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.ph...R00739&lang=en
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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.ph...R00739&lang=en
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.ph...R00476&lang=en
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!
Thanks App. Very apt description about Raja and Tribal situation. No need to essay, just the word is enough, rightly said.
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
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..............
Here's a comment in BR's blog by Raj (Plum's close friend) on mAttu vaNdi song :
Excellent write-up V_S!Quote:
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…
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...
ok, her name is Sarala.
There is a nice blog post about her :-)
http://nagoorumi.files.wordpress.com...pg?w=217&h=300
A new tidbit there :
Quote:
- கண்ணன் ஒரு கைக்குழந்தை – என்ற சுசீலா பாடிய பாடலை முதலில் இவரை வைத்துத்தான் இளையராஜா பாடச் சொல்லியுள்ளார். பாடலின் அந்த வரிகளை பாடிக்காட்டினார்.
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!