully. Outstanding portion of the song. BSS hums happily and Raja does the magic 'thagathom thagathom'. This part signifies wild merry after the lovers unite.

Again after a brief pause, and starts with Kolusu sattham (I think from this is where Raja and BR took the lead to VeLLi Salangaigal song, which again started with Kovil mani osai. The kolusu story continues…) and again picks up the tempo where it left off. Even Raja has only few portions to sing, at the start and the thagathom part, but that is enough for me to celebrate, mainly the 'thagathom'. What a vibration in his singing, marvelous! BSS singing is outstanding especially the portions I mentioned above and the solo at the end.

After all the unlimited merry, all of a sudden all the happiness is gone and again the song goes to pathos side of it. This portion depicts the actual reality where their love is and suddenly she realizes that it's all dream and they will never unite. BSS sings the solo with some excellent bass and acoustic guitar backing up perfectly.

After all this, If I forget Legendry Vairamuthu, that's a big big sin. Very beautiful lines. Some snapshots, the best being he uses the same lines during first pallavi and second pallavi (after charanam), but just twists the word to give a whole different mood.

Ist pallavi
இரவும் பகலும் உரசிக் கொள்ளும் அந்திப் பொழுதில் வந்துவிடு
அலைகள் உரசும் கரையில் இருப்பேன் உயிரைத் திருப்பித் தந்துவிடு

2nd pallavi
இரவும் பகலும் உரசிக் கொள்ளும் அந்திப் பொழுதில் வந்துவிடு
அலைகள் உரசும் கரையில் இருப்பேன் அழுத விழிகளோடு

Some beautiful lines, only VM possible
நீ சிரிக்கும்போது பௌர்ணமி நிலவு அத்தனை திசையும் உதிக்கும்
நீ பட்டுப்புடவை கட்டிக்கொண்டால் பட்டு புச்சிகள் மோட்சம் பெரும்

எனக்கு மட்டும் சொந்தம் உனது இதழ் கொடுக்கும் முத்தம்
உனக்கு மட்டும் கேட்கும் எனது உயிர் உருகும் சத்தம்

So in just one song Raja and BR shifts the mood from craving to wild merry to loneliness and fear. This is the whole struggle every lover faces, but is that possible to cover all this in just one song that too under 4 minutes? Yes they did it in style and with substance. That's why I call this song is itself a movie and an epic of a song. Is it the first time that a song has got totally varying moods. Many say just swaras (notes) do not make a full song, there are emotions and words on top of it. But Raja's swaras is above all that. By it's own it will be able to convey everything. I am going to bed singing these beautiful swaras.
pa ga ma pa ni sa, sa ni pa ma ga sa. ma ma pa pa pa pa, dha ma pa ga ma ga sa, ni ni sa gaa ga ga sa sa, ni ni sa sa ga ga ma ma pa, sa sa ni ni pa pa ma ma ga ga sa sa ni ni sa….

tvsankar

8th July 2011, 11:29 AM

VS,
Thanks for the pick.. You Mentioned the Most important portion (Full portion um Value dhan. irundhalum......) of Raja's composition in every song..............

NIce Write up................ Thank u once again....................

groucho070

8th July 2011, 12:14 PM

If not mistaken, it was a poem first, before IR made it into a song. Anyone to confirm?

Sureshs65

8th July 2011, 01:41 PM

Work is tying me down too much nowadays. So when I come to look up these pages quite a few songs have been discussed!! As everyone says, V_S is in terrific form and each of his posts needs to be preserved.

Sunil is doing his bit discussing some of the newer songs. That is something I would personally welcome. I have always maintained that Raja has given some great number in late 90s and throughout the 00s which many people miss due to various reasons. Nice to see these songs coming up. Keep it up Sunil.

app_engine

8th July 2011, 07:00 PM

V_S,

abAram! abAram!

Simply loved this poetic part :

Just by hearing this piece we can visualize ourselves running crazily on the beach wet sands during twilight time, or hearing the birds flying out of their nest, or hearing the group of birds migrating or feel the fierce ocean waves hitting the hard rocks and wander aimlessly. There is no limit to anything.

kalakkunga!

V_S

8th July 2011, 07:17 PM

Thanks a lot Sureshji. It's all Raja's magic and all credit to App for inducing me to write. But please bear my limited vocabulary. Thanks again Ushaji!
Forgot to attach the visuals of this song. Excellent work by BR.
www.youtube.com/watch?v=pY8WyzuCXr0 (http://www.youtube.com/watch?v=pY8WyzuCXr0)

If not mistaken, it was a poem first, before IR made it into a song. Anyone to confirm?
grouch, you are absolutely right. Lyrics was written first and then the song was composed.
Interesting anecdote on this song. It just took two hours right from the concept to the end product and even BR managed to complete the shooting for this song on the same day. Amazing! :notworthy:
http://www.rakkamma.com/filmsongdetails.phtml?filmid=301&songid=1220
Those glorious fast-paced quality creation days are all gone. What a dream combination. I desperately need them back.

Sunil_M88

8th July 2011, 07:32 PM

Brilliant VS, just brilliant bro!

I am a real sucker for these kinds of songs. Authentic Carnatic songs with an ample dose of ambient electronica just are the best way to get me going. When the beat drops with the synth sounds, the jaw drops too as well as eyes in awe of this creative mastery. As I like experimenting with mridhangam, thavils, ghatams etc. and synth myself, this song certainly is one I will cherish. VS, as app said I will like to elaborate that you have given the synth in this song a new dimension with your poetic references relating to a beach in the twilight.

VS sir - In relation to app’s list on the first page, your writings about these duets are drowning me more and more in Raaja’s ocean. :bow:

Suresh sir – Thank you, I will try to continue with my writings too. If VS writes about Raaja’s former material and me writing about the recent stuff, may be one day we will meet in the middle. :)

Sunil_M88

8th July 2011, 08:02 PM

The dark ambiance is created hastily for Viduthalaikuyil, Raaja sir’s latest duet which is from Ayyan. It is a short song where initially Neha Bhasin shares a few lines and the remainder belongs to IR. The pauses in the thematic prelude beget even more suspense than the synth strings. The helicopter sound, also in the prelude creates the feeling as if something is after you. It feels frightening even more as Raaja’s low voice modulation triggers Goosebumps and chilling shivers down the spine. A very cold number which you might listen to once in a while but Raaja sir has certainly not compromised in leaving no stone unturned and his echoing voice even after the song finishes without doubt is a big key to this.

VS has said this before and I would like to repeat that others are urged to write about their fav duets. VS definitely awoke the writer inside me hehe :)

V_S

8th July 2011, 09:46 PM

Thanks Sunil! yes we will meet somewhere in 1992 :smile: Again a sharp write-up on Viduthalai Kuyil. 'Chilling shivers down the spine", exactly bang on description on this song. Raja's voice will leave you stunned in this wonderful dark composition! I could not forget that hard hitting hammer at the start of the song! What a blow!

V_S

11th July 2011, 09:32 AM

Onnum Onnum Renduthaane - Ellam Inba Mayam

I watched this movie that time, the main reason being the posters carried Kamal's different avatars (a mini dasavatharam :wink:) which invoked curiosity. But curiosity killed the cat. Solla Solla is one dashing yet mind-blowing composition, followed by saavadi 'Maaman Voodu' and enigmatic 'Barla Barla' and tribal at it's best again in 'Onnum Onnum Renduthaane' makes up for the bad curiosity. Inspite of all this, it is a very funny entertainer and loved all the kamal's characters and 'thengai' srinivasan (I love his comedy always). This song is with Kavitha (guest role only for this song).

Onnum Onnum Renduthaane is picturized in an Arrack shop as a recreation song for the customers. This is one song which gives you that kick just by listening without we having that 'monthai of kaLLu'. SJ's starting 'thananaana naana naanna nanna na', and xylophone gives a perfect kick from this stunner. IR's voice is perfect for this type of song. IR's diction when singing 'adi vaadeeaaee' with a punch is just only IR possible. If the beats in the interlude with xylophone, flute gives the tribal effect, Maestro then suddenly brings in guitar unexpectedly. Listen to that extravagant (just for us only!) piece of alluring guitar, but the director didn't know what to do with that piece, as usual trumped. 'Rakshashi' SJ at ease in charanam with Raja complimenting with energetic 'Oho'. At the end of of 1st charanam Raja does the thaananana humming effectively as done by SJ ealier. Maestro takes lead in 2nd charanam, with his best in 'chattirathil saappaadu' and SJ filing at every line with her unique 'sinungals'. The vibratos in SJ' singing in the line 'Ada ennayya' is just enough show her versatility. Excellent and coolest vibratos I have ever heard. What a singing by SJ.

I guess the chorus is also done by trio IR, SPB and MV, someone please clarify.

Observe the prelude in the video @2:36-3:25, which i think is not there on the original soundtrack. The actual soundtrack starts from 3:43. so please don't miss that samba guitar in the prelude from 2:47-3:00. Those 13 seconds are more valuable.

This song gives the whole feel of tasting 'monthai full of kaLLu', getting the old vintage kick and dancing with Rowdy Ceylon Raakappan and gang. With all the western outfits for this wonderful tribal song, the taste and flavor of local arrack has not diminished an inch, but it's punch all the way.

Kick-o-kicku!

http://www.youtube.com/watch?v=RuuqTTA9Qes (from 2:36, as this is a movie video)

PS: I think many small leads like the term 'Thagiduthathom', this song (similar to singari sarakku situation), multiple characters have been inspiration to Kamal's later movie ideas.

app_engine

11th July 2011, 10:08 AM

Difficult to believe it's IR singing :roll:

I'm quite familiar with this song but always associated this with MV, for whatever reason...even seen this movie during college days but surprised to learn that IR did playback for Kamal :-)

Is this the first one by IR for KH? Was there any prior (or after)? (i.e. not counting the "track singing" like 'nAnAga nAnillai thAyE' where SPB version was actually used on screen)

V_S

11th July 2011, 10:13 AM

Yes I believe it is IR (and may be first for Kamal), but as you say some sites say it is MV. But if you see the title cards of this movie (available on youtube), the singers are SPB, SJ, MV and IR. SPB has only one song, while MV has Barla Barla and Maaman Oodu, and so only one left for IR. Also from the Onnum Onnum Renduthaane starting clearly indicates it is IR, MV voice is completely different.

app_engine

11th July 2011, 10:20 AM

V_S,
Excellent research on background of the song!

kalakkaReenga! :thumbsup:

V_S

11th July 2011, 07:39 PM

Thanks App :smile: எல்லாம் உங்கள் வழிதான்! Thanks for leading the way!

V_S

13th July 2011, 09:22 AM

Ponnoviyam - Kazhugu

Unbelievable composition! The most complex and rich vocal harmony arrangements IFM has ever witnessed and created. We can even challenge WCM contemporaries on this unbelievable composition. We can even challenge any composer on this composition. If at all they do it, again there is another challenge about when they could complete such a composition. It would definitely take months or years to conceive this, but it all happens in just minutes for our dearest and beloved Maestro.

Starts with single male chorus, but within 10 seconds into the song, we see another 10 layers of vocal harmony creeping in. We are into 100 miles speed within 10 seconds after start. What a take off and the roller coaster ride has just started.

S Janaki immediately goes high up with her signature 'nalalala' followed by chorus 'dhadhadha' and 'ponnoviyam'. SJ sings ponnoviyam line way high and Maestro suddenly dips to 'anbil ondru serugalen inbam endrum kanungalen' in anupallavi. That's where the beauty is. Enna oru sugam! Also hear how Raja stresses 'nu' in Kaanungalen which says another side of the sweet melody story. What an innovation in just few minutes of pallavi. How does he do that?

Beautiful guitar work again in the first interlude. It gets dark so with that guitar chords the bus lights up for every chord. Brilliant work! Excellent guitar work by Raja, followed by haunting female chorus humming and Raja joins there and again female chorus and then SJ also joins. There is again vocal counter melody between SJ and female chorus.

Sorry, I already left out many layers here again. If I say anything more specific about any particular portion of vocal harmony, then I have not understood or enjoyed the song. Just wanted to pour out what's all in my heart about each and every vocal harmony but it is so fast that I could not get a grip. Going to listen all night!. Still it will not be enough. Imagining how Maestro conceived it with ease. Not a human brain of course you know it!

Charanam starts off beautifully 'Kadhal kadhal dhinam thenaagum' and gradually the tune goes up and at the last line hear how he drops gradually and smoothly from 'Kaigal Inayum' to 'Kangal Mayangum' to 'Sorgam Thirakkum', stunning! Kaigal Inayum Kangal mayangum sorgam thirakkum and there goes off the light, brilliantly done again by director. Or it seems to me that song was picturized first?.

It's amazing to hear Raja changes and adapts his voice completely to suit this melody compared to earlier songs that year. It seems Raja's voice is so soft and gentle in this song and perfect for this song too.That's why he is not just ordinary as a singer. Correctly taps the soul of the song, everytime. For S Janaki it is a cakewalk, but Raja has equally done well and very very mesmerizing singing.

Maestro has pulled off this wonderful honeymoon ride with just two instruments, guitar and acoustic drums with vocal harmony providing the support, no other instruments. I should not be even saying 'support'. Without vocal harmony this song will bite the dust. That's it's main strength. And Raja having recognized it fully, takes the risk of getting away with instruments and believing in his singers (including himself) and getting all the richness and needed chromaticism through them. Amazing feature is vocal harmony not just acts as a fillers or function as chorus in interludes (which it does obviously), but it closely rides with the singers and replacing the real instruments like piano, bass guitar to such a amazing perfection. Almost an acapella if we take out those two instruments as well.

For me, if I close my eyes and listen to this song, I get reminded of Boston Fireworks on July 4th (the best one I have ever seen) where the brilliant fireworks start pouring like a colorful rain all over the sky for 30 minutes and we will not have time to enjoy all of this as we have only two eyes and keeps on coming with different patterns, colors and at different places. We want to see and grasp all of them but we cannot. Or even getting a feel like watching a colorful kite festival with all rainbow of colorful kites caressing the sky and breeze with their beautiful dances. Similarly on clear night sky where we have countless stars and we gaze at each one of them and admire it's beauty, their pattern and how each one glitters, but we know that it is not all, same way this composition cannot be conceived by us in full even in our lifetime, as it is God's creation.

What a roller coaster ride and experience it has been!

http://www.youtube.com/watch?v=aNfQrW5w0Qs

rajkumarc

13th July 2011, 10:02 AM

:notworthy: for your writeup V_S. Never knew this song used minimal instruments. It always sounds so rich in orchestration but now I know that it's due to the many layers of vocal harmony. IR's rendition is as sweet and soft it can get.

Querida

13th July 2011, 10:10 AM

app_engine

13th July 2011, 10:34 AM

:notworthy: for your writeup V_S.

+1000 !

Awesome write-up for an extraordinary song!

Sureshs65

13th July 2011, 01:23 PM

+1000 !

Awesome write-up for an extraordinary song!

Add 1000 from my side :) And as Rajkumar said, I have also been thinking this song has lot of instruments. Now to go and listen to the song again. Lovely work V_S.

skr

13th July 2011, 07:28 PM

Add +2000 from my side ..1000 each for Ellam Inba Maayam and Kazhugu :)

V_S

13th July 2011, 08:00 PM

நன்றி நன்றி மனமார்ந்த நன்றி எல்லோருக்கும்! :notworthy: I am still hanging in with this composition, still could not come out of pleasant shock how did he compose such a song. How much do we owe him? திருப்பி தர முடியாத பெரிய கடன் பாக்கி இருக்கு!

V_S

14th July 2011, 10:55 PM

Sangathil Paadaatha Kavithai - Auto Raja

தமிழ் சங்கத்தில் பாடாத கவிதை அங்கத்தில் யார் தந்தது
சந்தத்தில் மாறாத நடையொடு என் முன்னே யார் வந்தது

Wow! beautiful lines.

This song does not need any introduction. Absolutely a genius of a composition! It's popularity is so much that it has been reused by IR 7 or 8 times at the request of directors and also as pure instrumental versions. That says it all. While the Malayalam and Telugu versions has classical touches, Tamizh version (this song) is more of pop and the Hindi version of Gum Sum Gum is of some excellent Jazz arrangements. Maestro changes the color brilliantly based on the mood and the situation for the same composition by just changing the arrangements and singing. But there were some hiccups as well, as the song was used for wrong situation as well. If everything goes well for an anthem like song like this, there should be 'drishti prathikaram' so that it defies time. Thanks to the directors.

No prelude, Raja starts straightaway with bass guitar and acoustic drums, and SJ adding more feel by providing the humming. Bass guitar is on its own track leading to another path (song) if you are willing to explore, but provides excellent harmony to the present song as well. SJ's husky humming after every line and in interludes is truly divine. When SJ extends each line of Raja's humming is like lover grabbing her lover's hand and taking him along with her. Sameway in second charanam they take turn.

SJ humming starts the 1st interlude along with a string instrument (like veena) followed that mellifluous flute. While second interlude is underway you can hear the bass guitar playing the portion of 'sangathil paadatha', providing beautiful counter melody.

Second charanam does not start straightway. First the lover reads the first two lines and then SJ starts singing. This adds another level of sophistication and aestheticism.
அந்தி போல் காணாத இளமை ஆடட்டும் என் கைகளில் (ஆஹா! by Janaki)
சிந்தித்தேன் செந்தூர இதழ்களில் சிந்தித்தேன் பாய்கின்ற உறவை (…chchch 'சிந்தித்தேன் பாய்கின்ற உறவை' and a smile by SJ)
This is not present in other versions.

In third interlude, flute joins with bass guitar for an evening special tea.

Let's take a step back and see how the directors visualized the song.
Olangal - Thumbi Vaa - song for their children and it's a family song. Even though the song starts on a bright sunny day, evening time is the best time for this song, but this is clearly established in Thumbi vaa at the later part of the song. Perfectly done!. The song has a classical touch especially the bass portions.
http://www.youtube.com/watch?v=LG5jrX3q96o

Aakasam EnAtidhO - Nireekshana - This is a love song but with main focus on fun and aesthetics not sure about lyrics though what it conveys.
http://www.youtube.com/watch?v=hNaJftkrKcU

Neerveezhchi - Kanne Kalaimaane - From the lyrics it seems just a feeling of women about love and nature which matches with visuals like Nireekshana, but the fun element was surprisingly missing in SJ's singing and surprisingly very bland.

Sunday Ko - Aur Ek Prem Kahani - The tune did not at all fit to this picnic setting. Too much melody for such a setting. Everything went wrong here. Totally wasted again.
http://www.youtube.com/watch?v=oJL9Z17P4YA

Gum Sum Gum - Paa - Finally some justice has been done to this song through visuals, but unfortunately could not find the video.

Sangathil Paadatha - Coming back to our song, the lines are erotic written all over and singers doing their job perfectly, but the director hoping to bring out the mood on a "very bright sunny day". What a wonderful imagination! And actors supporting him by doing a terrible job!
http://www.youtube.com/watch?v=eEQa7c4UAx4

Keeping the same Kaapi raagam as its basic building block with exactly same tune and incorporating various western genres for various mood is the highlight of this composition. As we always see, A Raja composition is always suited to a situation and cannot be separated out. That still is valid especially for the first version as Raja originally composed only for that situation, yet it takes some special directors like BM and Balki to imagine the extra-ordinary out of this deserved composition and apply their critical and careful thoughts in Nireekshana and Paa by not spoiling the basic mood of the tune. But again through 'Sunday Ko' there is another lesson to be learnt how this song should not written and picturized. And from 'Sangathil Paadatha', how it should not be picturized and acted, as the lyrics and the mood was amazing!

As we know Kaapi is best known for bringing sadness, as always Ilaiyaraaja uses it to every possible mood except the sadness. Just the tune and huskiness in the singing of 'Sangathil Paadaatha' gives me a pleasant evening walk on the 'othayadi paadhai' between the green paddy fields enjoying the sight of tall palm and coconut trees at a long distance painting the clear blue sky. Inspite of all the westernness and classicism in the song it has a very gentle feel and the soul of our earth. That's true for every version.

A Towering composition! Andrum Indrum Endrum!

app_engine

14th July 2011, 11:11 PM

As we know Kaapi

ennanga sir, ippadiyellAm ennai mAthiri kaRpooram ALungalaiyum sEththu eppadi sollalAm? :-) narasoos vENA theriyum.

Ofcourse, kalakkal article, it goes without saying! :thumbsup: :clap:

For a very deserving song!

V_S

14th July 2011, 11:28 PM

Thanks App :smile: I also don't know and my classical knowledge is also very very limited and a dummy, but this is one of the song which is very clear to me as Kaapi as I heard some popular krithis in this raaga. One is Jagadodharana. Here it is by legendry MSS. http://www.youtube.com/watch?v=nac8u8i4w8c

15th July 2011, 06:11 PM

V_S, pardon my late entry. Naanum appdiye vandhu moi ezhudheetu poidren! Awesome picks and interesting posts as usual.
Sangathil is my favorite of the clone bunch, just for the way IR renders it; there's always that 'extra special' ingredient in his singing and this song is no exception. Also love that SJ humming which isn't there in the other versions.

priya32

15th July 2011, 06:22 PM

அந்தி போல் காணாத இளமை ஆடட்டும் என் கைகளில் (ஆஹா! by Janaki)
சிந்தித்தேன் செந்தூர இதழ்களில் சிந்தித்தேன் பாய்கின்ற உறவை (…chchch 'சிந்தித்தேன் பாய்கின்ற உறவை' and a smile by SJ)

I love this song, nice write up!

அந்திப்போர் காணாத இளமை
ஆடட்டும் என் கைகளில்
சிந்தித்தேன் செந்தூர இதழ்களில்
சிந்தி தேன் பாய்கின்ற உறவை!

V_S

15th July 2011, 07:21 PM

Thanks KV. Welcome priya here and many thanks for the correction.

skr

15th July 2011, 08:35 PM

Wow V_S what a wonderful post and what a mindblowing song ..
You perfectly summed it up with your Golden Words 'A Towering composition! Andrum Indrum Endrum!

V_S

15th July 2011, 08:49 PM

Thanks skr for your compliments!

V_S

15th July 2011, 09:02 PM

En Gaanam - Eera Vizhi Kaaviyangal – In search of a great soul :notworthy:

One of the finest guitar playing! Total surrender and shaastaanga namaskaaram.

Eventhough this soundtrack is very popular among many Raja fans, even there, still many have not heard these timeless gems yet. What a big miss it will be, if this soundtrack is not heard. My top 10 soundtracks of all time.

Just the prelude and pallavi tells big stories of guitar playing. I could not believe what I am hearing. On a casual listening (for the past 15 years) I was only able to appreciate some great guitar playing, that's about it. But when I started my journey in search of soul (God) in this composition, I found some great treasures which I term it as 'Kaaladi Mann', still not the great soul, but this itself is worth and encouraging to find the soul which is still far far away and may not be able to find it at all.

Here it is:
Lead Guitar plays fast for first 9 seconds and bass guitar joins for a counter melody after that. While we admire and get lost on one of the rarest guitar-guitar counterpoints as Raja teases us by making us to believe this is the soul, we hear that the prominent guitar portion (not the guitar) which we just heard for the first 9 seconds switches now to bass guitar and the lead guitar continues on a different path. This is the path which gives lead to the pallavi. Raja pulls off the lead guitar little bit to adjust to the pace of the song. Also hear the bass guitar sound @0.16 like skating suddenly on ice. When Raja starts singing 'En Gaanam', normal and conventional approach is to add percussion along with a bass guitar. But with Raja, we can never ever expect anything conventional eventhough he uses the same guitar for another 100 years. So here, two guitars play when Raja sings pallavi. As I mentioned above the first 9 seconds lead guitar piece went to background later. The same guitar piece can be heard which acts as percussion along with bass guitar. No percussion at all in pallavi (and whenever pallavi is sung again). Very unusual!

Beauty is all these happen seamlessly and very fast (eventhough this is not a fast song). Summarizing the above paragraph to appreciates the transitions. First 9 seconds lead guitar->another guitar joins but plays what lead has been playing->lead guitar plays differently against the second guitar giving counter melody->pallavi starts->one guitar plays the same first 9 second piece with bass guitar providing support for pallavi.

Another highlight is, all these (from prelude till the end of pallavi) happen in just one minute. Can you believe it? Added to this, this is not a fast pallavi, allowing that too, Raja again proving every second is worth and no wastage of time unlike some songs today which starts seasoning for first 2 minutes then slowly starts with some vague pallavi prolonging for next 2 minutes, charanam has just two lines of new composition. By the time they complete the song it would be more than 6-7 minutes, may be with just one charanam. Ideally original composition would be for just two lines of pallavi and two lines of charanam rest some uninspiring arrangements completing the song which reaches upto 6-7 minutes. Sorry could not resist writing this and I know I am getting old, but this is just to showcase Raja's work for just a minute of the song which is equivalent to 6-7 minutes. So much went into it and it's all squeezed and made compact.

Raja's voice is just so apt and sweet and this is the first time for such a kind of song I can't even think of SPB or KJY. It is tailor made for him. What a rendition and cool as cucumber. He has taken a right song and delivered with fullest satisfaction to all. Jency gets a late entry only during the second charanam for just couple of lines, but it adds to the soul!. Is this the soul?

For the first time in the song, percussion is introduced in first interlude. Ist interlude starts with a peculiar night effect sound which builds up to give the lead to crescendo of Violins and piano accents. Violins, piano, flute continues to flow followed by violin and bass guitar conversation. This flow is just like the waterfall flowing fast just after it reaches the stream, after the great fall. After all this, guitar is back with flute. An exception piece of composition here!

Guitar crescendo (can we call it?) at the end of 'naan thanimai paravai, siragondru nee thaa'. How he builds it! That's again one of the best innovation! This should be the soul!

In second interlude violins in conversation with synth, followed by piano, flute and guitar leading the second interlude. Violin crescendo at the end is absolutely magical!

Pallavi back again with no percussion (like coda piece) and Raja ends with 'En Gaanam' and guitar sings the rest. What a beautiful ending with guitar and vibraphone for this masterpiece of a song!

The whole world suddenly seems so new and beautiful with this timeless classic as if I got another genmam today to try to undo all the bad things in the past. But only goal is to search for the great soul from this ever growing song (like Lord Shiva taking viswaroopam by growing at both ends, no one can either see his head or the feet) which is still evading from me. I think this is the same reason this song and the whole EVK songs are not visible to others!

Aren't we lucky to have born again?

http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00125&lang=en (http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00125&lang=en)

Sunil_M88

16th July 2011, 04:59 AM

VS - With the exception of Ellam Inba Mayam, the remaining recent shares are truly inspiring compositions. Completely got gob smacked over Raaja's romantic angle in these numbers and his vocals definitely reflect the inner passionate lover. Conversely, the "tapori"ish Ellam Inba Mayyam shows Raaja sinking into a mischievous character and this song has great picturisation of goon friends.

Sunil_M88

16th July 2011, 07:25 AM

Fasten your seatbelts and get ready for this ride!

I instantaneously felt as if I’m boarding to go on an expedition. The initial humming is a big enough reason to go sailing (Ahoy matey) followed by the violin and flute which conforms a train journey going through a hill station. The reggae/calypso touch is vital to this jovial song which can be termed as a breezy summer anthem.

The interludes and the charanams are dark yet flourishing with ascending magnificence, IR and Sujatha mam sound ever youthful. The bongos in the charnams backing Sujatha support a school trip feel where people might be entering caves or a woodland path for walks.

The song ends with humming which farewells the adventurous experience and depending on your journey, the yacht comes ashore and the train reaches its station. Hope you enjoyed your journey.

Yey Konji Pesu Kovamkonda Kannamma from Kaathal Kavithai - Illayaraja, Sujatha

http://www.thiraipaadal.com/tpplayer.asp?sngs='SNGIRR1332'&lang=en

Sureshs65

16th July 2011, 01:54 PM

Lovely song Sunil. The album itself was kick ass. I heard that this song was not used well in the movie. I think they used during the titles. Or so I remember someone telling me. Someday we should compile a list of Raja' unused songs starting from 'malargale nadhaswarangal', 'putham pudhu kaalai' onwards. And if we combine this with songs from movies that were never released, you will get a very rich set. I would go so far as to say that we can establish Raja as one of the great music directors just by using these songs !!!!

skr

16th July 2011, 02:40 PM

Thanks V_S for the soul stirring write up on En Gaanam ..
This is a song close to my heart and has that X Factor which makes you play this song on Repeat Mode time and again...
From the starting prelude it just bowls you over..I just love the descending chromatics from 1.25 to 1.34 ..Heavenly song in all respects ..

skr

16th July 2011, 02:52 PM

Yey Konji Pesu is an interesting song ..IR has sung it well..Thanks Sunil for bringing it up ..
Like Suresh says , if we take unused songs , songs from unreleased movies alone we will get a very rich list which can rival many a MD'S entire oeuvre ..

Sunil_M88

16th July 2011, 05:04 PM

Suresh ji and skr, that would be fantastic. I honestly think some songs are better left unpictured as no visuals are likely to justify them, therefore yes there is a high probability in rarifying IRs greatness with this list. Suresh ji if you wish, please do the honours in initiating the thread. As I'm not a frequent viewer of tamil movies, the only song i can suggest for now in this list would be kai veesi from nandhalala. sorry for the digression.

tvsankar

16th July 2011, 07:11 PM

Sunil,
Beautiful Pick.. Nice Write up......... Thanks for the pick..........................
Enaku romba pidicha paatu.. idhu............

V_S

16th July 2011, 08:51 PM

Thanks skr. EVK is always special and bring back lot of memories, emotions, will forget this world whenever I listen to them.

Sunil beautiful write-up on Konji Pesum. Wonderful and apt imaginations linking to train journey on a hill station, walking through caves and the description of the end of the song, beautiful. :thumbsup:

How contrasting the songs were composed from 1982 and 1998. In this song (and in this period) even though Maestro uses mostly synth driven orchestration, it does not take your mind and focus away, all because of the richness in the tune which he always maintains right from day one till today. Again an excellent experimentation with synth without going overboard and using all that he has, only uses what is required. People say those times were the lean patches for Maestro, but I would say it's a lean patch for the audiences. Can you conclude that by hearing this song or any song in this period?

Querida

17th July 2011, 02:41 AM

VS, superb writeup for "En Gaanam", EVK is a gem of an album overall!
I usually take keen notice of the flute and violin in general
and so it was enlightening to read of the complex yet subtle use of guitar in this piece.

One of my favourite parts: When IR croons: Poo Idhazhil Nirangal Varaindhadhu Yaaro...and the guitar strummingly replies...love that!

This is a song close to my heart and has that X Factor which makes you play this song on Repeat Mode time and again...

:yes:

V_S

17th July 2011, 04:46 AM

One of my favourite parts: When IR croons: Poo Idhazhil Nirangal Varaindhadhu Yaaro...and the guitar strummingly replies...love that!

Thank you Querida! Exactly well put! As I said these first line in charanams is one of the best innovations in the song, he could have just carried directly to second line, why is he doing that? No one knows but see the beauty and the soul captured in that portion.
Many place like that, Raja's soulful singing, every guitar note including the prelude and the postlude which sings part of first line, violin crescendos, flute masterpieces, piano chords in interludes, every second and every note in the song has 100% ஜீவன் (soul) so it is very easy for us to get lost in one portion, but Maestro hypnotizes us throughout.

raaga_kann

17th July 2011, 10:27 AM

Few of Raaja's Duets have got a "Deiveega Touch". Like in the case of this song - Munnam Seidha Thavam from the Film Vanaja Girija (One of the many gems of Raaja of the Mid Nineties which was totally ignored by the mass). I was just transferred to another logam when I heard this song last week after a considerable gap. The sleepy, yet breezy chorus, the constant rhytem pattern used thru out the song (like he had used in Malai Koil Vasalile, another divine number), the konjum soft voices of SPB-Janaki and the selective soft instruments used in the interludes just bowls you out. Experts can throw more light on this classic composition

Sunil_M88

18th July 2011, 05:46 AM

Aalaramarathu and Vayasu Pulla from Annan (1999) sung by IR and Sujatha mam

http://www.thiraipaadal.com/tpplayer.asp?sngs='SNGIRR0261','SNGIRR0266'&lang=en

Two duets from the same album :) certainly a treat.

Aalaramarathu has everything to offer from 808 beats, korg/yamaha/casio synths all the way to a bundle of Indian percussions i.e. Dufli, Tabla, Ghatam, and Pakhwaj.

The prelude has a mad assortment of unrelated sounds and Raaja’s arrangement might sound awry for the average listener but those who crave artists who push the boundaries of music will absolutely love the experimentation here.

Raaja sir begins the song on a light note and what follows is the happy go lucky conventional dufli supported by a tambourine. It is all fine until the synth comes and hits you in the face. I’ve never heard a synth introduced over adufli like this, yes it’s wacky but IR pulls it off with ease and redefines the term ecstacy here just before taking to the mountains with the harp, pan flute and xylophone.

Sujatha ji starts off the pallavi with the same prelude dufli beat in loop. The western touch arrives a second or two before Sujatha utters, “Nee Solla...” This part just makes the song revolve around the 808 snare. The melody is serene, the beats are simple and the vocals completely swallowed me into the song right from the beginning. The ghatam greets IRs entry in the pallavi, with a banging surprise.

Back to the mountains with the flute in the first interlude which also has an instrumental version of the pallavi in it prior to the charanam. From the pakhwaj in the charanam I could sense a vibrant Rajasthani vibe, particularly when Raaja sings, “Sila Sila kaatha arakidaan (sorry if I mistyped the lyrics) ...” and the remaining portions until the chorus.

The second interlude has also been approached with a north Indian manner (The notes sound very wedding shenhai-ish type). The synth from the prelude is repeated here with the addition of shaky strings - a trademark of the maestro.

Highly recommended when you’re having a downer!

Vayasu Pulla

Racy beats set this chorus ablaze. There are various parts in this song where Raja made me skip a heartbeat with his vocal magic. Overall encompassing solos and duets, this song is one finely song sung by IR which presses the right sentiment buttons as the song displays many emotions. Particular laudable excerpts include: “Nadaswaram moonal dhan”, “Saila muree sollum chinna kilee” Sujatha mam has her own variation of this line in the second charnam (again apologies for the typos). The way IR drags the “ee” in the latter deserves a special mention.

Both interludes are long and I’m not complaining. The first interlude is segregated into three parts, we have the clavi (never heard this in IRs other compositions) synonymous with oriental comical BGMs, then comes the relaxed flute followed by the keyboard generated voice going “Doo, Doo...” over the kanjira - Marvelous! The second interlude is the highlight of most IR songs and this one is no exception, one moment the pace is slow whilst on the contrast it builds up. The air guitar/flute (don’t have a clue) sounds so pleasant on the ears.

The song ends on the same racy note it started on.

V_S

18th July 2011, 06:05 AM

V_S

18th July 2011, 06:08 AM

Welcome here raaga_kann. Beautiful pick and description on Munnam seitha thavam. But this thread mainly focuses on duets where 'IR is a singer'. Please pour in your favorites.

Sunil_M88

18th July 2011, 07:07 AM

Wow! great going Sunil!. There is no doubt these songs inspire you a lot, especially on the arrangements which closely relate to the work you are doing, as you are also a aspiring music director and this post shows you're up to date on the instruments brought out in all these synth driven arrangements. I am hearing some new instruments like dufli, tambourine, clavi, and even getting human voice out of it. Very educational post! :thumbsup: Very Beautiful songs again and very fresh feel to it! My pick is Vayasu Pulla.

:ty: Yes, I do try and attempt this kind of sound and not surprised to discover Raaja sir has already covered this formula, what is left for him to cover? Nothing :) Due to my late entry in Raaja's world I'm still unearthing thanks to the hub so therefore am still behind the rest of you lot. I have been listening to the latest churned out songs trying to get a feel for the new sound but I feel most comfortable when experimenting with beats through means of electronica, indian percussion and rigid indian-tinted melodies with a serene ambiance. Only now I'm hearing IRs old/hardcore material and getting more hungry for it as inspiration is pouring from every fraction of the maestro. He has covered all sounds that newcomers are trying to introduce but still best of luck to them. Not only me but I feel anyone interested in music who wants to bring in a new sound should listen to Raaja as he most probably has attempted or even mastered what newbies think of being their own innovative idea. At first I doubted if this kind/my kind of experimentation has ever been conceived. The two songs from Annan, and other songs like Vizhiyil Vizhunthu and various other similar styled songs proved me wrong and made me dwell more on IRs material to draw inspiration.

I am naive in music as I hardly learned it but I do consider myself passionate, when it comes to experimenting not sticking to one genre throughout a beat.

end dig//

app_engine

18th July 2011, 07:31 AM

en gAnam inRu aRangERum - great song and excellent article V_S!

The female voice is "for name's sake" IMO, it's an out and out IR number :wink:

V_S

18th July 2011, 07:48 AM

He has covered all sounds that newcomers are trying to introduce but still best of luck to them. Not only me but I feel anyone interested in music who wants to bring in a new sound should listen to Raaja as he most probably has attempted or even mastered what newbies think of being their own innovative idea.
end dig//
Exactly well said!

Thanks App, Yes you are right it's a out and out IR's number. But adding Jency's voice to the song is like adding a lime in the tea. :smile:

V_S

18th July 2011, 09:20 AM

Rasigane Arugil Vaa - Manippoor Maamiyaar

A high voltage song! But you don't have to hear to get the shock, just the thought will pass the current in you. Right from '1-2-3-4' till the 'cut please take OK' you will feel the vibration.

Terrfic opening with IR saying '1-2-3-4', violins, trumpets and electric guitars. Violins at the end of the prelude takes it to newer heights. I am bowled when IR sings 'Rasigane En Arugil Vaa' and felt like calling me and clapping along with them. Wonderful tune for a club song! Not too much melody, not too much western, all rightly proportioned.

High Trumpet starts the proceeding in the first interlude followed by high violins while bass guitar, Electric guitar and acoustic drums all making it more rich and making a perfect recipe. The off-beat syncopation after 'kaaanaatha aanantham ootraaga aarambam kaalam yaavum inbam inbam' line, syncopation master.

Second interlude goes the rock classic way with rock guitar, drums, trumpets. Most of all the scale shift with delightful trumpets, violins and bass guitar. Who played trumpet for him those days? Ethereal piece!

The stunning highlight of song is the third interlude and Raja's humming. I think this humming is the inspiration for 'Ilamai Itho Itho' humming done by SPB. And I can imagine now, how IR would have instructed SPB to sing the similar portion in 'Ilami Itho Itho'. Hear the modulations in IR's voice here, goes very high and immediately falls down. If anyone has any doubts regarding IR as a versatile singer, this portion alone should convince and put full stop for anyone. Pinnitaar! :notworthy: Since he went way below, he has to come up again to connect to charanam which he does so quickly and with style utilizing violins. Trademark Raja!

S P Shailaja gives excellent support throughout.

These lines are very close to me (in fact for any of his fan) "ரசிக்க வா எந்தன் மெல்லிசை அருகிலே உன் அணைப்பிலே இருக்கவேண்டும் நான் தினம் தினம்". Who would say that? This song is very special as it is the one of very few songs where Raja and fans are in direct contact. Inspite of it being a club song, it is emotional to me.

cut please, take it with you forever!

app_engine

18th July 2011, 09:40 AM

"தெரிந்ததை நான் கொடுக்கிறேன் தெம்மாங்கு ராகத்தைப்போட்டு"...young, sweet Raja!

Nice choice, V_S! Great going!

:clap:

V_S

18th July 2011, 09:52 AM

Thanks App. :-D This song does not age at all, still very young and fresh!

groucho070

18th July 2011, 09:55 AM

V_S, you did it again. Rasigane, is something I listen to a lot these days. Somewhere the string section convinces me that Raja should do score for a James Bond film. And I love the drum. When he/she starts "Rasiganee.." the drum goes overdrive. Bonham tOtAr pongga.

V_S

18th July 2011, 10:04 AM

Thanks grouch! Yes Raja goes berserk with drums and trumpet and again that second interlude. Wow! Very nice angle of thought grouch on James Bond film and Raja. :thumbsup: Very true this song captures the energy and essence of a James Bond film.

groucho070

18th July 2011, 10:09 AM

Seriously, the way he deploys the hordes of trumpets, and unleashes the power of string, I am reminded of John Barry's early scores. There are many seemingly innocent tunes, and simple melodies with these kinda Bond-istic scores sandwiched between them. It's not too late to campaign for IR for Bond movies. The score for the OO7 movies the last twenty years sucks!

rajkumarc

18th July 2011, 10:52 AM

Amazing writeup V_S for Sangathil, En Gaanam and Rasigane :clap: Thoroughly enjoyed listening to the songs while reading your post.

V_S

18th July 2011, 07:48 PM

Wow! thanks again grouch. Will hear from your angle in other songs too, you have given us another dimension to approach Raja songs and scores. But sad story is most westeners does not go proactively and listen like us, unless someone knocks their door (for example, hollywood movies). They don't know what they are missing.

மிக்க நன்றி rajkumarc. Very happy you liked it.:-D

18th July 2011, 08:42 PM

V_S, for that wild, freaky Rasigane, mikka nandri! First time listening... Raja's gone bonkers in this one! All that energy in the 2nd interlude... never ever heard Him doing all this in any other song! Craziness!

Grouch, even for someone like me who isn't really a bond fan, Casino Royale's score was a total riot. Chris Cornell's 'You know my name' is probably the wildest Bond song ever (if it can be called so)... bloody brilliant I say!

V_S

18th July 2011, 09:10 PM

Thanks KV! Rasigane is one crazy song with Maestro going really wild. Thanks for introducing me to Casino Royale's score, will listen tonight.

Sunil_M88

19th July 2011, 03:19 AM

Thanks for the share - Yes, it's very young and fresh as you said and cheers for making me a victim of electrocution for the 1st time :happydance: . It's one of them songs that needs to be remastered asap.

The "baba ba bow, baba ba bow..." yoodle by IR is unpredictably excitable. I never imagined him going all overboard in this way. :clap:

V_S

21st July 2011, 10:31 AM

Metti Oli Kaatrodu En Nenjai Thaalaatta - Metti

Maestro does not wait again to settle down (but this not to be mis-interpreted as Maestro in a hurry), starts straightway with voice counterpoints. Normally we have seen WCM techniques and especially counter melodies either in interludes or in charanams, but in prelude itself and right at the beginning. Beautiful humming by S Janaki with Raja slowly coming from background and tears our heart with his soulful humming totally on a different scale, but what a beautiful harmony when listened together. The humming by SJ is repeated by santoor beautifully. After this, hear the amazing guitar piece and a remarkable improvization. The flute in between the guitar seems to me that a bird is just jumping on a piano and flies away. Again of the best Maestro's prelude.

Just when Raja starts singing 'Metti oli kaatrodu en nenjai thaalaatta', with accompanying tabla, I felt like I am being caressed with some gentle breeze or feather.
Raja's singing is so mellifluous. The starts of charanams with 'oh oh oh oh vaazhnaalelaam unnoduthaan vaazhanthaale podum' and 'yeh yeh..' further increases the feel and takes us close to nature. The tune structure coupled with lyrics sounds so heavenly. Maestro starts on a higher pitch during charanam 'vaazhnaalelaam unnoduthaan vaazhn' and suddenly drops to 'thaale podhum'. The lyrics sits perfectly at every place. Throughout the song we can hear this pattern which makes it so very sweet to listen. Eventhough the lyrics is sung only by Raja, we could not say Janaki just provided supporting vocals. Right from prelude, humming in charanams and in the interludes, SJ has proved that these few seconds are enough for her to steal our hearts and showed great aplomb.

The song has a strong hindustani flavour inspite of having rich WCM techniques.

Solo violin slowly transforms into group of violins with guitar, acoustic drums with hi-hat and flute one after another. Then all violins, santoor, piano, guitar join together and play in tandem to setup the charanam bash.

The ornamentation with santoor at the end of first line of charanam (after SJ's humming) makes us yearn that he will repeat the same for next line as the second line is again similar to first, but Maestro does not do it (Why?). One guess is just he starts the next line little lower, so the santoor lead is not needed there But this is where Maestro teases us many times in many songs. Just we would hear one brilliant portion for few seconds and will think it will come again, but no he never repeats. If he repeats that takes the beauty. Visualizing this to admiring some natural beauty (you know what I mean) for few seconds, but our eyes will wander desperately to have another glimpse, but we will never get, but just that memory will stay with us.

Some beautiful lines I always love, with Raja's singing these words gets another life.
வாழவென்பதின் பாவங்களை நாம் காண வேண்டும் (what a line!)
நாளும் பல நன்மை காணும் எழில் பெண்மை
பூவை வைத்த பூவாசம் போதை கொண்ட உன் நேசம் (killer of a line)
தென்றல் சுகம் தான் வீசும் தேடாமல் சேராதோ...

Interesting as always the second interlude. I hear the interlude as every line of charanam. Amazing aspect of this interlude is every so-called each line of interlude would take us an excellent lead to another song. But all these are well connected that it does not end on a discord.

Be it the haunting humming with guitar strumming, OR beautiful violin (and vibraphone), santoor which acts as call and response OR one of the most innovated humming 'Tututurutu…. answered by violin followed thanathanana OR the magical flute and santoor, each one is a separate song. The last flute with santoor is the one which I rewind the most. Always my eyes will be wet whenever I hear this piece.

Now comes some important questions.

Why would a song picturized completely on women is sung by a male?
Normally for such montage sequence in a song, it is assumed that the character will sing in his/her mind or his/her thought would be reflected as a song. But here Mahendran and Maestro has taken another revolutionary step (IMHO) by making the audience sing this song realtime as they are seeing this sequence. But here comes the next question. Is it not brilliant?

Again the women are seen spending their time very happily yet the tune and the singing does not sound like that? There is not just a hint of melancholiness, but quite a good touch of melancholiness. Why so?
Even the audience has to sense if the daughters will get married and the 'metti oli' will sound at their home. If their father is around how would he feel of them. May be even Mahendran visualized their father is singing this song, with worry to get them married. That shows in the singing.

The song lyrics does not sound erotic at all, then why would SJ's humming in the pallavi and charanams sound like that?
Definitely their age cannot hide their emotions. That was clearly conveyed by SJ and excellently executed by Maestro.

Why Mahendran starts and ends the song in a seashore. What does that imply? Again most of the time this song is pictured during twilight.
Twilight for this song represents they have to wait till dawn and also symbolizes patience. Another perspective is 'Everything in the world started with sea (water) and will end in sea'. I believe the story ends without they getting married (and so no metti oli) and one of the sister dies. Please correct me if I am wrong.

When two of the greatest craftsmen at work a song of this calibre has to be born and it has born, but it is just 29 years young and will always be young. A song which will heal all your pains and troubles.

http://www.youtube.com/watch?v=BYNPbDE3330&NR=1 (for good audio quality, but with no video)
http://www.youtube.com/watch?v=q1gC6zS_ajA&NR=1 (with actual video)

skr

21st July 2011, 12:52 PM

V_S I am unable to find the link for Rasigane in your post ..Badly wanna listed to it after reading your post and the comments ..

Plum

21st July 2011, 03:00 PM

Plum

21st July 2011, 03:01 PM

and these lines "endru andha veLLOttam?" -

groucho070

21st July 2011, 03:09 PM

So, Plum. Was Mahendran a one-time wonder? Or maybe three or four time wonder?

Plum

21st July 2011, 06:13 PM

With Mahendran it is not about numbers
2 Great films (UP and MM)
1 Very good (NK)
1 Good (Johnny)
Rest hover from average to "eh what was that?"
* I havent seen poottadha poottukkaL

Plum

21st July 2011, 06:14 PM

Those 2 great films, IMO, still stand apart in TF history. If that was a fluke, what a fluke!

app_engine

21st July 2011, 07:19 PM

I think Mahendran also spent a lot of his prime years writing screenplay / dialog for prior era directors (movies like Thangapathakkam) and gifted away some of his decent stories (and didn't want to repeat those ideas).

In addition, I remember reading an interview from one of his associates that included a pulambal like :

"திட்டமிட்டு செயல்பட்டால் அவரை அடிச்சுக்க ஆளில்லை, ஆனால்..." which indicated external factors that killed him :-(

V_S

21st July 2011, 07:38 PM

V_S I am unable to find the link for Rasigane in your post ..Badly wanna listed to it after reading your post and the comments ..
Here it is, sorry I forgot to add link to that post.
http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00347&lang=en

V_S

21st July 2011, 07:45 PM

metti oli - somehow I feel the picturisation was not as intended when composing.
The song seems to be between lovers, from the male point of view(paavai patta kaayam, paarvai pattu aaRum, with Janaki dangerously bordering on her usual orgasmic noises, which she eventually manages to stay on the right side of the border but it is too close for it to fit in the situation Mahendran shows)
Good one Plum! Yes not sure how JM explained this song situation to IR. Just my guess was, may be JM wanted the audience to be felt as the lover. Also, as your rightly pointed out I was also surprised by Janaki's singing, not at all suiting to visuals. But again interpreted as the inner feeling of the women which occasionally comes and goes even they are having enjoyable time together. But it's so very close, if a little bit more it would have spoiled the song.

skr

22nd July 2011, 11:45 AM

Wow man Rasigane is just so freaking out rockin ..Maestro in mindblowing form ..No wonder we r all his Rasigans ..

Sureshs65

22nd July 2011, 06:29 PM

As usual a lovely writeup on 'metti oli'. Excellent song. To many one of the top songs composed by Raja. I especially love the way Raja brings in the anupallavi. If you listen carefully you can see that Raja could have easily looped back after 'mellisaiyin paavaaga'. That can naturally lead you back to the pallavi. But Raja gives that additional line, "kothai malar poo paadam" and suddenly the songs melodic quotient increases by a factor of 2!! I listen to it many times just for that line.

V_S

22nd July 2011, 07:26 PM

Thanks Sureshji. Yes your observation is too good and I hummed to get to the 'kothai malar' line, very divine. I don't know how Maestro steals some beautiful lines which does not exist as per the structure, and how it enhances the melody content. Wow! beautiful.

skr, yes Rasigane is one freaky song and thalaivar's singing like that was never expected before.

raagas

22nd July 2011, 07:32 PM

V_S

22nd July 2011, 08:09 PM

Wow! raagas another beautiful term 'nirvana movement', excellent.

Sunil_M88

22nd July 2011, 08:41 PM

Enjoyed your write up, v_s :)

The song has many complex counterpoints, switching back and forth from wcm to hindustani.

The chorus did the job for me. :clap:

Plum

22nd July 2011, 09:01 PM

V-s - raagas said nirvana moment. Ninga solRadhu nirvana movement - adhu vERa song: ponmEni urugudhE ;-)

priya32

22nd July 2011, 09:04 PM

sirikkaama irukka mudiyalE! :rotfl:

app_engine

22nd July 2011, 09:39 PM

Plum,
:rotfl2:

V_S

22nd July 2011, 09:59 PM

V-s - raagas said nirvana moment. Ninga solRadhu nirvana movement - adhu vERa song: ponmEni urugudhE ;-)
:lol: Plum, you picked up correctly on my spelling mistake which took to another meaning.

AravindMano

22nd July 2011, 10:33 PM

:lol:

(I am laughing. SIGH.)

V_S

24th July 2011, 09:19 AM

Sevvarali Thottathile - Bagavathipuram Railway gate

thaanaanea…thaanaannaa…thaanaannaa. What a start! Just like watching a first minute soccer goal by our favorite team. When farmers start their work early on a bright sunny morning in paddy fields, singing their heart out which gets carried away long by fresh air into every house and wakes up and drives out any lazy breath of air which reside in. So in a way this is 'Suprabatham' to many homes. Who is the singer? Want to touch his feet. Beautiful voice and singing!

First main instrument used for this folk song is guitar. Ruthless again! Santhoor is the heart of any folk songs by Maestro. We came to know this only through Maestro. This instrument has travelled long way from up north to be blessed by Maestro's hands longing desperately for 'paapa vimochanam'. And how Maestro in one of these many many beautiful songs gives vimochanam can be heard clearly. The santhoor and flute following the guitar gives a feel of gentle stream on a 3000 feet overview. Hear how flute is correctly interlaced filling the santhoor flow (call and response). Imagine only santhoor without flute there or even vice versa. Actually flute is the one which takes the santhoor where it is destined to go. Also flute cannot travel by its own (only for this flow) as it needs a vehicle and santhoor acts as a vehicle. This can be viewed as a farmer ploughing (plow) the field with two bullocks. Bullock does not know where to travel and farmer cannot plough the field on his own. While farmer knows where to go, the bullocks has the power to plough and the percussion describing the actual plow and how they both work together in tandem is just one part of his great imagination in the instruments usage by Maestro. While we get carried away with flute and santhoor, violin sneaks through for couple of second at the end of prelude.

Then Uma Ramanan starts 'Sevvaralli thottathile unnai nenachu' with her voice sounding so perfect fit for the setting and she brings the mood and huskiness required for the songs. Especially when she sings 'hakkam (instead of akkam) pakkam yaarumille aalunga aravam illae, suthum muthum paarkayile thudippum adanguthille'. Maestro uses just the percussion when she sings, no other instruments (except one another minute sound) to get the best out of her and also the best out of lyrics. Another love song in rural setting and it's a treat of ears.

We can relate the first interlude to a relay race or to the game 'ko ko' which we used to play (I miss those games!). Start with violin-violin counterpoints, santhoor and flute again begins their journey. Unlike the prelude, where flute fills in-between for santhoor, here violin and santhoor supports the flute. Then unusual violin fills for violin. How many thousand times we would have listened to his interludes, not one will be even similar.

Raja takes off beautifully in the charanam. Loved the way Raja sings 'Anname'. Only percussion here again backing the vocals. Raja and Uma Ramanan complement each other with no domination. Simple yet wonderful tune! Raja's last pallavi is the one I listen again and again. Very beautifully done!

We have come to the best part again, the second interlude. The song's core beauty is all captured here. This is strictly Maestro's region, no trespassers allowed, even if allowed heavy injuries warning! Starts with haunting 'ehhaahhhaahh' humming. This is called singing for soul. If you are very strict about sruthi and all those technical flaws, please stay away. This part is just about the feel feel, just the feel. Even with all the above shortcomings, if this song takes you on a boat ride with just listening, it has achieved what it wanted. Just like the path might cause trouble, but this is the path which leads you to God. Also Raja is intentional about it as per the movie situation, this song is not sung by some trained musician, the singer is singing for the merry of the travelers and also for himself, not worrying about anything else. Correct voice which captures the correct essence of the song.
ஐலேசா ஐலேசா ஹோய் ஹா ஹோய் ஹா ஐலேசா ஐலேசா ஹோய் ஹா ஹோய் ஹா
ஆறும் அல ஓயாதம்மா ஆச அது தேயாதம்மா
வாட பட்டு நின்னாள் அம்மா வாசம் பட்ட பூவாட்டம்
மனசுல கொண்டாட்டம் மலருற செண்டாட்டம்
ஆறும் அல ஓயாதம்மா ஆச அது தேயாதம்மா
Flute after this, is the one you will die to listen to all your life.

Please spare the shock you would get when you watch the video with Karthik and Ralalakshmi as usual underwhelming and director visualizing the serene humming with man singing with saarayam bottle in his hands. Way to go! Also in charanam when Raja sings 'kottugira aruvigiyile kulikkira kurvigale', director preferring artificial setting of water flowing out of dam rather than the waterfall. Totally out of place! Again the second interlude divine piece, very shabbily done. Atrocious. Could not forgive them.

Again every instrument played in the song is very old from Western classical days to hindustani classical days. All the WCM, HCM techniques are employed with listeners not even aware of all these can still enjoy the soul in the song. Because everything is in Maestro's safe hands. He will take care like a baby.

This is again one of Maestro's best folk song which as usual makes us imagine abound. Starting with farmers ploughing the land to the boat ride on a calm lake/sea and lovers running behind the shady trees or swinging on the branches of trees, stealing the fruits from neighbors garden, playing in the water, they forget themselves like we do when we listen to it. A very calm folk song with innocence throughout which brings innocence in ourselves!

http://thiraipaadal.com/album.php?ALBID=ALBIRR00075&lang=en (Listen to other gems in this film)
http://www.youtube.com/watch?v=hus_F38SGww&feature=related

app_engine

24th July 2011, 10:20 AM

Beautiful article for an excellent song, V_S!
:clap:

I can't wait to read your thoughts on another IR-UR special, 'mEgham karukkaiyilE puLLa dhEgam kuLirudhadee', one of my favouritest numbers :-)

V_S

24th July 2011, 10:27 AM

Thanks App! :-D Not sure if I could meet your expectations on Meham Karukkayile, but will definitely try. Thanks a lot for your encouragement. Such a lovely composition. Just couple of songs away to reach this song.
BTW do you know the singer who hums those portions in Sevvarali song? Very curious to know, he sang brilliantly.

Querida

24th July 2011, 11:10 AM

Flute after this, is the one you will die to listen to all your life.:yes:

Raja's singing towards the ending is just so soft and husky...too good!!!

Wonderful use of visual analogies V_S and thank you for providing the link to the rest of the album...first time listening to the other songs of this album and enjoying very much! :D

Sunil_M88

24th July 2011, 05:42 PM

One of your best write ups :clap: The song truly captures the moment

Sevvarali Thottathile - Bagavathipuram Railway gate

... the second interlude. The song's core beauty is all captured here. This is strictly Maestro's region, no trespassers allowed, even if allowed heavy injuries warning! Starts with haunting 'ehhaahhhaahh' humming. This is called singing for soul. If you are very strict about sruthi and all those technical flaws, please stay away. This part is just about the feel feel, just the feel. Even with all the above shortcomings, if this song takes you on a boat ride with just listening, it has achieved what it wanted. Just like the path might cause trouble, but this is the path which leads you to God. Also Raja is intentional about it as per the movie situation, this song is not sung by some trained musician, the singer is singing for the merry of the travelers and also for himself, not worrying about anything else. Correct voice which captures the correct essence of the song.

BANG ON SIR!!

The beauty of folk songs is that don't really follow a set pattern, similarly to jazz this genre is all about unpredictability. Musical notation is associated with people who are trained in and can read and write music and folk doesn't require this as it is all about the singing from the heart and delivering the message directly to the listeners heart. This interlude shows this. Folk singers are ripest out of the bunch.

app_engine

24th July 2011, 06:27 PM

BTW do you know the singer who hums those portions in Sevvarali song? Very curious to know, he sang brilliantly.

No idea V_S :-(

I was also wondering who did the singing in the first interlude of 'thAlAttudhE vAnam' (valaiyil dhanamum vandhu sErum enga murugammA ElO)...possibly these didn't get credited on the LP but never got a chance to look at those disks and they never announced on the radio...

V_S

24th July 2011, 08:47 PM

Thank you Querida and Sunil. Yes all other songs are also too good. Kaalai Nera Kaatre and Thendral Kaatrum is one somewhat popular songs those times, but other rare songs are a late discovery for me.
Aasai Nenjil Ini Deepam Illai - SPB is a surprise for this movie. Pathos song. Pallavi and anupallavi are enough to rewind it. Beautiful tune.

Sunil, Very Well said about folk singers.

App, yes the first interlude is one stunning piece!. We need to bring those great singers to limelight. I think the singer is same for both the songs.

rajkumarc

24th July 2011, 09:09 PM

Lovely writeup V_S for Sevvarali Thottathile. I simply love those rustic vocal portion in the second interlude which just stops me on my tracks whenever I hear this song. To me, that's the soul and essence of this song.

V_S

24th July 2011, 09:17 PM

Yup absolutely! It's an auto-rewind place.

raaga_kann

25th July 2011, 11:56 PM

This song of the mid-80s was the first song sung by Raaja in Telugu. A soft moody / romantic / bhodhai / mayakkamaana number. As I do not know much Telugu, I really cannot comment about his pronouncation. The song is a class in this genre tuned by Raaja (Like the "Sivarathiri" number from Michael Madhana Kamarajan). Both Raaja and Susheela renders this song in a very subdued soft voice to bring in the mood. Beginning from the prelude, the orchestra just complements the tune with a very breazy flow thru out the song. The sleepy chorus creates an additional impact. He usually uses a unique rhythm pattern for these type of songs - Ditto in this song for the pallavi part. (Another unique rhythm pattern can be heard in the Sivarathiri song also). I think the song is from the film Surya IPS. I very well remember Venkatesh "lip movement" for Raaja's voice. (By the by, one fact which keeps on haunting me - Raaja has lent his voice for almost all Tamil heroes of 80s. But I do not find a single song which he had sung for Kamalhassan (lip movement). Am I right?)

V_S

26th July 2011, 12:05 AM

I do not find a single song which he had sung for Kamalhassan (lip movement). Am I right?)
AFAIK, there is one "Onnum Onnum Renduthaane - Ellam Inba Mayam". I have written above this song few pages before.

Plum

26th July 2011, 12:08 AM

It's coolie no. 1, not surya ips. Prononciation is so-so

Sureshs65

26th July 2011, 09:18 PM

Yes. It is indeed 'Coolie No 1', which was probably Tabu's first film which got released. Here is the youtube link. (Especially for Tabu fans :) )

http://www.youtube.com/watch?v=_i0nyA4lHgQ

And here is another wonderful Telugu song, a duet sung by Raja for that horrible film, 'Mallepoovu' (Which incidentally Plum watched :) )

http://www.youtube.com/watch?v=b_IRbt1caYA

Raja also has a couple of other Telugu duets in the film 'Yedukondala Swamy'. They are also lovely songs.

Sunil_M88

27th July 2011, 05:25 AM

Oru Aalam from Puniyavathi (1997).

http://www.thiraipaadal.com/tpplayer.asp?sngs='SNGIRR2909'&lang=en

This has one of the best preludes from IR songs or furthermore Tamil songs in general. Mandhir bell to the Thavil and the joyous chants, this transition just flows directly into your soul. The Thavil leaves paving for chants to take the forefront throwing rays of happiness. Next to come is the pause, which rightly greets the Kattukulle style beat and the “Dum dum” humming before the pallavi. The humming just repeats the magic casted in various IR songs.

IR and Chithra mam are behind the mic this time. I must say IR sounds very young in this number and you can almost imagine picturing him with a wide smile whilst singing this number. A synth riff supports the beats. When IR comes to, “Mottu tha Mottu” the addition of the pizzicato adds the WCM dimension to the song.

The first interlude begins with WCM, and the low flute at 1:27 is there for few seconds. I would of loved the flute to continue in this mode for longer but IR brings in the keyboard to this interlude. This is where he teases the listener with the flute, be careful. But nothing is lost and the interlude elevates with a suspense atmosphere with the keyboard.

Chithra mam starts of the charanam and IR comes with chords on the Rhodes gracing the song. One worthy part to mention is where Chithra mam sings the “nenje kitta saamika, neti karan sayire, vaaaa... manikuyile” portion. The way she croons vaa.. mani kuyilee is infectious through and through. Chithra ji :clap:

The second interlude shows the second and last appearance of the flute otherwise IR songs are commonly laced with the flute. The flute here is longer but the real scene steal here is once again the humming.

In the second charanam, it’s IRs turn to sing the vaa.. mani kuyile line and he also shows that in the long run it is indeed the charanam which this song rides on.

27th July 2011, 04:30 PM

Late pickup. V_S, lovely picks there in Metti oli and Sevvarali thottam; very interesting posts. Like you said, it gives the feeling of being carressed with a feather, listening to IR's singing.
Sunil, nice post on Oru aalam, breezy and catchy. Infectious indeed! Been playing it in loop since this morning.

tvsankar

27th July 2011, 04:42 PM

Sunil,
Greatest no to me.. Thanks a lot.... Beautiful write up...
Thanks Thanks Thanks thanks Thanks Thanks............................................ ....................

V_S

28th July 2011, 09:04 PM

Thanks KV! Very nice post Sunil!. Wonderful song. Thanks for reminding me this song. It is not in our list, will have to add it.

V_S

28th July 2011, 09:11 PM

Chinna Ponnu Selai - Malayoor Mambattiyaan

In school days our parents used to tell us, understand and study and don't just memorize, so that once you understand, it will never leave from you. While it is easy to say, I had difficulty in understanding as I am not presented anything visually in-front of me and all the time imagining things, how this will work and how that will work. I had lot of questions which got unanswered that time. May be it is our whole system. In one way it is good, as it leads to some unimaginable thoughts and questions. But it would have been easier and better the other way too.

With this background, coming to our film and song….

Since this is one of the first few films where Maestro started singing the title songs (or may be the first film?), from here, whenever he sang the title song for any film, that film became a block buster and this sentiment worked very well most of the time. Since this film and story again based in village, IR rightly chose Malaysia Vasudevan, Gangai Amaran, S Janaki, S P Shailaja and himself as singers. Apart from the song which we are in right now and the title song, other gems are also quite popular especially Aaduthadi by MV and SPS.

As you might have already identified/known the situation of this song where the heroine (kannaatha) just fell in love (having realized good about him) with the hero (mambattiyaan) who is a Don and doesn't care for this life, but lives to protect poor people from his village from rich. Hero warns her not to follow him as he himself doesn't know where his life is leading to. Still she is adamant. All these are beautifully conveyed by Vairamuthu in his 'vaira' varigaL.

This is again one of very very few songs where the visuals cannot be separated from the song and vice versa. Such an amazing work by the director and cinematographer. So with visuals, the song gets the expected and enhanced credit. Maestro should certainly thank the director for coming up with perfect visuals for this great soundtrack all the four minutes. Not one second he let Maestro down. So I would like to walk you through the song with visuals, so that it can be appreciated better.

Just before the song starts the hero quenches his thirst by drinking water in the stream where he sees a sari coming his way, intentionally left by kannaatha. The sound of water flowing down the stream still hears until he sees the sari. Maestro takes over from there by introducing vibraphone (with sustain pedal), santhoor and flute in prelude which continues like the sound of water flowing gently. Even without the background information, we would just know from the prelude where the song would have been (or meant to be) picturized. Maestro brings in such amazing clarity in the sounds. Can we also count the different and exquisite flute pieces Maestro has given us including this prelude? Impossible!

When Raja sings 'Enge Maaraappu' Rajashekhar (is he the same Rajashekhar of Robert-Rajasekhar fame?) perfectly brings in the visuals when hero handing over her sari to her. Precise timing! When S Janaki sings the pallavi, they walk through a thick bamboo forest. Lovely visuals! Again when SJ repeats the pallavi you have to see Saritha's acting. Another biggest reason for me to watch this movie many times is Saritha. What an actress! Very naturally it comes to her. I have never seen such an expressive eyes and emotions in any actress so far. Especially in this song, you have to just see to believe her performance. There are many places like this, you will fall for her. And how he complements SJ's singing by her acting and expressions. Perfect match! Truly a delight to watch this song. Here Raja has to underplay littlebit as the hero is not much interested in her love, but at the same time he is in a dilemma like every man. So he has not shown much emotion like SJ and at the same time it is not bland, perfect as always.

Interlude starts with keyboard, but when kannatha acts like she got pricked by thorn, shenoy plays on a higher scale and later when he realizes that she is fooling both the instruments play together. A fun moment!

SJ starts the charanam 'neer pogum vazhiyodu thaan pogum yen selai (again that flute!), nee pogum vazhi thedi varuvene pinnaale' and again visuals closely follow the song and the lyrics. Not just this, even the walk is perfectly synchronized with the rhythm. I can't imagine any better visuals. All our imaginations are laid to rest by director. Raja carries the song forward with 'Vazhi theriyaadha aadu ithu' (stunning tune!) and Mambattiyan leaning over on one of the trees thinking about the same. Stunning! Director now takes a panoramic view when the line 'manasa thaazh pottu mayile nee po venaam velaiyaattu'. Sinungal to end the charanam. Coconut tree at the foreground with lovely locales at the background with paddy fields, mountains and cloudy skies displaying the state of hero's mind.

SJ's humming in the second interlude with flute replicating her humming with vibraphone. Maestro quickly changes the track with yet another wonderful flute with shenoy. And look at the color of sky there! Outstanding!

Another portion to showcase the director's ability. "yEn mElE nee aasai koNdaalum thappilla" in second charanam. Bullocks correctly walking to the rhythm. And again after the above line when flute plays, director pans across the paddy fields with fresh breeze makes them dance like how the flute plays. Wow!

Best lines of SJ: 'Venaam kooppaadu arugae nee vaa rosaa poochoodu'. No female singer can bring such huskiness and emotion to a song. Again how Saritha has acted for these lines. Mesmerizing expressions! When SJ ends the song on a high note with 'nana nanana..nanana na lala lalala.. ' the lovers are having a boat ride (I forgot it's name when I write this).

I can go on and on describing its beauty…

Not just this song, right from title song 'Kaattu Vazhi' till the end, selecting the locations and picturization is truly magnificent. Even the cinematographer has very good taste of capturing those blood red skies (may be with filter), but still overall the locations and picturization moves very close to the story. This is another aspect I watched this movie many times.

So all my imaginations and concerns about the visuals regarding the previous song (sevvarali thottathile) are all addressed right here. As if Maestro and the director read my mind and wanted me to wait till I watch the next one. Right from the locations, landscapes, acting, bullocks, boat rides everything is there, but not randomly taken, but the director has faithfully captured as exactly explained to Maestro during composing session (this is my only guess) at the instrument level. A thoroughly enjoyable song both aurally and visually. The tune, orchestration, singing, lyrics perfectly tell us the whole story. The lovers are talking to each other through their mind. She is answering and convincing his thoughts and he is advising her at every step and their acting clearly tells us that. No ambiguity to the audience in terms of music and visuals.

Coming back to our first paragraph analogy, Whenever I listen to the song again, I don't need any visuals again (as I have watched it already), right from every instrument and every word being played, I know the mood, locations, their expressions, everything etched in my mind and it will stay with me till the end. No other possible imagination needed here.

100/100 for Maestro, 100/100 for Vairamuthu and 100/100 for the director and his team.
The Best Raja's duet of all time, this time visually too!

http://www.youtube.com/watch?v=R92JkW8M228 (from 4:57 - 8:58, but recommended to watch the precursor from 3:34, but the actual song starts from 4:36 with sound of stream)

app_engine

28th July 2011, 10:26 PM

Awesome write-up, V_S!

One of the best IR-SJ numbers! The movie where even Thiyagarajan was watchable (another movie where he did good was Mammootty's "New Delhi" in Malayalam).

Some clarifications :

or may be the first film?

AFAIK, 'chOLam vedhakkayilE' is the first title song and a successful one at that. Even 'amman kOyil kezhakkAlE' of SKV should predate 'kAttu vazhi pORa poNNE'.

(is he the same Rajashekhar of Robert-Rajasekhar fame?)

I don't think so, that OTR / pAlaivanachchOlai (Robert) Rajasekar acted in nizhalkaL (idhu oru ponmAlaippozhudhu) and then moved back to cinematography I think.

This was a different one who did movies like kAkki chattai, thambikku entha ooru etc and was highly succesful in early 80's.

I don't know whether it's the same one who later married Jeevitha and did 'idhu dhAndA pOlees' and other Telungu movies. If not, that is one more Rajasekar. We have at least 2 if not 3 :-)

V_S

28th July 2011, 11:19 PM

Thank you App! Yes I forgot about 16V and SKV title songs. Cholam vedhakkayilE, what a stunning song that is! Thanks for clarification on different 'Rajasekar'. But I could not imagine that 'idhuthaanda police' Rajasekar doing this, still could be possible. Because this is one of the best songs ever picturized to perfection that even it would be difficult for BRs, MRs and JMs (IMHO).

app_engine

29th July 2011, 12:09 AM

Yes, Rajasekar was fantastic in screen-capture of songs (possibly best among contemporaries).

kAkkichchattai & thambikku endha ooru had good song scenes as well (despite deplorable dancing by Ambi chechi for vAnilE thEn nilA AduthE pAduthE vAnambAdi :lol2:)

V_S

29th July 2011, 12:57 AM

Thanks. Then I need to search more of his IR films and songs.

Sunil_M88

29th July 2011, 01:21 AM

Thanks for such a profounding write up. :)

100/100 for Maestro, 100/100 for Vairamuthu and 100/100 for the director and his team.
The Best Raja's duet of all time, this time visually too!

Absolutely, this is one of my all time fav. songs too.

V_S

29th July 2011, 08:26 AM

raaga_kann

29th July 2011, 08:51 AM

Awesome write-up, V_S!

I don't know whether it's the same one who later married Jeevitha and did 'idhu dhAndA pOlees' and other Telungu movies. If not, that is one more Rajasekar. We have at least 2 if not 3 :-)

This is Rajasekar is different from the Hero Rajasekar. He had continuous success with many masala films till Thambi endha ooru. As fame always goes to their head, he split up with Raaja after this film and directed 2 or 3 films without Raaja and without success. Again he joined Raaja for Dharmadhurai and what tremendous songs we got...! However he died a few years ago..

V_S

29th July 2011, 09:09 AM

Oh! thank you raaga_kann for giving some valuable information about director Rajashekhar. He is no more? Very sad:(

Plum

29th July 2011, 11:25 AM

I just noticed yesterday that Robert-Rajasekar(the nizhalgal college student) were the cinematographers for Oru Thalai Ragam, also featuring a slim Rajender singing a competition song in a scene.

The titles also clearly mention paadalgaL isai Rajendiran and PinnaNi isai AA Raj. I think it could possibly mean that the tunes were TR's and Raj did the orchestration. Usually, you don't see the pinnani isai in the same card as the MD.

groucho070

29th July 2011, 12:03 PM

This is Rajasekar is different from the Hero Rajasekar. He had continuous success with many masala films till Thambi endha ooru. As fame always goes to their head, he split up with Raaja after this film and directed 2 or 3 films without Raaja and without success. Again he joined Raaja for Dharmadhurai and what tremendous songs we got...! However he died a few years ago..Waidanimidforfivenimid....didn't he direct couple of Rajini/Kamal movies after TEO? Padikadhavan, Kakkichattai, Vikram, Maaveeran? All with Raja?

Sunil_M88

29th July 2011, 06:11 PM

Thanks Sunil!. I am really surprised to hear that you are searching and hearing songs like 'Oru Aalampoovu', 'Chinna Ponnu Selai' songs. I don't think even many HCF would have listened to punniyavathi songs. And top of it your are deciphering upto the lyrics in a language which is totally unknown to you. Truly amazing. I am so impressed by your versatile interests. Keep it up man!

VS - Thanks for your kind words. I really wanted to write about “Chinna Ponnu Selai” myself but we had an agreement :) and I felt I shouldn’t impinge on IRs duets prior to 1992 since that’s your territory. I would love to hear what you say about his output from 1992 onwards, so please comfortably write about duets by Raaja sir in the last two decades.

I think this thread will be incomplete without IR songs composed by Yuvan. Machaan Machaan from Silambattam is by IR and Bela Shinde, it has solid arrangements and is very soulful.

http://www.youtube.com/watch?v=MZwEibri1bE with eng subs

Watching and listening to the Maestro singing for Simbu is amusingly goody in itself and the song is highly capricious, especially IRs sudden change to, “konnupputta konnupputta konnupputta konnupputta nenjukkulla”. Salute to Maestro as he accomplishes this song with ease. IMO Yuvan has truly delivered his dad to the new generation who might be not at as ease with IRs current arrangements. It would be unfair to miss out Bela Shinde, who handles her portion immaculately.

The melody of the tune is synonymous with IR and even if IR didn’t sing this then still one could obvious sense IRs presence conversely the interludes and music displays Yuvan’s own trademark mastery, so therefore this song has the best of both worlds.

raaga_kann

29th July 2011, 07:35 PM

Lyrics for few Tamil songs have been written in pure Madras bashai. But I think this is the only duet song where Madras bashai lyrics has been used. Macchi Mannauru – sung by Raaja and Chitra. What a gujili song! You can hear all types of nakkal, nayyandi, thenavattu, romantic tones in his voice. Though it was supposed to be sung by a kuppathuraaja in the film, nowhere in the song can you find a deviation in the melody flow. Right from the prelude, Flute and Guitar complement each other thru out the song. In the saranam, Chitra joins with “Raasave unna vittu Naan enna paada” (Chitra’s lyrics is in pure Tamil). Raaja is at his best during “yea.. Aasiyilae allikinu..Angainga Killikinu…Ulladellam sollikinu…Unna vachu Thallikinnu… Oorellam round uduvoam.. vaaamae…” (Naughty lyrics – Courtesy – Gangai Amaran). Overall, indraiya kuthu (or kathu) paattugalai thalai kuniya vaikkum aatral padaithadhu indha kuppathu suthamaana paatu…
This song was missing in the film. (This director had the practice of leaving out a class song in each of his films. Raasave from Mudhal Mariyadhai, Dhoorathil from Nizhalgal, Malargale from Kizake Pogum Rail, Putham Pudhu from Alaigal Oyivadhilai, etc. And it always used to turnout that the left out song used to become a bigger hit than the picturised ones). This was one of the many films where the title of the film referred to Raaja. This film’s name – “EN UYIR THOZHAN” and this was the "comeback to Raaja" film for the director after a split for few years.

V_S

29th July 2011, 07:46 PM

Sunil,
There is no hard rule or any agreement that I write about song till 1992. It is a free forum. Please feel free to write about any Raja's duets. As you mentioned, please write about 'Chinna Ponnu Selai', waiting to hear about your thoughts. Since I started with the list I compiled, it is continuing.

Also I am not much up-to-date about Yuvan and Raja. It will take a long long time to come to Yuvan (unless it knocks my door), as you know I have to first cover all the old gems which were left to us by those legends. First-come-First-listen-basis ;-) (excluding Raja)

V_S

29th July 2011, 08:01 PM

Though it was supposed to be sung by a kuppathuraaja in the film, nowhere in the song can you find a deviation in the melody flow. Right from the prelude, Flute and Guitar complement each other thru out the song. In the saranam, Chitra joins with “Raasave unna vittu Naan enna paada” (Chitra’s lyrics is in pure Tamil). Raaja is at his best during “yea.. Aasiyilae allikinu..Angainga Killikinu…Ulladellam sollikinu…Unna vachu Thallikinnu… Oorellam round uduvoam.. vaaamae…” (Naughty lyrics – Courtesy – Gangai Amaran). Overall, indraiya kuthu (or kathu) paattugalai thalai kuniya vaikkum aatral padaithadhu indha kuppathu suthamaana paatu…
Well written :thumbsup: Yes the best kupaatthu song and puts all the kuppatthu/kutthu songs coming now to shame!

app_engine

29th July 2011, 08:14 PM

Raasave from Mudhal Mariyadhai

Looks like it got "cut" at more than one theater :-) (I posted in some other thread about how Trichy Maris didn't have it)

However, it did get picturized...I've seen it on a DVD version available on the web. Even the youtube may be available.

Sunil_M88

29th July 2011, 09:11 PM

Sunil,
There is no hard rule or any agreement that I write about song till 1992. It is a free forum. Please feel free to write about any Raja's duets. As you mentioned, please write about 'Chinna Ponnu Selai', waiting to hear about your thoughts. Since I started with the list I compiled, it is continuing.

I would of said similar stuff bro but you've written about this song in great depth and provided further thoughts on the picturisation so I'll just :ashamed:

Sunil_M88

30th July 2011, 03:50 AM

Dear V_S and Usha ji,

Chinna Ponnu Selai :musicsmile:

I heard Thaman’s version before IR’s original. I wasn’t even aware that this film was a remake until I read comments under a music review. I’m not here to compare as I feel that remakes themselves are a sort of praise for the original as they showcase a film’s / song’s actual popularity. This song along with Kattu vazhi was the only song made for the new version directed by Thyagarajan. I’m not sure if Thaman done a poll on what songs he should remake but regardless of his personal favourite numbers from the movie or public demand this song certainly definitely deserved to be brought back. I was even more pleased when I heard IRs original.

That was my introduction to this song and was one of the many reasons why I thought more of IRs duets should have their limelight, sadly I forgot to this put number in my first post but then again my list is always changing, expanding and developing further thanks to the songs brought forward by veterans in this thread.

As V_S accurately put the flute pieces in the prelude are very different and exquisite. The Enge Maaraappu line is a highly lethal line and should completely bliss the listener. I feel this song is somewhat a war cry for love and the way the singing escalates in melody truly delivers the call of both lovers romancing each other with immortal affection.

100/100 for Maestro, 100/100 for Vairamuthu and 100/100 for the director and his team.
The Best Raja's duet of all time, this time visually too!

Sorry to disappoint you V_S because I quoted the above before in one of my previous posts which made you think I understood the lyrics. Unfortunately I don't understand the song. I was meant to highlight and have done this time round that IMO out of all duets I've heard this one is the most romantic for me. It's to early for me to personally say if it's the best but yes I think you also mean that out of his love numbers this one is highly intricate as well as easily lifting ones spirit. You don't need to understand lyrics to have an essence of the beauty of this number and the arrangements of this song, particularly second interlude also support this idea with the use of shenai. This song has eclipsed my day. Once again thanks V_S :clap:

V_S

30th July 2011, 09:00 AM

You are welcome Sunil. I know that you don't understand tamizh, but I referred to your 'Oru Aalam poovu' post where you mentioned some portion of lyrics. You have taken pain to understand the words and made a point to write it down eventhough you don't understand, which I was referring and appreciating.

Coming to Chinna ponnu selai, I completely agree you don't have to understand the lyrics to understand this song. As I said in the post, right from prelude you will come to know the mood, and right from they start singing (style), you will know the rest, the other parts like ludes adds to your listening experience.

I have to tell this otherwise, this song is not complete. Good that you mentioned about the shenoi in second interlude. During second interlude heroine (kannaatha) goes into a dream as having good time with mambattiyan. This is when SJ hums and flute following her. Then the flute takes over as solo and just when mambattiyaan helps and leads kannaatha to cross the river, just like the walk after marriage around the sacred fire, holding bride's hand. This is where that divine shenoi piece comes in for that auspicious moment just when their hands are together. Pullarips! Hats off to Rajashekhar for conceiving it beautifully.:notworthy:

V_S

30th July 2011, 09:18 AM

Plum and grouch,
Excellent insights!. Till today I was thinking the director of Oru thalai raagam was TR but it was E M Ibrahim. Only the songs are by TR and as you said the background score (and/or orchestration) is AA Raj.

Also all these films kaakki sattai, maaveeran, padikkaathavan are directed by Rajashekhar. You are 100% correct. So Rajashekhar didn't break just up with IR after TEO.

raaga_kann

30th July 2011, 10:25 AM

Also all these films kaakki sattai, maaveeran, padikkaathavan are directed by Rajashekhar. You are 100% correct. So Rajashekhar didn't break just up with IR after TEO.

His other notable films with Raaja - Vikram, Maapillai, Eeti & Murattu Karangal. In between he directed a couple of films with other MDs (One of them is Kallamellam un madiyil with chandrabose) without success

skr

30th July 2011, 07:53 PM

Chinna Ponnu Selai and Oru Aalam ..fantastic rustic village kinda songs ..enjoyed it..Thanks for the gr8 write ups V_S and Sunil ..Keep em comin !

skr

30th July 2011, 07:54 PM

Thiraipaadal Link for Chinna Ponnu Selai
http://www.thiraipaadal.com/tpplayer.asp?sngs='SNGIRR1879'&lang=en

raaga_kann

31st July 2011, 12:41 AM

A very unusual kind of duet. Hero's ambition is to become a Kalai Koothadi. But the heroine is content with the existing little happy life. Both try to convince each other with their viewpoints. At the end, the heroine reluctantly agrees and Hero is happy that his point has been put across. Raaja sings the complete song in a RAW tone bringing out the innocence, aadangam, ambition, etc of a simple poor villager with great effect whereas Janaki complements with a very subdued voice with lot of sogam and iyalaamai sprinkled all over.

The song starts with the sounds associated with washing of clothes. Raaja sleepily starts with Aridharatha Poosi Kolla Aasai (Voice-la deliberata pisuru adikkuradha you can clearly hear). There are a few dialogues in Nasar and Revathi's voice. Slowly the song starts with Keypad and Piano as rhythm pads and picks up momentum with Janaki's - "En Kuppanna.. Kuppanna.. Romba Thappanna.. Thappanna... Ippa chittu poala suthum sugam podhum.. oru kattukullae sikki kolla veanaam.."

Whenever there is a chance, Vaali is very clever in writing few lines about RAAJA's greatness in a song. The entire first Saranam in this song has been written with Raaja in mind -

R - "Yea.. En paatta edthu vutta..aa..aa.. Oor Sanamellam Mai marakkum... Adhu Usuroada Poai Kalakkum"
S - "Paattunu nenaipadhellam ingu paataaga irupadhillai...(R- Adhu yen paattillai..)...
Adhu lesaana vishayamillai (R - Ada yaaru illainaa..)"
R - "Adhukaavadhaan ISAI AVADHAARMA NAAN PORANDHAENU BOOLOGAM PAARAATTUMAE"
S - "Raakoothulae varum Saamiyellam nesa saaminu ariyaadhu oor saname.."
R - Ada Kaasukka pearukka Aasa naan pattadhu... Veiyra Yedho... Solla varalai..."

Nethi Adi.. Thanks Vaali Anna.

This is a very rare kind song of Raaja in terms of orchestration. Very limited usage of instruments for such a lengthy song. There is no prelude. The second interlude is less than 10 seconds (But what a magical piece. You heart bleeds for more). In the first prelude, there is a conversation between Nasar and Revathi and Saranam starts thereafter. But wait - Raaja is not bothered about the dialogues. He weaves a beautiful symphonic score in the background (Why bother about the unreleased Symphony? He has given thousands of mesmerising symphonic pieces like this...!)

Do not forget to notice the flute playing along with the tune at the end of the Saranams - "Oorellam Veshamae Podudhu Aadudhu... Neeyum Yeaniyya Vesham Podanmum" (Your fingers will automatically search for the rewind button)

Raaja's trademark - Squeezing of few dialogues in between lines without harming the harmony of the song -is another highlight in this song.

But the major drawback of the song was - This song got overshadowed by another ALL-TIME-GREAT song from the same film "Thendral Vandhu Theendum Podhu".

"HEADPHONE-AI MAATI KOLLA AASAI... UN ISAIYA KEATTU KARAINDHU POAGA AASAI..."

http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00067

tvsankar

31st July 2011, 03:12 AM

Raga kannan,
ipo dhan parthen unga post ai. inum padikalai. ana parthadhil,. manadhil padhindhadhu

"HEADPHONE-AI MAATI KOLLA AASAI... UN ISAIYA KEATTU KARAINDHU POAGA AASAI..."

Yes. Very True words.. Head phone il kaekum podhu dhan. lchinna chinna sound elalm clean a beautiful a kaetkum..... Great expereince it is..............

tvsankar

31st July 2011, 03:13 AM

VS and Sunil,
unga rendu peroda postum padikalai. padichutu comments.............. Thanks for the pick VS.............

Sunil_M88

1st August 2011, 02:01 AM

raaga_kann, I posted this song before but didn't write about it as I didn't know what the song was about, so thanks for a wonderful insight here. I can enjoy it even more now :)

app_engine

1st August 2011, 05:45 PM

Till today I was thinking the director of Oru thalai raagam was TR but it was E M Ibrahim.

I had a schoolmate from Mayavaram (MayiladuthuRai now) who watched the shooting of this movie and it was without doubt that TR was the ACTUAL director while EMI, who was just the money bag for the movie, placed his name on the title card as director. (per this boy, who was a DHKHF, EMI will be sitting 100 meters away with a cigarette in hand :lol:)

Ofcourse, with a number of youngsters who were not very familiar with the nitty-gritties of movie making, there could have been some teamwork thingy but the main team member was TR without question.

EMI later made 'thaNiyAtha dhAgam' as director with AA Raj as MD and disappered.

Even Robert-Rajashekar claimed credits to "directing" OTR (and they did a successful "Oasis" with Suhasini before disappearing).

V_S

1st August 2011, 09:19 PM

:ty:App for coming with valuable information as always!

V_S

1st August 2011, 09:27 PM

VeLakku Vechcha Nerathile - Mundhaanai Mudichchu

This is the first film I watched five times at the time of release that too on consecutive days. Right from Indru Poi Naalai Vaa, Antha 7 Naatkal, Darling Darling Darling, Thooral Ninnu Pocchu, Dhaavani Kanavugal, slowly I stared liking his movies. I started appreciating mainly with the help of my friends' elder brothers. This film is so popular that I have never heard a single person disliking this movie. Racy screenplay! Since I have witnessed watching this movie multiple times in theatre, the atmosphere inside the theatre was electric. That too with full house shows, everyone including kids were jelled to the screen. Not a dull moment in the movie and KBR has completely mesmerized the audience.

Nowadays we have many village based films, which is a welcome, but every film has a hint or overdose of violence which takes us the joy watching with family. Nowadays it has become a norm that if it is a village subject, there has to be violence and blood shed. But these were the village based films we used to watch with our whole family. We enjoy the story, their innocence, the people, the greenery and lot more. But there were also wide range of talks/concerns/complaints that starting from this film Bhagyaraj utilized sex as the biggest selling point. And this was the last KBR film I enjoyed thoroughly. After this, the interest in me started declining from Chinna Veedu. But his other films are still good to watch, but not like the above films.

All the songs in this film are evergreen and memorable, even today they have not diminished a bit. This is the one of the first few films where Maestro has earned one of his first title when his name appears. This time he gets 'UngaL Abhimaana Ilaiyaraaja'. (After some years he got 'Raagadevan' (not sure from when), and again not sure from which year/film he actually got 'Isaigyaani' title).

This song so special not only as a title and sung by Raja (which is a trend by then), but gives the hint what this movie is about. I still remember the roars, whistles and claps when the first scene was on. Very unusual start for this romantic movie and title. Oru 'perusu' having lunch after a half-day hard work in the sun. That big rock location by the side of the river was too apt. Wife telling him 'Kai Kazhuvunga' (wash your hands) with birds chirping at the background. But when she gives a handful of meal to him, he inturn feeds her wife, just when Maestro plays a single chord of guitar and SJ sings 'VeLakku Vechcha' Nerathile Maaman Vandhaan' with the title displayed. Everyone goes hilarious at this moment. SJ starts singing the pallavi with flute replicating her last word. When Raja sings the pallavi Maestro adds SJ's laughs to flute giving the needed flavor of eroticism. Tabla giving the rhythm. The lyrics fully convey the whole theme beautifully. The cinematography for this title song is amazing. Kudos to Ashok Kumar. Very famous those days! Even I like the fonts used in the titles.

Shenoi and flute take center stage with breathtaking visuals in the interludes. Just when santhoor is playing, you can see the water gently flowing down the stream which is what this instrument is normally used for. Normally his compositions will have a up-down wave pattern in the way tune is structured to give the enormous depth and beauty. But this song Maestro has again composed in another unique way. The way charanam is constructed is absolutely divine and delightful.

Raja starts charanam with 'Uchchi veyyil kaayum neram odhattoram eeram serum' going way higher to upper octaves. Maestro had some intention of how lyrics should be when composing the tune for charanam. So since the first line is at higher octaves, he brings the lines 'Uchchi Veyyil' which signifies the sun at the highest position. SJ sings her part at the same tune, 'Pacchai pullum paaya maarum, pasi yekkam thaana theerum'. Raja gradually comes down (which you will never notice unless keenly heard) in 'Ora vizhi paarkum paarvai bothai yerudhu' and SJ's 'Nooru murai sernthapothum aasai kooduthu'. Raja finally comes down to 'Pozhuthaachu velayaada our vaada kaathu soodu yethum' just in time and in level to start the pallavi again. Just like a stream adjusting itself to flow down from upper layers till it reaches the steady ground. Testimony for depth and beauty worked out in another fashion. How in the world, only for Maestro all these things are visible!

Just an analogy, Even when a plane is about to land, starts off from its top altitude and dips gradually (we can feel that) and gradually and when it is just very close to land opens up its wheels to finish a smooth landing. But we can feel all the way right from it starts dipping and till it puts it wheels on the ground and till it stops, but with Maestro, we will never feel anything, it will be seamless. That's the difference between man's creation and God's creation. Another interesting aspect in charanams is Raja and SJ sings every line alternatively. This definitely adds more color to the song (just like KBR had a penchant to changes the colors in titles). To put it simply, it will be a pleasant feeling when you hear the charanams, you will immediately fall in love.

Maestro makes his second interlude simple, short (21 seconds) and sweet, but employing his biggest strength 'Chorus angels' which comes into play with flute.

On the whole, Maestro has not used many instruments in this song, I think limited bass portions (or just the first chord?), flute, santhoor, shenoi with tabla providing the percussion rhythm. The arrangements are simple, but yet comes with a powerful tune and singing which overshadows other areas. This is more than enough to elevate us.

Raja tender voice in this song is oozing with needed emotions and SJ as always comes with blinder. It's terrific singing from both of them and a perfect duet perfectly matching both their voices and singing.

Unlike the charanam, which takes us from very high to slide all the way to ground, the beauty in this song which is exuberant in every note we hear, Maestro lift us from the ground to heaven effortlessly in matter of seconds. A very charming song to embrace the nature and kick-start the movie. :notworthy:

http://www.youtube.com/watch?v=ZxPqmFaAB70

app_engine

1st August 2011, 10:47 PM

Great work, once again, V_S!

A very sensuous song (Raja's 'veLakku vaikkum nEraththilE "thandhAnannA", maRainju ninnu pAkkaiyilE "thara nAnannA" ' parts making many things hidden while evoking curiosity).

ketta pAttu sAr idhu!

V_S

1st August 2011, 11:01 PM

:lol: I know that's why I intentionally left out those pallavi lines, but subtly concluded :wink:

1st August 2011, 11:43 PM

Raaga_kann... lovely writeup on 'Aridharatha poosikolla'. The man, life often mentioned by many folks here, paints the whole scenario so beautifully with his music. Hell, even the art director can take cues from the song in case he needs to create a setting! I also love the usage of violins in this song... it speaks, asks questions, replies. The singing is top-notch.

V_S, beautiful writeup on vellaku vechcha. Its always a nice feeling to listen to the song while reading your post. I haven't heard this song too many times and have never seen the video. The start, actually is very poetic with the lovely setting along the river and a paati who has brought food for her toiling husband. And when the thaatha feeds her the first scoop of rice, its a beautiful little moment of life and visual poetry. The warmth and pleasantness of the moment brings a smile on one's face.

V_S

2nd August 2011, 12:05 AM

Thanks KV for reading my long posts. I too sometimes get irritated why am I writing so long, but unable to resist as the impact it created in me is longer than this one.

Very well said about the warmth and pleasantness this song invokes.

Sunil_M88

2nd August 2011, 04:40 AM

Lovely write up and song :thumbsup:

Thanks for the youtube link, usually with thiraipaadal links pasted we miss out on the video and have to search it but where possible v_s you always provide the youtube link so :ty: The song really compliments the scenic screenplay and yes " A very charming song to embrace the nature and kick-start the movie."

Sunil_M88

2nd August 2011, 04:53 AM

Oru Sandhana from Ellame En Raasathan (1995) by IR and S. Janaki.
http://www.thiraipaadal.com/tpplayer.asp?sngs='SNGIRR0721'&lang=en

This song is divided and the first half belongs to S. Janaki.

Firstly, when hearing this song I felt too too small to review this number. Though I enjoy songs currently, there hasn't been a number that has fully drawn me into it.

Sounding similar to Ennule Ennule, the beginning is just as hypnotic. Set in the night this lullaby offers everything it can to shift the listeners concentration to the song. It does more than that and IMO it can also potentially bring the earth to a standstill. Wonderful orchestration from the start, the instrumentation is what carries the song forward and IR has brilliantly reflected this in all the interludes.

While listening to the song I don't know how many times I must have rewound the prelude. It is only 12 seconds but in this span IR presses the right emotional buttons, definitely a healing peace. At 00.05 Janaki maa drops her, “aaaahh” humming which sucks you straight away into IRs world. I was really being stubborn while listening to the prelude as I didn't want move ahead with the song but thought if the prelude has this much to offer then Raaja has a lot under his cap for the remaining portions.

The smooth pallavi, makes you sway your head to the melody automatically.

The first interlude is not as great as the prelude but has its own pros, which counteract the prelude. It starts directly 1 min into the song and picks up the pace and mood of the song. Where there is a pause between the prelude and pallavi, the first interlude is weaved into the charanam. The flute and the orchestration just flow flawlessly. Listen 01:19 to 01:22.

The charanam retains the mood prior to the interlude, but here we have the addition of the tabla. The calm charanam proves the song's serenity. Though it's a night time number I believe you can hear it at any time of the day but regardless when you hear it, eyes will close allowing the mind's eye to transport you to the heaven of IR.

The second interlude is more than an icing on the cake, one of Raaja’s best interludes. Every time I hear one of IRs songs I need to evaluate my IR interlude preferences as every new song I hear of his I like it even more. That's the beauty of IR but believe me I've heard this mighty awesome song for the last couple of days now, it feels as if I've been hearing this for ages and the prelude and second interlude just makes me want to put the world to aside and hear these two pieces all day long.

One thing that caught my attention was that SJs portion sounded jovial and IRs portion was a bit teary. It's wonderful how one melody can have different moods reflected through it.

http://www.youtube.com/watch?v=3wvLn0EhWnY – This clip only has SJs part.

V_S

2nd August 2011, 07:59 AM

Don't take this song Sunil. It will take days for me to be me. An outstanding melody! I cannot listen once and leave it. Even if you leave it, it will not leave you. Such a heart tearing composition. The orchestration competes directly with singers in bringing out the emotion. Only Maestro can do such a composition.

You said it all wonderfully! :clap:

It does more than that and IMO it can also potentially bring the earth to a standstill.

but believe me I've heard this mighty awesome song for the last couple of days now, it feels as if I've been hearing this for ages and the prelude and second interlude just makes me want to put the world to aside and hear these two pieces all day long.

One thing that caught my attention was that SJs portion sounded jovial and IRs portion was a bit teary. It's wonderful how one melody can have different moods reflected through it.

Only pitfall to such a lovely composition is SJ's diction on 'kuyilu kunju'.:sad: How careless!

raaga_kann

2nd August 2011, 08:55 AM

Oru Sandhana from Ellame En Raasathan (1995) by IR and S. Janaki.
http://www.thiraipaadal.com/tpplayer.asp?sngs='SNGIRR0721'&lang=en

One thing that caught my attention was that SJs portion sounded jovial and IRs portion was a bit teary. It's wonderful how one melody can have different moods reflected through it.

http://www.youtube.com/watch?v=3wvLn0EhWnY – This clip only has SJs part.

This is actually not a duet. These are 2 different songs in the film. The first part is sung by the heroine in a happy mood. The second part appears in the film during a later stage in a sad scene (probably the heroine gets seperated from the hero). This song is similar to the one in Priyanaka - Nyabagam illayo. There are 3 versions of this song (2 by Raaja and 1 by SJ) in different moods, but continuosly found in the audio. Anyway these 3 songs (gems) were missing in the film.

Sunil_M88

2nd August 2011, 05:48 PM

VS - :ty:

Raaga_kann_ :ty: I didn't know this but now I see the logic and I stand corrected. I just took the song at face value from the audio link provided from thiraipaadal. I'm trying to find the clip for the IR/male version.

raaga_kann

3rd August 2011, 12:03 AM

This song must have been discussed 'n' number of times in many of the forums. But I was unable to resist posting it again. Kannamma Kadhal enum kavidhai solladi from Vanna Vanna Pookkal. Usually you will not find Raaja's voice in Balu Mahendra's movies. I think this is the only duet in Raaja's voice for a BM movie. And what an unforgettable duet it turned out to be. Sacred Composition! The prelude starts with an energetic divine shenoy (or Nadhaswaram... I usually used to term in Pi.Pi.. during in my younger days) and sets the tone for the rest of the Amudha gaanam to follow. The pallavi portion -
"undhan killai mozhinile...
ullam kollai adippadhum yen
Thullith thulli varum nadaiyil
manam mella thudippadhum yen
unnaik kana vendum kooda vendum
Varaayo...Vaarayo..." - Indha inbam podhumae... Idarkku meala paatta thodarandhu ketakanuma...! This portion repeats at the end of each of the Saranams also. SJ joins in the Saranam and it is a journey for all music lovers to a divine world. Indha paattai idarkku mela varnikka koodathu... Keatu.. Keatu... Anubavikkanum...

Lyrics for this song is by Raaja himself. Cannot make out who is the winner here - the composer, the lyricst or the singer! (But the real winner is the Rasigan who is fortunate to get to hear such a classical composition).

Another notable point - Tabala at its best thru out the song. For connecting base, between Saranam and Pallavi, he uses a contrasting rhythm beat in the form of drums.

But the less said about the visuals the better. The picturaisation of this divine song... Ennattha solla...

Whenever I listen to this song, one more IR-SJ duet (similar pattern) during the same period always comes to my mind. The song "Aagaya Thaamarai" from Nadodi Paattukkaran, which is equally enthralling.

http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00711

Sunil_M88

3rd August 2011, 02:30 AM

Thanks for the share raaga_kann.

The tabla strokes in the charanam are highly inspiring, they've motivated me :)

V_S

4th August 2011, 10:52 AM

Megam Karukkaiyile PuLLa Degham KuLiruthadi - Vaidegi KaathirunthaaL

How about composing a song as if it has just one longest line? Enter Prasad Studios.

This film actually has three stories. Starts with two vaidhegi's life followed by another love story. Interesting film mainly for Annan's comedy galatta throughout. Who can forget the petromax comedy. Forgot how many times watched this film, mainly for songs and comedy. Good one by R Sunderrajan.

The song was shoot studiously as per the lyrics. Cloudy skies, little windy and we feel the chillness and also feel like riding and joyously singing with them. Father, his family and friends sending the bride with groom and their family to another town on the other side of the river. To get the shyness out of the bride and make her more comfortable, the song starts in a very happy and breezy fashion.

What a joy to listen to the prelude chorus 'aahaa oho yehe hoi…' and 'thanathantha thanathantha thaanaanaa….'. Straightaway into a memorable water ride. Starts with male chorus 'aahha oohoo yehe hoi…' Right from the 4th second, female chorus 'thanathantha thanathantha thaanaanaa….' joins with male chorus providing perfect WCM counter melody and its a beautiful harmony when listened together. From 0:18 bass guitar joining (do I hear another guitar as well?) the percussion in supporting the rhythm. Just when Raja sings 'Megam Karukkaiyile', every instrument pause for a second and then starts. What would have happened if there is no pause there in instruments. Nothing, these are the nuances through which Raja brings to the fore and emphasizes how every second in the song is being worked out sincerely and differently. Like every instrument conveys their respect for the singer and then starts. Aha! The repeat pallavi is beautifully picturized with boat swinging to the rhythm.

This guitar runs a riot constantly throughout the song. Flute and synth leads into the song. I can dare say that most other composers wouldn't have thought about guitar here. Just percussion and choir is more than enough for such a folk song. Then why? Let us step back a little bit and hear the percussion rhythm pattern alone again. It is a single beat pattern every second with no variation at all. Also the song is a fast song, but this rhythm pattern would be too underwhelming for such a song. With just this percussion, the rhythm arrangement would have surely lost on it's pulse (dying!). There comes our hero and savior 'bass guitar' which fills in beautifully between those dying single beat percussion rhythm patterns, ties them together and provides the whole pulse, life and energy to the song, just like the glucose, if it isn't there is no life and soul in the song. Guitar is the main rhythm for this song.

More than that, bass guitar chord progression is more than amazing that it also provides perfect counter melody for the singers. This constant bass guitar strumming throughout the song passes the current in us. It also gives you the required ambience to the song. Also any other rhythm arrangements for this song would not fit the bill and would have sounded horrible!

Next comes the WCM/Opera style vocal harmony at the end of every line. These vocal harmony now acts as a chord progression. Hear the harmony at the end of 'Megam karukkaiyile' and at the end of 'Degham kuLiruthadi'. Surprisingly at the end of 'Akkarai serntha pinne' and 'Un aasaiya sollu machchaan' I think he goes way high to sixth completely different from the first two lines, this time female choir. What a beauty! Again try to hear the pallavi lines without the choir portions. You cannot take out anything from this song. All add to the soul and richness of the song.

We have just crossed only one minute of the song and ippave kanna kattuthe. :smile:

Ist Interlude starts after a complete pause. Magical! The flute this time with guitar has an unrelenting drive. If the first 18 seconds of flute in the interlude is thoroughly engrossing and carries us in the smooth but swift boat ride, the next 10 seconds Maestro makes fun with us in the ride by playing the flute answering to the santhoor (synthesizer) both ways. Appropriately during this portion, boats are being rotated in both directions as exactly played by the flute. Then the last 4 seconds he ripped apart with one of the best flute and chord progression ever heard. These 4 seconds are enough to break the rewind buttons. I can visually feel Mozart playing these wonderful flute sonatas for Raja. This is a benchmark in flute playing and arrangements. (These are the portions with real flute which are mostly missing in today's compositions, even with Raja, others there is no deal). Second interlude choir again is a top notch.

Once charanam starts again there is no stoppage till it ends. Those short gap between the lines are also covered by the male and female choir sections, so we will not know the gap as well. Eventhough it has multiple lines, it seems like the charanam has just one longest line. If you hum the song you will realize it. It's like concatenating a large array of elements to a string :smile: It is applicable to pallavi as well.

Maestro does not concentrate on just one aspect whenever he composes any song. In addition to above feature, the tune has all variations, ups, downs, not bland at all. The singing by Raja and Uma Ramanan gets us chill. His open voice perfectly suits the situation and he brings the right and happy mood. For such a folk song, guitar provides the vital pulse throughout. He also employs WCM techniques again wherever possible and applicable. Interlude arrangements are terrific. On top of all these, other nuances like the beautiful pauses, choir arrangements, unconventional chord progressions especially during charanams, all make it a super duper!

Listening to it on a rainy or gloomy afternoon looking outside the window having a hot coffee with spicy snacks, feels like the sun suddenly escaping from the clouds and peeping out for a second and says "keep it loud dude, I am also listening" and hides himself soon as if he was scared as this song is only for the clouds, but still could not resist hearing it.

Can we say Maestro here creates a biggest record by composing a song which has single long line of around 4 minutes (leaving out the interludes)? One of the most innovatively composed song of all time, not just Raja!

Please don't miss the Background score just before the song.
http://www.youtube.com/watch?v=aCuuTS8MeRI (the last part of the song is not there, because of the story)
http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00709&lang=en

I am very happy to dedicate this memorable song to app_engine! :-D

raajarasigan

4th August 2011, 02:38 PM

man.. that is one hell of a song :D

V_S அற்புதம்!! :clap: :notworthy:

jaiganes

4th August 2011, 07:31 PM

thoroughly enjoying the awesome posts of V_S. Sunil and RagaKann..
Stuff of supreme bliss. Keep it going on guys!!

AravindMano

4th August 2011, 07:35 PM

V_S - :clap:

Sunil_M88

4th August 2011, 08:06 PM

Excellent VS.

This song is terrific, It's also gloomy here in UK but after listening to your song and feeling an afro-Caribbean vibe the day has brightened up making me feel chillaxed at a beach.

சூர்யா நமஸ்காரம் :clap:

V_S

4th August 2011, 08:37 PM

Thank you, thank you, thank you so much raajarasigan, jai, AravindMano, Sunil. I am greatly honoured by your encouragment. :notworthy: Feels very good.

app_engine

4th August 2011, 09:45 PM

ஆஹா, அற்புதமான வர்ணனை v_s !

எனக்காக என்று வேறு எழுதி ரொம்பவே மெய் சிலிர்க்க வைத்து விட்டீர்கள்!

மிக்க நன்றி!

V_S

4th August 2011, 11:28 PM

App, This song surely belong to you. My pleasure to dedicate this song and post to you!

'mEgham karukkaiyilE puLLa dhEgam kuLirudhadee', one of my favouritest numbers :-)

venkkiram

5th August 2011, 08:34 AM

திரு வி.எஸ்... இந்தத் திரியை அமைதியாக படித்து வருகிறேன். பெரிய பெரிய பத்திகளாக இருந்தாலும் கொஞ்சம் கூட போரடிக்கவில்லை. உங்களது எழுத்து நடை அப்படி. மனங்கனிந்த பாராட்டுக்கள். :notworthy: சிறுவயது முதல் பதினெண் பருவம் வரை ராஜாவின் குரலுக்கு அடிமை என்றே சொல்லலாம். அப்படி இருந்த எனக்கு இந்தத் திரி மனதிற்கு நெருக்கமாக வருகிறது. ஏழாம் வகுப்பு படிக்கும் போதே, பலதரப்பட்ட படப் பாடல்களை தேர்வு செய்து ஆடியோ கேசட்டில் பதிவு செய்ய ஆரம்பித்த நான், முதல் கேசட் முழுதும் ராஜாவின் குரலுக்கே ஒதுக்கினேன். டூயட் என ஒதுங்கி விடாமல் ராஜா தனித்து பாடியதையும் நீங்கள் எழுத வேண்டும். இதே திரியில். தொடருங்கள்.. சந்தா கட்டாமல் இதையெல்லாம் வாசிக்க இடம் கொடுக்கும் மையத்திற்கு நன்றி !

V_S

5th August 2011, 07:58 PM

Thanks a lot venkki for your kind words. Sorry to write very long posts. Very nice to hear your affection and passion towards Raja's singing as we are. Yes, exactly same pinch. I too thought about writing about Raja's solos (whatever little I could) as well, in another thread 'Raja as a Singer', but will definitely continue there once we cover considerable portion in Duets section.

raaga_kann

5th August 2011, 11:28 PM

Megam Karukkaiyile PuLLa Degham KuLiruthadi - Vaidegi KaathirunthaaL

:-D

All the other songs in the film were all heavy carnatic classicals and this lone song was supposed to be on the lighter side - a simple folk song so as to reach the paamaran easily. But Raaja being Raaja, he does not take anything lightly and he ultimately crowds lots of complicated sarakku in this simple song. Such was the power of the other songs in the film that even I did not give much importance to this song initially. But gradually it gripped me and I realised it was in no way inferior to the other songs. V_S - Your deep alasal has further more tied me to this song.

app_engine

5th August 2011, 11:44 PM

All the other songs in the film were all heavy carnatic classicals

I beg to differ - rAsAththi onna & kAththirundhu kAththirundhu were delectable folk variety while inRaikku Enindha AnandhamE & azhagu malarAda can be classified as carnatic kinds. Ofcourse, rAsAththi onna had terrific WCM stuff loaded (the prelude, after the brief singing by JC has superb string section that should make any WCM guy get rOmAnjam)

raaga_kann

6th August 2011, 12:27 AM

Drums... Drums...Multiple drums....Constant variations in the rhytm pattern thru out... A real tribute to this western instrument. That is Punnagaiyil Minsaaram from the film Bharathan. Once again IR-SJ combo rocks. The prelude starts with guitar and drums with a grand western flavour indicating that we are in for 'drum'atic song. For the pacy rhythm you will be surprised by the slow breazy tune sung in a very soft tone by both the singers. The filler "jugujugujumjum" after the lines 'Kannan thunai radhae.. radhae.. Katti kollum Madhae.. Madhae..Nenjellaam' is Raaja's trademark (He has used some naughty phrases like this to convey the naughty emotions in few other songs also. Remember the another western classical Oororama from Idaya Koil - "Aanu Kurvi dhaan eraiya thedi poirundhadhu... Pennu kurvi dhaan Koottukullae kaathirundhadhu... Koottathedi aanu kurvi dhaan vandhu serndadhu... Koottukullae kurvi rendumae onna serndhu... Jumchukujumjum..Jimjinkujum jinguchikku jimjinkujum..)...

In the saranam - "Mandhirathai naan paada...andharathil nee aada... sorgamdhaan... miga pakkamdhaan..." Raaja chumma casual-a assault-a thodangi... thru out the song it seems to be casual / cool singing from Raaja... As usual SJ in konjal mood...

The connecting base from pallavi to pallavi and saranam to pallavi is mind boggling.

Do not miss to follow the electrical guitar notes played in the background thru out the song. Also the end portion, where Raaja finishes with Thaadhathatha thagadhadha punch.

Hats off to the guy who played the drums for this song... (Raaja pulingchi eduthuttaar...). The quality is 100times superior to the techno-tailor made rhythms used these days by current MDs.

Another Aarudhal - Picturisation was quite different and decent (considering that the hero was Vijayakanth). Heroine Punnagaiyil Minsaram irundhadho.. illaiyo... I am not aware... But indha paadalin orchestravil 1000 V minsaram irundhadhu... Quite Electrifying....

http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00077