IR - Telugu Songs and Lyrics

[Plum]

"The King is Back" - a flourescent globe with this caption embedded in a Ring that encircles the globe. That was all the trailer for "Andhappuram", a telugu movie circa 1999 that went on to gain good commercial success.
The King wasn't Prakash Raj, if not the protagonist, the chief mover in the movie.
It wasn't Jagapathi Babu, who played a delightful cameo.
It wasn't, most certainly, Sai Kumar, nominally the hero of the movie - if only because he marries the heroine; a qualification that was superseded by the pesky matter that he is bumped off half way into the movie.
It wasn't Soundarya, the protagonist of the movie.

It wasn't Krishna Vamsi, the director - assistant of Ram Gopal Varma, who had shot to fame with his own raw showcase of the shadow world of Hyderabad and Telengana with his initial movies.

It was, ofcourse, the man who had ruled the film music scene in the 80s. The 90s had seen the advent of Rahman in his native tamil, but in Telugu, it was only the lesser talents of M M Keeravani and Mani Sharma that took over.
Naturally, it was a big event that the King, as he indeed was, was back. To the point that everything else about a rather engrossing movie with engrossing performances got overshadowed.

That, then, is IR in Telugu, a man who appeals personally to a previous Telugu generation, something which his successors cannot claim to. Even the great Rahman, while a similar influence in Urban, Semi Urban and even pockets of rural Tamil Nadu for his generation, and with several hits, primarily dubbed from Tamil, in Telugu land, cannot claim that connect with Telugu audience.

But that is just beside the point as far as this thread is concerned.

This thread will seek to celebrate lyrical milestones in IR's telugu career - gems with outstanding lyrics that do not get much attention beyond the Telugu universe. While the focus is on the lyrics, the fact is those are inter-twined with IR's genius, and therefore an ideal platform to discuss IR's genius from yet another point of view.

[Plum]

That was my 15000th post in this forum. Was saving it for this purpose only.
Will move here, the Telugu songs discussion in other threads shortly

[kid-glove]

Rahman's connect with Telugu urban audience is underrated.

[Plum]

Yes, it is under-rated but still is not the same as the one I am talking about

[kid-glove]

It is interesting however that Keeravani is treated as IR-mimic (& hence more authentic) & M.Sharma as a ARR-wannabe by my Telugu friends.

[San_K]

appo DSP enga povAr?

[Plum]

ellAraiyum mAdhiri avarum toilet-la dhAn pOvAr-nu nenaikkaREn

[Plum]

Song #1

Song: tarali raadA thanE vasantham
Film:Rudraveena
Singer: S.P.Balasubramaniam
Composer: Ilaiyaraja.
Lyricist: 'Siri Vennala' Seetharama Sastry
Youtube Link: http://www.google.co.in/url?q=http://www.youtube.com/watch%3Fv%3DWC9Rk-LzzTs&sa=U&ei=I-5ETom_B4nNmAXa8vTcBg&ved=0CBAQtwIwAQ&usg=AFQjCNEMULq7yG6wNfRI0-gbAO2kVIrXfQ

We piggy-back on raagas' excellent dissection of this song to start the thread.

I have always wondered at the brilliance of its lyrics viz-a-viz the movie's (not just situation but) theme and philosophy. In other threads, I have spoken about Rudra Veena vs Unnal Mudiyum Thambi and why I prefer the former and quoted a few other reasons. The lyrics in Telugu are yet another reason for the preference.

The underlying theme is humanitarianism vs Art is Supreme.
To bring out that philosophy in lyrics must have been achievement enough.
But what we have here is a perfect bigamy of the tune with the lyrical meaning as well as the lyrical flourish*

These are the lyrics (below) with literal meaning by the side. A poetic translation is beyond us, hence the impact may not be felt by non-telugu speakers. Trust us, the poetic and sonorous value of the lyrics are awesome, not to mention lyrical flourish*

tarali raada tane vasantam // Does not the gentle breeze travel itself
tana dariki raani vanaala kosam // To forests that cannot reach over to it?
Gaganaala daaka ala saagakunte // Waves from earth cannot lap the sky
Meghala ragam ila cherukodhA? // But dont the clouds pour their tuneful melody on earth as Rain?

vennele deepam kondaridA? // Who owns the rights to Moonlight?
adavini saitham velugu kadha?
ellalu lEni sallani gaali // Gentle breeze has no constraining borders
andhari kOsam andhunu kaadhaa? // Everyone can partake of it
Prati madi ni lepe prabhaata ragam // Morning Raaga that wakes up every mind
Pade pade chupe pradhaana margam // Thoroughfare that opens up in all directions
Edi sontam kosam kaadanu sandesham // Nobody owns them
Panche guname pote prapanchame shoonyam // Universe ceases to exist when man stops sharing
Idi teliyani manugada kadha // A mind that lacks this awareness
dishanerugani gamanamu kada // is an aimless journey


Bratukuna leni shruti kaladaa .. // Is there a shruti, that is not found in Life?
yeda sadi lo ne laya leda // Is laya not found in the beating of every heart?
Ye kala(dream) kaina ye kala(art) kaina // Be it a dream or art
jeevita rangam vedika kaada // Is life not a stage for fruition?
Prajaa dhanam kani kalaavilasam // Artistic heights sans participation from people
Ye prayojanam leni vrudha vikasam // Is useless
Koose koila pothe kaalam aaginda // When the cuckoo stops singing, do seasons not change?
Paare yere paade maro padam raada // Doesnt every tune find apposite words?

Muraliki gala swaramula kala // Swaras that flow off the flute
pedavini vidi palakadu kada // Can only emanate from human effort


* Term indicating how well the words bounce off the tune - a concept Subramaniya Bharathi encapsulated immortally as "sundara telunginil pAttisaiththu". He didnt explain but I take it he meant the way the language lends itself to mellifluous musical phrases, and merges seamlessly into tunes, lending them a rare charm and beauty.

[Plum]

I'll have to do this step by step. I'll keep editing the above post until it reaches a finishing stage.

[kid-glove]

Good effort Flu. Keep it up.

[San_K]

Plum garu link podunga

That song replaced by punjai undu in tamil?

[Plum]

Song #1 - tarali raada thane vasantham from Rudraveena

Now that we have the translation business attended to, let's attend to the joys of the lyric.

In the movie, the song essentially gives a precis of the theme - with the traditional father riding roughshod over anyone in the path, in pursuit of his musical excellence, and tunnel-visioned performance art. He believes that Music reigns supreme, and the inequalities of human conditions do not touch him. He believes the whole world exists to service his art.
The son, on the other hand, as he must, if we have to make a movie out of this theme, is in the other end of the diameter. He believes Art exists for human entertainment, and reflecting a humane philosophy is a pre-requisite to Art. Art is, after all, Art, he seems to say. Didnt the Bard of Avon say the same too, albeit from the opposite end - implying that a mind that doesnt appreciate music is fit only for treasons and strategems. They meet mid-way, the Bard and Suryanarayana Sastri, our hero.

But then, it is not just a clash of philosophy on art. There are social mores involved, class conflicts, and the father and son are firmly separated by a wall in their approach. The father looks down upon "lower" castes, as unfit for consumption of his high art. The son mingles with them, diluting the art to reach out to them. A theme that, incidentally, finds resonance with the music composer for the movie.

As obvious from the literal translation, the poet resorts to certain standard tropes to reflect this - pointing to nature, and its indiscrimination in sharing its bounty. So, "Why do we discriminate between human beings?" is the message.

Once you apply your mind to this formula, it is possible to reduce the actualisation of this in the lyrics but then that is where the lyricist has his job description - use the right word at right place, bring the right thought in right order. This is where the lyricist scores here.

The very first line flattens a listener with its mellifluous words - the thought expressed is pleasant enough referring to Spring season, which arrives every year and gives to everyone, no matter whether we reach out or not. But look at how he expresses this:
tarali raada?

We translated this as "Does not Spring come?", which is inadequate. tarali = crawl, as in a baby's crawl.
In Tamil, you'd write that as "thavazhndhu varAdhA?, which is lyrical enough. But the light 'l', prevalent indiscrimiantely in Telugu, makes it even more sweeter.The words bounce ever so smoothly off the tongue and make you feel the song is crawling out of your tongue like a little baby.

Think of how the lyricist opened his gambit - what a beautiful thought, imagining Spring as coming cutely crawling like a baby.

I pause here to refer back to the term, lyrical flourish. I'd like to substantiate Subramaniya Bharathi's assertion on the suitability of Telugu as a musical language. Look at how the sentence forms in Telugu - tarali raada.
The thought is equally cute when expressed in Tamil - 'thavazhndhu varAdhA?', but that demands extra syllables and takes away the pleasure of brevity and lightness in the telugu equivalent.

That's just one example. As we go further, I will stop and pause at every occasion I have to substantiate this theory.

[Sureshs65]

Plum,

The beauty is just not in 'tarali raada' but in that 'tarali raada thane'. The poet is saying, "wouldn't the spring come crawling, on his own' and that 'on his own' which adds the extra charm.

[Plum]

Oh yes, thAnE in tamil doesnt have half the feel. Mainly because thanE is also interchangeable for "that lady", which gives it an extra-special feel. Plus thAnE is longer in the length of the syllables.

About the only word which I think sits uneasily on tunes compared to tamil is gundE vs idhayam or nenjam

[Plum]

This,
tarali raada thanE vasantham
thana dhariki rAni vanAla kosam

You have rhyme.
You have a lovely poetic thought.
You have perfectly separated and integrated syllables.

Then it goes "gaganAla dhAkA", which almost sounds like a swara rendition of the tune, which again reinforces the lyrical flourish

"mEgAla raagam ila cherukOdhA?"
Here, the word to look out for is "ila". Literally translated, in this context, it means "home" or "back home"We translated it as "Don't the clouds send their raaga as rain?", which is boringly prosaic.
And "chErukOdhA" - "kalandhu viduvadhillaiyA?"
What the poet actually said in Telugu, in a nadai peculiar to Telugu, is "mEgangaLin raagam meendum thannidam vandhu kalappadhillayA?"
Sounds peculiar way of putting it in Tamil, but perfectly natural in Telugu.

Coming back to "ila", you'd have to use longer, unwieldy syllables in Tamil. "ila" is a nice, convenient, lovely-sounding, economic short-cut. To cut a long story short, another of the constructs which makes Telugu a very apt language for lyrical flourish - and, as I keep reminding about, what our pAttan Bharathi said.

[Plum]

Plum garu link podunga

That song replaced by punjai undu in tamil?

Link updated in original post

[V_S]

Plum,
Beautifully and clearly explained the lyrical beauty in nuanced way. Can't thank you enough :notworthy: Now more than appreciating the lyrical beauty, you have made me appreciate the language beauty. Learning a new language through you.:smile:

[PARAMASHIVAN]

Flau annE

Thanks for this thread! itha vaichE naa andhra ticket ku kadalai podurEn :yessir:

[Sureshs65]

Plum,

A correction there. The word there is 'ila' which means earth. What you are referring to is 'ilaa'. As ragaas translated, it is about the music of the clouds descending to the earth as rain. 'megala raagam ila cherukodha'. 'Will not the ragam of the clouds, reach the earth'. (ragam of the clouds referring to rains.) The overall meaning is "Though the waves cannot reach the sky, will not the rains reach the earth'.

[sivasub]

This,
tarali raada thanE vasantham
thana dhariki rAni vanAla kosam

You have rhyme.
You have a lovely poetic thought.
You have perfectly separated and integrated syllables.

Then it goes "gaganAla dhAkA", which almost sounds like a swara rendition of the tune, which again reinforces the lyrical flourish

"mEgAla raagam ila cherukOdhA?"
Here, the word to look out for is "ila". Literally translated, in this context, it means "this way". We translated it as "Don't the clouds send their raaga as rain?", which is boringly prosaic.
And "chErukOdhA" - "kalandhu viduvadhillaiyA?"
What the poet actually said in Telugu, in a nadai peculiar to Telugu, is "mEgangaLin raagam indha pakkamAi vandhu kalappadhillayA?"
Sounds peculiar way of putting it in Tamil, but perfectly natural in Telugu.

Coming back to "ila", normally you would say "ittala" for this way. "ila" is a nice, convenient, lovely-sounding, economic short-cut. To cut a long story short, another of the constructs which makes Telugu a very apt language for lyrical flourish - and, as I keep reminding about, what our pAttan Bharathi said.

Ila also means 'home'. By 'Meghala raagam ila cherukodha' ....perhaps the poet is asking if the clouds dont return home after visting the jungle.

[PARAMASHIVAN]

Plum

You could have called this IR +SPB 's telugu songs or something along the line, as 90% of Telugu songs during that era were sung by none other than SPB. Including all the songs(From Telugu made into Tamil) which were sung by Mano in Tamil

[Sureshs65]

sivasub,

You are right. In this context it is the earth as home for the rain.

[app_engine]

அட, அட, அட!

என்ன ஒரு அருமையான இழை!

இனிமையான ஆய்வும்!

மிக்க நன்றி ப்ளம் :-)

Sureshji,
Your pozhippurai - waves v/s rain - is fantastic!

[Sureshs65]

app,

Thanks. But as usual the credit should go to the original lyricist :)

[Plum]

Suresh - I stand corrected. I have been trying to masquerade as a telugu expert - you called my bluff :lol:
Your interpretation, though, adds to the beauty of the lyrics. Isn't that just brilliant. I propose to rewrite and put this all in one post.

Oru pAttukkE kaNNa kattudhE!

[PARAMASHIVAN]

What is இழை ? does this mean thread ?

[Plum]

Faramu - adhu enna ellAthulaiyum SPB. IdhukkAgavE I am putting the SPB song I was proposing as next, and picking some other song :poke:

[PARAMASHIVAN]

Faramu - adhu enna ellAthulaiyum SPB. IdhukkAgavE I am putting the SPB song I was proposing as next, and picking some other song :poke:

Flua

After Ghantasala who ruled telugu songs? It is SPB right athuku thaan sonEn. vera ondrum illa :)
Have anice week end :wave:

[Sureshs65]

Plum,

Given the sort of high Telugu that Veturi, Sirivennala and Athreya write, many a times it is 'kanna kattum' time for me as well !!! :) Anyway with help from other Telugu posters like raagas, rprasad (who comes in once in a while) we can get along I think !!

[app_engine]

What is இழை ? does this mean thread ?

It literally means "fibre"...thread can have more than one fiber, so not an accurate translation. I'm not fond of the 'thiri' word as it reminds me of kerosene lamps and stoves apart from having the alternate meaning of "misinterpret". 'nool' is the exact Thamizh word for thread but that has this "book" meaning which could be confusing...

[Plum]

Raaga's take:
Plum,

K.Vishwanath is one film-maker who gave equal importance to lyrics.

Infact, even K.Balachander gave high importance to lyrics, in films like Rudra Veena (Sirivennela's flights to Veturi's ilk). His "Tarali raada thane vasantham" wraps up the whole damn philosophy of "service to mankind is service to god" effectively in each and every line. Every line in that song is a gem i must say. I mean, what can we say if he writes:

Tarali raada tane vasantam (does not the spring come...)
Tana dariki raani vanaala kosam (for the gardens that cannot travel to it..)
Gaganaala daaka ala saagakunte (if the waves do not stretch to the sky..
Meghala ragam ila cheruthunda (will the songs of clouds reach here..?)

The lines express the situation in the film in such a simple way... bloody genius!

I love the lines:

Prati madi ni lepe prabhaata ragam (the morning raaga that awakens every mind..)
Pade pade chupe pradhaana margam (the path that always points to destinations...)
Edi sontam kosam kaadanu sandesham (the message that says that there is nothing that can be owned by oneself..)
Panche guname pote prapanchame shoonyam (the world will be a naught or zero, if we lose the virtue of sharing...)
Idi teliyani manugada kadha dishanerugani gamanamu kada (the living which is not aware of this... is equal to a journey without a sense of direction).

I think he just nailed the whole philosophy of living...

He further writes:

Bratukuna leni shruti kaladaa .. (is the sruthi of art non existent in life?)
yeda sadi lo ne laya leda (is there not a laya in the throbbing of the heart?)
Ye kala(dream) kaina ye kala(art) kaina (For whatever dream, for whatever art-form) - killer liner.. usage of Kala, dream & kala, art (pronunciation is different)
jeevita rangam vedika kaada (is not life a big stage...?)
Prajaa dhanam kani kalaavilasam (The flourishing of any art that doesnt amass the wealth of ignited minds)
Ye prayojanam leni vrudha vikasam (is equal to a useless and futile exercise)
Koose koila pothe kaalam aaginda (did the seasons stop changing, when a koel left them?)
Paare yere paade maro padam raada (dont the new words flow when the old ones flow away...)
Muraliki gala swaramula kala pedavini vidi palakadu kada (even the art of swaras beheld by a flute, will not flow out without human lips)

One needs to be an intellectual to write like that. And must say, Ilaiyaraaja also justified the lyrics with equal aplomb. He composed a very simple tune, with less complexities woven in it. This is one of those songs where the musical ideas do not dominate the lyrical worth of the song and both play out well in equal measure.. or should i say, infact, that lyrics come out highlighted more than musical ideas. And it is good that Ilaiyaraaja allowed that!

Sivapoojaku chigurinchina from Swarna kamalam is also wonderfully written song. A brief analysis of its lyrics at http://musicmavericks.blogspot.com/2007/09/ode-to-art-by-sirivennela.html

[Plum]

Corrected the mis-interpretation of "ila" in the original post on the song.

V_S - as you can see, I am learning on the fly, too :)

[skr]

Another rocking thread..TFM IR Albums in full form :)
Keep up the gr8 work Plum,Raagas and Suresh . Please make sure to give the song link.
Waiting to listen to many unheard of Telugu Gems of IR ..

[Sureshs65]

One very emotional song that SPB did for Raja is Telugu is 'Priyatama Naa Hrudayama' from the movie 'Prema', which featured Venkatesh and Revathy. It also had the lovely 'enaade edho ayindhi' which later got copied into Hindi as 'sathiya tune kya kiya'. You can listen to the 'Priyatama' song here:

http://www.youtube.com/watch?v=OPSEkdkjkhc&feature=relmfu

I have not seen the movie but I guess the situation is this. The heroine is in bad shape, health wise and our hero is singing off to ensure he saves her by his song. Or I may be completely wrong. Anyway SPB sang his heart out in this song. I will try and translate the second para of this song which gives us the story. Lyrics were by Atreya, who according to SPB, used to have a tough time when given Raja's melodies because he was so used to writing the song first and later MDs like K V Mahadevan and Ramesh Naidu tuning it later. I think it was with Raja only that he wrote lyrics for tunes. The words of the second para are given below. The translation after that.

Nee pedhavi painaa veLugaaraneeku,
nee kanuLaLonaa tadi cheraneeku...
nee kanneeti chukke,Munneeru naaku
adi veLLuvaLLe nanu munchaneeku...
ye kaaru mabbu Etu kammukunnaa,
mahaa saagaraaLe ninu mingutunnaa,
ee janma Lonaa yedabaatuLedu...
padi janmaLainaa mudeveedipodhu..
Amaram......AkhiLam.....Mana premaa

Don't let the light leave your lips
Don't let the wetness touch your eyes
A single teardrop of yours, is a sea to me
Don't let them inundate and drown me
Dark clouds may embrace you from all sides
The great oceans are swallowing you
Yet,
These are no obstacles for us in this life
And
Across ten lives this bond shall not break
Immortal
Omnipresent
Is our love

[V_S]

Wow! Suresh ji! :clap: listening the song first time, now understanding the lyrics. I would even say listening the song first time ever. It's that beautiful feeling. Apt lines and how the words perfectly sit to the sandham. Great legends!

Plum, raagas, sureshji, sivasub,
You guys are bringing the actual life of the song by taking pains to bring the deserving lyrics and those amazing lyricist to the front. Never been so interesting to hear Maestro's songs. Hats off guys! :notworthy:

[Sureshs65]

Thanks V_S. This is what little we can do to those great people who gave us so much. Will try to put up the translation of the first para soon.

[PARAMASHIVAN]

It literally means "fibre"...thread can have more than one fiber, so not an accurate translation. I'm not fond of the 'thiri' word as it reminds me of kerosene lamps and stoves apart from having the alternate meaning of "misinterpret". 'nool' is the exact Thamizh word for thread but that has this "book" meaning which could be confusing...

Thanks for the "Detailed" Explanation :) Neenga oru thamizh pandithar :yessir:

[sivasub]

Suresh,

I tried attempting writing the English translation for pallavi and first charanam. I am sure you would have done a better job at it, so please go ahead and edit it

priyathamA nA hrudayamA
priyathamA nA hrudayamA
prEmakE pratirOpama
prEmakE pratirOpama
nA gunDelO nindinA gAnamA
nanu manishigA chEsinA tyAgamA


My love, you are my heart
you are the epitome of love
You are the song that has filled my heart
You are the sacrifice that made me a complete man


SilalAnTi nAku jEvAnni pOsi
kalalAnTi batuku kadatoTi nimpi
valapanna tEpi tolisAri chUpi
yedalOni segalU ****ntam Api


You have given life to a lifless sculpture
You have filled my life with happiness
You are the first person to make me see the the sweetness of love
You have doused the flames inside the hear

tolivechanayina OdArpu nEvai
Sruti laya lAga jatachErinAvu
nuv lEni nannu OhinchalEnu
nA vEdananta nivEdinchalEnu
amaram akhilam mana prEma

You gave me a warm consolation
and weaved it like a seamless tune
I cannot imagine myself without you
I cannot express my sorrows without you
our love is immortal, omnipresent

[Sureshs65]

siva,

Since I love translation. let me try the translation for the first charanam:

Pouring life into a
lifeless sculpture like me
Filling my dream like existence
with art
Making me realize
the warmth of an embrace
Quenching the heat
within my heart
completely

In the tenderness of your
consolation
we have joined together
like shruthi and laya

Can't image myself
without you
Unable to pour out
my sorrows

Immortal,
omnipresent,
is our love

[Plum]

Alright. Time for the next instalment. While I say that, I am hard pressed for time and creativity at this point. So, I resort to the oldest tactic in the world - recycle.

Will dig out a old post and work around it. I was intending to dig out Sumam Prathi Sumam since Jaiganes made a specific request for it when I started this thread but digressed into reading an old discussion on Vayyaari Godaramma between myself, Suresh and Usha Sankar. Will first copy paste it and then do the rework here.

[Plum]

First, the raw data

Plum
21st June 2009, 09:20 PM
Suresh, usha, this is freaky. Have been looping on vayyari godaaramma last 2 days!
I haven't heard of this movie but caught these songs a year ago. Even during the assembly line peak of his in telgu, out comes such a unique stunner of an album.
Vayyari godaaramma is really a delicous song. You can feel the gentle mild waves of godaaramma lapping your feet, though the reference to godavar is purely metaphorical here. There is something intensely telugu and godavari about this song that I can't place my fingers on. The thick green groves and the smell of fresh mud is what I get here...
Plum
21st June 2009, 09:25 PM

This album is as much spb-janaki's as IR's.
I always thought voice was a functional necessity for IR but once very often, you get songs like this which tells you he is very aware of the utility of voices as an instrument by itself. That SPB is a part of many of these probably tells us why he stuck to them instead of experimenting. Consider this:
Nijamu naa swapnam - SPB, with janaki humming just that microsec inbetween. The economy of that humming in janaki's voice is a measured and deliberate tool in Raja's hands.

The melodies in various parts of the song escalate, as Suresh observed in other contexts, and keep surprising you with the turns.

What is important is that this is similar to Sumam prathi sumam in that sense but at the same time, it is not the suffocating, continuous escalation of melody stakes. Here, IR gives us enough seconds to absorb one melody before giving another - the net effect is one of sitting on a boat parked near the shore on Godavari on a moonlit night with your beloved, and partaking the simple pleasures of the waves lapping your feet, and the company of sweet nothings.
The lyrics deserve a mention, too. Is it Veturi, Suresh? Sweet nothings never got more melodious words, and lighter or effortlessly weightless profundity.
Stanza:
SPB: Nijamu naa swapnam // My dream IS reality
ho ho - minute humming by S Janaki
Janaki: kalanO lEnO // I may be there, then again I might
be an illusion
SPB: Neevu naa sathyam // You are my reality
ho ho - minute humming by S Janaki, modified from previous time
Janaki: avunO kaanO // Oh, really! Maybe, not!
SPB: Ooha neevai, usuruko raave // if you are an illusion, why dont you just become real?

And so on.... my limited grasp of telugu could only translate so much but while I might be exaggerating ordinary lyrics for all I know, I find the sweet nothings here, the teasing between the girl and the boy, pretty interesting.

Sureshs65
21st June 2009, 09:26 PM

Very true Plum. There are some songs which have this complete 'Telugu' character. 'Kinnarasani Vacchindi' is one more such song. Don't know how he does it but it is definitely magical. There is infact a small bit song which starts 'Ladies Tailor' and it is absolutely Godavari / Rajamundry stuff.

'Vayyari Godaramma' has been in a loop in my car. I haven't seen this movie but trying to get hold of it. I think I have seen most of Vamsi / Rajendra Prasad combo. Don't know how I missed this one.



tvsankar
22nd June 2009, 11:09 AM

Suresh and Plum,
Enaku Telugu film per kuda theiryadhu.
Just telugu songs nu search panninen.
Idhai parthen.

Preminchi pelladu - ella paataiyum kaeten,
Very nice.
Nirandharam - Romba pidichadhu.


Plum
22nd June 2009, 08:16 PM

P.S:Suresh, please ignore the errors in translation, if any. As the dreamy lover says in the song, "if you are an illusion, then become my reality" so similarly, "if my translation being correct is an illusion, let that be my reality" for the sweetness of that nothing-song is quite nice for me

[Plum]

Song #3

Song: Vayyari Godaramma
Film:Preminchi Pelladu
Singer: S.P.Balasubramaniam, S.Janaki
Composer: Ilaiyaraja.
Lyricist: Veturi Sundara Rama Moorthy (?)
Youtube Link: < (http://www.google.co.in/url?q=http://www.youtube.com/watch%3Fv%3DWC9Rk-LzzTs&sa=U&ei=I-5ETom_B4nNmAXa8vTcBg&ved=0CBAQtwIwAQ&usg=AFQjCNEMULq7yG6wNfRI0-gbAO2kVIrXfQ) Experts Raagas/Suresh to provide>

(To be edited) further

For the previous song, we coined the term Lyrical Flourish. Fortunately, we dont need to coin a term for this one, since we already have an established term in these parts for this song, namely, Escalating Melody.

This term refers to the attribute of songs wherein the Composer packs in a brilliant melody after melody in the tune with the tune getting sweetest as it reaches the end of the song/stanza. The tunes are obviously inter-connected and flowing but in some cases, keep raising the honey stakes until you reach a point where you are suffocated by the composite effect. An example for this is "Sumam Prathi sumam", which we hope to excavate an old discussion on and bring in for discussion here soon.

A variant is this song, where the melody escalates but in a measured, casual manner giving us sufficient time to absorb the first melody before we move on to the next, escalated one.

'Preminchu Pelladu' is as much SPB-Janaki's as IR's.
I always thought voice was a functional necessity for IR but once in a while, you get songs like this which tells you he is very aware of the utility of voices as an instrument by itself. That SPB is a part of many of these probably tells us why he stuck to them instead of experimenting with new singers during the mid 80s. Consider the stanzas of this song:
Nijamu naa swapnam - SPB, with janaki humming just that micro-sec inbetween. The economy of that humming in janaki's voice is a measured and deliberate tool in Raja's hands.

The melodies in various parts of the song escalate, and keep surprising you with the turns.

What is important is that this is similar to Sumam Prathi Sumam in that sense but at the same time, it is not the suffocating, continuous escalation of melody stakes. Here, IR gives us enough seconds to absorb one melody before giving another - the net effect is one of sitting on a boat parked near the shore on Godavari on a moonlit night with your beloved, and partaking the simple pleasures of the waves lapping your feet, and the company of sweet nothings.

The lyrics deserve a mention, too. I think it is Veturi who wrote the song.

Sweet nothings never got more melodious words, and lighter or effortlessly weightless profundity.

Stanza:
SPB: Nijamu naa swapnam // My dream IS reality
ho ho - minute humming by S Janaki
Janaki: kalanO lEnO // I may be there, then again I might be an illusion
SPB: Neevu naa sathyam // You are my reality
ho ho - minute humming by S Janaki, modified from previous time
Janaki: avunO kaanO // Oh, really! Maybe, not!
SPB: Ooha neevai
killer pause
SPB: usuruko raadhaa // if you are an illusion, why dont you just become real?

The fully lyrics go as follows- I am going to bravely attempt it but I need raagas/suresh to bail me out

vayyari gOdArammA
vuLLanthA endukammA
kalavaram?

kadali odilO
kalisi pOthE
.......

inni kaLalika endhukO?
kanne kaLa ika kOrukO
kalavarinthE kougilinthai..
(vayyari..)

nijamu nA swapnam...ohO..
kalanO...lEnO!
neevu nA sathyam...ohO
avunO kAnO!
ooha neevE...
usurukO rAdhA!

...................
musurukO rAdhA

navvEti nakshatrAlu...............
muvva gopAluni rAdhikA

[KV]

'EnAdu vidipOni mudivEsEne' from 'Sri kanaka mahalakshmi recording dance troupe'... . This is among the most soothing duets I've ever heard. Everything gels so seamlessly and beautifully in the song.. the music, tune, singing, lyrics. As the cliche goes, it really feels like being carressed with a feather.
Plum/Suresh65/Raagas... here's a request from the audience to you guys....Randi randi randi.. dhaya cheyyandi!
This movie supposedly has some remix songs... which of the songs are remix and which original?

[Sureshs65]

KV,

'Telisindile' is from the movie 'Ramudu Bheemudu'. The original here: http://www.youtube.com/watch?v=7njBOrk3Vsc Original Music Dir: Pendyala Nageshwar Rao

'Siggesthondha Siggesthondha' is from the movie 'Manushulu Mamathalu'. The original here: 'http://www.muzigle.com/track/siggesthondha' Music Dir: T.Chalapathi Rao

'Nuvvu Naa Mundhunte' is from 'Goodachari 116' The original here: http://www.raaga.com/play/?id=240561 Music Drir: T.Chalapathi Rao

[Sureshs65]

'Enadu Vidiponi' is an Agmark Raja original. What a lovely Chakravagam. Which reminds me of this knockout Chakravagam he gave for the Malayalam film 'Aalapanam'. 'thanal virikkan'. No wonder we prostrate in front of him. Who wouldn't after listening to such a melody:

http://www.hummaa.com/music/song/thanal-virikkan/129575#

[Sureshs65]

Plum,

I know you have been calling me to this thread for various songs. Stuck with work for past few months and all I am able to do is Guerrilla warfare. Post a line or two and vanish :) Will post more translations when I get some time.

[Plum]

Suresh, we are all going through tight work schedules I guess. Ningalum amerikka capitalist system mela dependent companyA? :)
Thanks for the promise. I'll transfer the saagara sangamam discussions here meanwhile.
I don't know about others but this one stop shop is of value to me. As I confessed, naane adikkadi thirumba thirumba padichu "epdira plum unnala mattum"-nu solli oru chinna egoistic pleasure adaiya mudiyudhu ;-)

Add to that superb contri from you and raagas - it's bliss that way.

Reg enadu vidi poni, I have always had a intuitive feel of linking this to swathi muthyam but never understood why. I realised why recently - it is there as background score when Radhika and Kamal leave the village after he ties the thali.
Possibly it was composed for swathimuthyam and dropped? I guess this song instead of that admittedly folksy delight sung by shailaja would have enhanced that album

[sivasub]

Vayyari godaramma vollantha endukamma kalavaram

Why are you so anxious oh young(???) Godavari

Kadali vodilo kalisipote kala varam

Your dream will turn into a boon when you meet the sea (kalavaram - anxiety, kala varam - dream turning to reality)

Inni kalalika yenduko kanne kalayika koruko

Why do you want to meet something, when you can wish meeting a young lass

Kalavarinthey kougilinthayi || Vayyari godaramma ||

... and the anxiety turns to an embracement

Nijamu naa swapnam ho ho

It's true, it's my dream

Kalano ho ho leno ho ho ho

Am I a dream, am i an illusion?

Neevu naa satyam ho ho

You are existing and that is true

Auno ho ho kaano ho ho ho

Am I or am I not?

Ooha neeve aahahahaa usuru kaaraadda aaahaaa

You are my imagination....... can't it become real?

Mohamalle aaahahahaa musuru koraadha aaaahaaa

Like a deep love... can't you occupy me?

Navveti nakshtaralu muvvalni muddhaadanga Muvvaa gopaluni radhika

When the laughing stars start kissing anklets....like what happens between Radhika and Krishna

Aakasa veena geethalalona
Aalaapanai ne karigipona || Vayyari godaramma ||

I will melt like a aaalap in this lovable song that sounds like a veena

[KV]

Suresh65, thanks for the information and the links; my hunch about the remixed songs was the same.
Plum, quite possible, but then, Vamsi-IR combo also has the record of some great songs, no? (indha aalu yaarukku dhaan nalla pAttu kuduththadhilla? paari vallall'nga)

[raagas]

'Enadu Vidiponi' is an Agmark Raja original. What a lovely Chakravagam. Which reminds me of this knockout Chakravagam he gave for the Malayalam film 'Aalapanam'. 'thanal virikkan'. No wonder we prostrate in front of him. Who wouldn't after listening to such a melody:

http://www.hummaa.com/music/song/thanal-virikkan/129575#

Enadu Vidiponi is a serene melody! This is one raagam where he always did the unexpected stuff. Even "Kottha Pittaro Kokko" (nonsensical lyrics) from Detective Narada is actually a beautiful chakravakam. Just that we need to scratch the surface (lyrics) away to enjoy its beauty!

[raagas]

Plum,

I have read your post about Sagara sangamam lyrics (and comparison with Vairamauthu's versions). You are completely right (although I cant understand Tamil) that Veturi had a upper hand. And going by your translations, looks like tamil lyrics could touch the class of telugu versions.
I couldnt reply/contribute to that discussion because once I start writing about that film or its lyrics or its music, my posts will become very lengthy and I have been swamped with work to give so much time to my thoughts. But I will try to contribute.

And by the way, I never knew that such a thread existed. Looks like I will keep coming here more often now!

[raagas]

And by the way, Enadu Vidiponi was composed for Sri Kanaka Mahalakshmi Dance Troupe only. Just that the director Vamsy is a huge fan (and assistant) of K.Vishwanath and he worked (i think) on Swathi Muthyam as assistant. Vamsy confessed that he would rarely ask Raaja for totally new songs. Vamsy feels that raaja's film songs, interludes and background scores are a bountry enough... from which more songs/tunes can be improvised/developed. Vamsy also has a huge collection of songs and background scores, from which he picks up some pieces and requests raaja to improvise on those pieces (given that Raaja was so busy). I think Enadu Vidiponi was born like that.

If you notice, there are many Vamsy songs which are actually rehashes of Tamil songs. Examples:

1. Chukkalu Themanna (April 1st Vidudhala) - Chitthira Sevvaanam
2. Maata raani mounam idhi (Maharshi) - Manjal thedi (or something... but there is a tamil equivalent)
3. Chalthi ka naam gaadi - chinnamanee kuyile
4. prathi dinam nee darshanam (Anumanaspadam) - mayangiye nee thayangiye

[app_engine]

(and comparison with Vairamauthu's versions

:lol:

May not be intentional but goes well with the lip-sync biz.

[Plum]

raagas :bow: :clap:

:redjump: - singam kaLAm eRangirichEY!!!

Mr Grouch, now see how this thread's collections multiply

[Plum]

raagas, now that you say, Enadu vidiponi has orchestration pointing to early 90s rather than mid 80s. You are right. I guess it is Vamsy's database that picked this.

I was also fooled by the aptness of the lyrics to the Swathi Muthyam situation
"E nAdu vidi pOni mudi vEsEnE...I pasuppu thAdu"
(ennALum piryAdhA mudichu kattinAn...indha jenmathukku thuNaiyAi...indha manjaL thAli kayiru... - this sort of suits the Swathi Muthyam situation as well)

[KV]

raagas, now that you say, Enadu vidiponi has orchestration pointing to early 90s rather than mid 80s. You are right. I guess it is Vamsy's database that picked this.

I was also fooled by the aptness of the lyrics to the Swathi Muthyam situation
"E nAdu vidi pOni mudi vEsEnE...I pasuppu thAdu"
(ennALum piryAdhA mudichu kattinAn...indha jenmathukku thuNaiyAi...indha manjaL thAli kayiru... - this sort of suits the Swathi Muthyam situation as well)

vommyegaad! Rough translation maybe, but, even then, looking at how 'wordy' it could become in thamizh :-|

[KV]

kOnalO sanna jaajimalli :musicsmile:
I know not what the song means, nor who has penned it. But the flow, the smooth blend of words and tune, with no disruptions whatsoever - laminar flow, it's called in fluid dynamics. To borrow a phrase from another thread - enna oru kOrvai.

[Plum]

Revive by KV. Hope someone chips in. For my part, I just remembered that once in Hyderabad, had Vamsy dining in the next table. But though I knew about him then and his IR movies of 80s, didn't have enough knowledge to feel the sort of interest to go up and chat with him. Going by Raagas' post, he is worth cultivating just for the bgm collections he apparently has built up at home. Chance missed!

[KV]

PlummarE, found the lyrics here. Yuvar two rubees about the meaning/wordplay please.
http://divyakshar.blogspot.com/2010/08/konalo-sanna-jajimalli.html (http://divyakshar.blogspot.com/2010/08/konalo-sanna-jajimalli.html)

[Plum]

Song: Suvvi Suvvi Suvvalamma
Movie: Swathi Muthyam
Lyrics: Veturi?
Music: Ilaiyaraja

Ah! Godavari delight! I don't know which song affengine has started with - but let me assume it is suvvi suvvi.

It is no wonder only vatapathra saayi was passed by app - the rest soak a pure telugu godavari flavour not easily transferrable to kaaverikarai appengine.

Vatapathra has the underlying classical flavour - although Vairam fails to translate the ethos of the song spectacularly and I don't blame him because he had very little scope in this song - that seems to have salvaged it as a common song between telgu and tamil. What's more, it was tuned to lyrics in telugu so VM had a tough task and hard to blame him for this one.

Coming back to Suvvi Suvvi - that catchphrase, V-S, should tell us that it is Godavari theeram, I think. From the be-sur alaap start - done a little too perfectly by SPB - to the swarams, to the thaananaa by Janaki, what a Gilchristian start to the innings! K Viswanath touched widow remarriage carefully(without alienating telugu sensibilities) but firmly here.

Just look a few posts above for Murali's note on Innale-YEK. A little miracle that this movie managed to run in Tamilnadu - I guess the telugu sensibilities that KV managed to appease took care of tamizh kalaacharam as well. There is no propoganda here but a matter of fact espousal of a woman's feelings - carefully wrapped around her (seeming) surprise, revulsion and shock at the thali episode by Kamal.

Yet, a few reels before, you have her sighing(just watch the end of the thanana interplay with the bumpkin in the beginning of this song - Janaki amma captures a thousand emotional jangling points in that one second), indulging in playful banter , listening to the bumpkin assure her that spring will return in her life - with a cynical and sighing response. (vasthundhA A nAdu, choosthAdA A painOdu) - We'll return to the lyrics later.

These are moments that capture the longing and yearning in her for a normal life just like any other young girl - and our man Raja, and Janaki go to work. SPB has a supporting role only here. KV would boldly go on to do Manasu Palike later in the movie - getting more explicit about the woman's yearnings. More about that later.

Those moments in the riverside with the innocent (whaddya call him - autistic? mentally challenged? bumpkin?) young man along with her child are her escape from the daily hell that is her household - which has turned her into a bhajan-spouting, temple-only-going vidhavai. You can see the certain amount of freedom getting reflected in the thaanananaa phrases before she ends it with a note that elegantly captures a sigh in the tune itself, perhaps reflecting the futility and the short-lived transitionary nature of her small joys here.

He is the only one who treats her like a normal young woman who has feelings - the rest are traditionally bound to expect her to play a role - that of a widow. The interludes are awesome here, and if you dont feel wet with the waters of Godavari on your body, you are Shakespeare's villain fit only for treasons, strategems and spoils. I'll leave it to V_S to talk about the percussion and the rhythm structure, and the progression of this through the song, in maximum pleasure mode in the interludes. Let me focus on the emotions.

The first interlude normalises the relationship between Radhika and Kamal, as she hesitantly but irresistibly is drawn towards the innocence of the young man, and his antics that treat her like any other young woman. It is her oasis - and the violins play at medium tempo without soaring or ebbing. Specifically, immediately after the first burst of violins in the first interlude, there is a splashing gurgling kind of sound - which is not a special effect but a normal tune played by an instrument, wherein lies the genius of Raja - which gives you the feel of floating in water or wetting your feet in a vast expanse of water that Godavari is. As the relationship between the two warms, he is moved enough to relate her story to that of Sita - although it is unfair to blame her husband for kicking the bucket; the husband wasnt given much choice in the matter, was he? - the lyrics go thus in the first stanza:

andA dhanDa undAlani
kOdhandA ramuni nammukuntE
gundE lEni manushallE
ninu kondA kOnallak odhulEshAdA

You came to Ayodhya with grand dreams of living peacefully ever after but what did Sri Rama do - I hope I escape the wrath of Raja_Fan, I am just translating Sir, I am not making this up - he left you to the elements in the unforgiving jungles and mountains like a heartless fiend.

(I am not sure this translated effectively in VM's lyrics)

The beauty of this is you can ask is a bumpkin(autistic?) capable of making such eloquent comparisions. But if you have dealt with children, you know precisely that they are the ones who can invoke these analogies so easily. A later sequence in the movie establishes how the Rama kadha is an integral part of the village culture - Kamal can be seen predicting and performing upcoming parts of the story even as the song progresses, implying that he is familiar with the story

I have spoken about the second interlude, beautifully picturised as the brass pot floats down the Godavari; Raja throws in a flute piece there, with an underlying sound I know not made of what instruments that make you feel you are drawing a potful of water from Godavari, carefully perched on a shallow bank corner. Then, as the interlude progresses, that beautiful shot of Kamal rowing round and round on his makeshift boat. The next stanza captures the next level of exchanges as the relationship progresses, he is matter of fact about her plight but all the more child-like in his assurance of better days to come.
(first two lines I forget)
pattina grahanam vidisi - nee
bathukuna punnami pandaga gadiyA
ochEnnammA oka nAdu - choosthunnAdu painOdu

The eclipse that has shadowed your life shall disappear; a glowing full moon shall adorn your life one day....the fellow up there is watching over you.

Here, Raja/KV allow Radhika to break down almost, sighing loudly
osthundhA A nAdu - choosthAdA
A painOdu

Shall that day come? Is He really watching over my fate?

Here, KV goes the full distance in his espousal of a widowed woman's feelings and yearnings for a fuller life. Telugu sensibility or not, this is a woman who, encumbered by the tradition, is yearning for a normal life a la other young women. Janaki smoothly walks away with the (wo)man of the match for this innings here with a wistful, sighing rendition at this point. SPB is the hero of this thread, but Janaki is the heroine of this song...

[Plum]

KV, just noticed your request. Not heard the song much KV. Not paid much attention to it. Going by the pallavi, not much of a lyric it seems to be. Suresh/Raagas maybe?

[Gregorysab]

Thats a nice post Plum, about Suvvi Suvvi! :-) I think it was Veturi only!

[Gregorysab]

Song: Ghallu Ghallu
Film: Swarna Kamalam
Lyrics: Sirivennela Seetharama Sasthry
Music: Ilaiyaraaja
Direction: K.Vishwanath
Other key personalities associated: Jandhyala, the genius, wrote the dialogues.

This song, "Ghallu Ghallu" is another song in the film that has a very argumentative structure (not to be confused with conversational structure).

Premise: The heroine doesnt like classical dance/music while the hero loves them. The heroine longs for independence, riches and comforts.
Situation: Hero comes to heroine's father to learn dance and the father starts with a demo class, asking the hero to dance according to taalam. But the heroine pulls of a prank but not giving the hero his dance-anklets and instead she replicates those sounds herself with the anklets in her hands and purposefully makes mistakes. The hero, finally holds her hands and does the sound according to the taalam. Thats where the director cuts the scene into a dream song - where the hero and heroine argue with each other about the merits of dance and demerits of materialistic desires.

Now, i cannot translate all the lines, because some of the words are too steep in literature and beyond my grasp. But i will try.

Ghallu Ghallu Ghallu Mantu Merupalle Thullu
Jhallu Jhallu Jhalluna Vuppongu Ningi Vollu
Nalla Mabbu Challanee Challani Chiru Jallu
Nalla Mabbu Challanee Challani Chiru Jallu
Pallavinchani Nelaku Pachhani Paravallu

Ghallu - in telugu, is the phonetic word for the sound of dance-anklets. and Jhallu is the phonetic word associated with the sound of water.
The first 1 lines mean: with those anklet sounds, shine like a lightning... so that the (body of) sky shall be full...
2nd two lines: Notice the two words "Challanee" and "challani". even in telugu, the spelling is same. But the meaning gets differentiated according to context and usage. "challanee" means "let it sprinkle" and "challani" means "cold". The poet used both words very intelligently. the sentences mean, "let the black clouds sprinkle, cold sweet showers". The last line is difficult to translate though i know its meaning. it roughly translates as "let the earth be adorned/ornamented with green"..

Now the heroine counters it.

Ghallu Ghallu Ghallu Mantu Merupalle Thullu
Jhallu Jhallu Jhalluna Vuppongu Ningi Vollu
Velluvochhi Saaganee Tholakari Allarlu
Yella Lannave Yerugani Veegam Tho Vellu

The last 2 lines mean: "Let the just-born mischiefs go on for a while... Go with a speed/energy such that there are no boundaries for you..." (absolutely pathetic translation, but thats what i could get).

Ghallu Ghallu Ghallu Mantu Merupalle Thullu
Jhallu Jhallu Jhalluna Vuppongu Ningi Vollu

Hero:
Layake Nilayamai Neepaadham Saagaali
A Ha Ha Ha
Malayaanila Gathilo Suma Baalaga Thoogaali
Ha Ha Ha

1st line: Your feet must dance, by becoming the 'nilayam' (centre) for Laya
2nd line: Sorry, I cant translate!

Heroine:
Valalo Vodugunaa Viharinche Chirugaali
Selayetiki Natanam Nerpinche Guruvedi

1st line: The breeze that wanders, will it ever be caught in any net?
2nd line: Is there any teacher who can teach the selayeru (stream from mountains) to dance?
Nice rhymes in "viharinche chirugaali" and "nerpinche guruvedi"

Hero:
Thirige Kaalaaniki... Aaaa Aaaaa
Thirige Kaalaaniki Theerokatundhi

Meaning: (even) The cycle of time follows a pattern...

Heroine:
Adhi Nee Paathaaniki Dhorakanu Andhi

Meaning: still, that pattern of time cannot be tamed by your lessons (rules)

Hero:
Nataraaja Swaami Jataa Jooti Loki Cherakunte
Viruchukupadu Suragangaku Viluvemundhi Viluvemundhii

Meaning: The Ganga that keeps raging ahead always, will it not lose its value, if it eventually doesnt find its culmination in the Jataa jooti of Nataraja. (a nice way of saying that art is also a way to moksha..)

Ghallu Ghallu Ghallu Mantu Merupalle Thullu
Jhallu Jhallu Jhalluna Vuppongu Ningi Vollu

Now heroine asks him:
Dhooke Alalakuu Ye Thaalam Vesthaaru
Aahaha

Meaning: For The waves of sea that rise and jump, which taalam can be suitable?

Kammani Kalala Paata Ye Raagam Antaaru
Mmmhuhuhu

Meaning: The sweet songs of dreams are set in which raagam?


Hero counters:
Alalaku Andhunaa Aasinchina Aakaasam
No matter how much they jump, will the waves ever reach the sky they seek to touch?
Kalalaa Karagadamaa Jeevithaana Paramaardham
And is the paramaardham (core meaning) of life all about dissolving just like a dream?

Heroine:
Vaddhani Aapaleru Aaaa Aaaa
Vaddani Aapaleru urike oohani
Nobody can stop the imagination that seeks to fly...

Hero:
Haddhulu Dhaataraadu Aasala Vaahini
The flight of desires must never cross their limits... (The poet gets the right weight of words - Vaddani in 1st line and haddulu in 2nd... and he still maintains a fine rhyme with ending words - oohani and vaahini)

Heroine:
Adhuperugani Aatalaadu Vasanthaalu Valadhante
Viri Vanamula Parimalamula Viluvemundhi Viluvemundhii

Meaning: If the fragrances from the beautiful gardens banish the spring that plays/teases them beyond any limitations, will those fragrances ever have any significance? (too intellectualish thought).

Ghallu Ghallu Ghallu Mantu Merupalle Thullu
Jhallu Jhallu Jhalluna Vuppongu Ningi Vollu
Nalla Mabbu Challanee Challani Chiru Jallu
Velluvochhi Saaganee Tholakari Allarlu
Pallavinchani Nelaku Pachhani Paravallu
Ghallu Ghallu Ghallu Mantu Merupalle Thullu
Jhallu Jhallu Jhalluna Vuppongu Ningi Vollu

This is the most immature attempt at translating this beauty. But the fact is, Seetharama sasthry wrote it brilliantly. When K.Vishwanath is at the helm of affairs, the lyrical/dialogue richness is always topnotch! Ilaiyaraaja composed it in Suddha Dhanyasi. I dont know if lyrics came first or music, but if music came first, then seetha Rama sasthry did a stupendous job - something that none of the contemporary lyricists can ever pull off. Brilliant composition. And justifiably brilliant lyrics!

Pardon the mistakes in my silly translation. Just wanted to give a whiff of what was the song meant like!

[tvsankar]

aakash,
Now only saw the thread. Beautiful write up.. thanks for the Translation..........

Pl continue ur service.. Shall i request u for some telugu songs of Raja?

[tvsankar]

If u give the chance.. Vamsy and Raja combo songs are waiting for ur translation and for ur write up aakash.

[Sureshs65]

Kamal,

This is indeed a very tough song to translate. If you don't mind, I will try my hand at it.

Since this is a duet I will use the standard he/she. The detailed explanations have already been given by Kamal. So I will just do the translation.

He:
With your anklets sounding
like the thunder
skip along
so that the sky
overflows
and
let dark clouds
drizzle
cool showers
and
let the earth
be covered
by green

She:

With your anklets sounding
like the thunder
skip along
so that the sky
overflows
Continuing your mischief
for a while
Speed along
oblivious of
any boundaries

He:

You feet should
move
as if they are
the abode
of rhythm
They should
sway
like a tender flower
when the cool
breeze blows

She:

Will the breeze
that spreads
even get caught
in a net?
And who,
pray who,
can teach
to the mountain stream
to dance?

He:
Even the unstoppable
Time has its
own rhythm

She:
But that
refuses
to come
in your grasp

He:
If the wildly
flowing
Divine Ganga
did not merge
with the matted locks
of Nataraja,
would she
have any value?

(Return to pallavi)

Second Charanam:

She:
For these dancing waves
what beat would you set
For those sweet songs
of dreams
what scale would you set

He:
Can the waves ever
grasp
the sky they desire?
Dissolving
like a dream-
Is this the meaning
of life?

She:
No one can stop
the galloping
imagination

He:
The flight of desires
shouldn't cross
certain boundaries

She:
If the flowers
keep away
the playful and sprightly
breeze
who can ever know
the value
of their
fragrance?

(Back to Pallavi)

[Sureshs65]

Ofcourse my free verse translation demolishes the wonderful rhythm and rhyme that SeetaramaSastry generates. But then it would be impossible (for me) to get both the rhythm/rhyme and also the meaning into English :)

[Gregorysab]

Usha,

Thanks! I will try to translate some - but i must admit that there are not many Telugu songs of Ilaiyaraaja that have good lyrics.


Suresh,
Fantastic Suresh! your translation is way better than mine :-) you got some of the words very close! you are right - seetarama sastry did excellent work! He is the last tall man standing today, IMO!

[KV]

Aakarsh, Suresh, superb posts :clap:. Plum, where art thou? Pliss complete the holy trinity!
Though I've been aware of this movie for quite sometime now, I somehow never listened to its songs before :oops:. Just completed the album, wow, what a beauty! The Dharmavathi piece Andela Ravamidhi is beautifully done, but the prejudiced soul in me craves for Janaki (Vani is adequate).
Siva Poojaku, again, lovely song. What raga is this? Valaji?
Natarajane has an elaborate jathi section. The voice sounds a lot like TVG to me. Is it him?

For some reason beyond explanation, the album gives me a sense of tranquility, very soothing and relaxing. :-)

[KV]

Was this movie dubbed/remade in Thamizh? Or were any of these songs reused in Thamizh? I can't seem to recognize any.

[Plum]

KV I am not responding as I am intimidated by the song. I am still taking in Vishnubotla's translation. It will take me a while to reach suresh's post. Will post when I am ready to. Swarnakamalam could be KV's last great movie. It wasn't dubbed, remade or reused in Tamil at all. Lovely album - andela ravamidhi is my favourite, too. I think Vaniji's teacheramma sincerity went well with the situation. Can't imagine it in Janaki's voice - and can't imagine Vani going sprightly with Aakasamlo Aasala harivillu either...vani-ji also does a capsule of nidhi chaala sugamaa in the movie divinely. Vishnubotla has written about sivapoojakku in his blog - there will be a time to bring it here but for now, ghallu ghallu is difficult homework enough. The movie's a sort of rom-com btw, a genre that I don't like much but packaged in KV's sensibility, it has an irresistible allure.

[Plum]

Kamal Aakarsh Vishnubotla - raise your bat, man. You have infused life into the thread. I'll take a while to read your post in full and understand so bear with me. Meanwhile, Sureshji goes one step further and does a Seetharama Sastry in English himself. Wow! This is the quality I wanted in this thread - frequent updates be damned, even if it is once in 3 months, this is the level of discussion I want here. :bow: to both of you

[Sureshs65]

Plum,

Thanks. I will let you and Kamal pick up the songs and I will get in to translate. Translation is something I love and I will be more than happy to do it.

[Sureshs65]

KV,

Swarnakamal is a terrific album. Long back in my blog I wrote that if Raja had just composed for the three KV films, 'Sagara Sangamam', 'Swarnakamalam' and 'Swathi Muthyam', he would still be a legend in Telugu film music world. Such is the quality of music in these movies. Ofcourse, from the POV of every song being a gem, the first two win hands down.

[V_S]

Kamal and Suresh ji,
Wow! this thread is another precious treasure. :notworthy: Great translation and I could imagine the skills of the Sitarama shastry through your posts. Yes as KV mentioned, Plum, please join the band-wagon.

[app_engine]

Translation is something I love and I will be more than happy to do it.

appO 'chamakku chamakku' oru pArcel please :-)
(chummA in a lighter vein - don't worry if the lines are unworthy, I heard this song this AM and it's awesome!)

Your translation of the KV movie song is awesome :clap:

[Sureshs65]

app,

Thanks. Nice challenge :) Maybe I should translate that in 'kolaveri' English :)

[kid-glove]

Has this video been posted before.. Aruvi madhiri kOttudhu


http://www.youtube.com/watch?v=QkFZFojEKjA&feature=player_embedded