Suresh, I also agree with Rajasaranam 200%. my observation on raja is also the same that he is not working for people, working for the movie. if he inspired(refer the meaning of Raja from Jaya tv program) on the story, we will get good music
Suresh, I also agree with Rajasaranam 200%. my observation on raja is also the same that he is not working for people, working for the movie. if he inspired(refer the meaning of Raja from Jaya tv program) on the story, we will get good music
went hunting for thandavakone and sriramarajyam cds in chennai, unable to find it even in express avenue
Sri Rama Rajyam - even the use of the veenai in the big song of the album, 'Jagadanandha' feels very, very Godavarish, such authentic Bhadrachalam feel! - the other Janaki song from IR "rama kanaveniraa" from Swathi Muthyam had the same identical godavari feel, and yet this album is an entirely different beast!!
We do know IR will do justice esp for a spiritual movie like this,
but what do u guys think abt the commercial value of this movie??
Sri Rama Rajyam (Music review), Telugu – Ilayaraja
SPB’s magnificent vocals, that unconventional rhythmic lilt and that flute-based second interlude…all work in perfect sync in Jagadanandha karaka to create absolute magic! Sri Rama lera opens with a blast of Hamsanandhi that Raja has used earlier and with that familiarity, it works brilliantly! Devulle mechina and Sita seemantham are pleasant, nostalgic throwback to Raja’s Chinna Thambi days, with orchestration largely unadulterated by modernity, barring the interludes which too impress with their sheer melody. Chitra and Shreya Ghoshal deserve a special mention in these songs! SPB aces the sweeping Keeravani-based pathos in Gali ningi neeru, propped by splendid use of violins in true Raja style, while the serene Sindhu Bhairavi-based Ramayanamu is again Chitra and Shreya Ghosal’s magnificent show, even as the composer makes his presence felt with highly imaginative progressions in the tune. And though Rama rama ane sounds filmy, it is a thoroughly likeable tune with mesmerizing vocals by Swetha and Anitha. Of the eight short tracks, Tippu’s Kalaya nijama clearly leads and is one of the singer’s best songs yet! The other short track that impresses is Surabhu Sravani and Keerthana’s Dhandakam. Sri Rama Rajyam is a masterpiece; totally befitting the expectations from the formidable Bapu-Raja combination!
source: http://itwofs.com/milliblog/2011/08/...ugu-ilayaraja/
irir123,
You have hit the nail on the head. As Plum and I never tire pointing out, whenever Raja does work in another language, he casually brings in the whole culture of that land into his music. I still can't figure out how he does that but he does. Very Telugu-ish album this. Even the small folk songs have a typical Andhra feel. Shweta has done a fine job getting that accent right. I am quite impressed.
buggle: My feeling is that commercially the movie will do well. Two reasons, one, there is void when it comes to this type movies. What was once staple is now novelty!! Second, traditionally well made mythologies have done well in the past in Andhra. 'Annamayya', 'Bhakta Ramdas' have been decent success. So I guess this movie will also do well. But then, predicting the success or failure of a film is the most hazardous occupation :)
Suresh, I think thala raatha being what it is, this movie will flop and word will spread like a forest fire through the TeF industry that nonbody's better for such movies than MM Keeravani :)
I had one such type argue earnestly to me that Samarasimha Reddy had much better BGM than Andhappuram, and "I don't know why they went to IR for a rayalaseema gadda movie" :lol:
With short WCM passages between indian style singing, synth drums + acoustic mridhangam+table (or probably sampled sounds) .. this album definitely has a special "sound" to it. IR has managed to get a recording out that is devotional, yet that does sound fresh and not too "too traditional".
(Re: Shreya's bhaavam - need to get that young woman some bhakthi bhaavam .. that the south is so famous far.. otherwise ..with this album we could make her a "naturalized" south indian citizen :-) .
Agree with itwofs .. (I dont usually with this dude :-) ) .. Tippu has graduated .. IR likes him and persevered with him)
KEttAchu. Well, nice. But lacks the masala - which Telugu audience needs even in mythos - to make it a commercial giant of a success.
Lacks the pure classicism(preferrably mildly meh-ly orchestrate thyagaraja krithis) that will fetch a national award
But what the heck - this one's for us, the fans. This is what I want, at least.
Shreya pAppavai koRai solla mudiyala. nallA dhAnE pAdi irukku?
appuRam, "kaNNil pArvai"-la illAdha emotionA, nuance-A? pAppA "eeram thadhumbum"-nu solRachE, namma kaNNula eeram thadhumbalainA, namma manushanE illai, amAm!
Here is my take on 'Ramarajyam'. Reviewing song by song will make it lengthy and also bore people. So will do a short take and then ramble on on related things :)
'Jagadanandakaraka', 'Sreerama Lera', 'Gaali Ningi Neeru', 'Kalaya Nijama' and 'Seetha Seemantham' are bound to impress everyone. 'Ramayanamu' is probably the best song of the album. Superb Sindhu Bhairavi and Chitra nails the emotion perfectly. The other songs are good as well but who will like which one and will not like which one, I cannot say. All in all, Raja has not given anyone any reason to complain.
Raja, as far as this movie is concerned, seems to have realized what Bapu expected from him. The idea seems to be to give what the listeners will perceive as songs for a mythological movie. Tunes which must be soothing, raga based and with classical instrumentation. Raja does that to most extent. He gives instantly catchy tunes, lot of raga based tunes and uses classical instruments like mridangam, tabla and veena (may not be all the while though.) In other words, one of the recent albums of Raja were the expectation wrt to music has perfectly matched what was delivered. This is a surprise for me, because for the last couple of years, with the possible exception of 'Sengaathu Bhoomiyile', what I expected from a particular film were never in sync with what was actually delivered. Of course what was delivered was far better than what I expected but there was a mismatch. To give some examples, people expected some old style songs for 'Jaganmohini' but he delivered a knockout of a rock album, when people expected another 'Guru' he delivered a very different 'Pazhassi Raja', who expected the youthful exuberance of 'Paa'? Or that he would knock us out this way with 'Thandavakone'? So in a way 'Sreeramarajyam' is different in the sense Raja just decided that he will deliver what is expected by the people. That is one reason everyone is quite happy with 'Sreeramarajyam'. Our expectations have been fulfilled. And to be the contrarian, that is why I am a disappointed, though I am happy with all the songs. (Confusing people is what I do well :lol: )
To be honest I was not sure how 'Sreeramarajyam' would turn out to be basically because Raja's bhakthi albums on Ayyappa, Ramana Maharishi and on Saibaba were definitely not in tune with what people expected from a bhakthi album. They were bhakthi as seen by Raja and not as perceived by most people. So the expectations never matched. I love each of those albums because I like Raja's approach to the subject but I know for sure for the general public, they find it better to listen to lot of L R Eshwari and others. So whether Raja will take his own route or will follow the standard path I wasn't sure. He has followed the standard path and that has ensured a wider audience now. Everyone is liking this album without reservation. That is good.
Even though synth and other modern instruments are used, Raja hides them quite well. K had an interesting point that Raja was using store bought loops in one song. (Raja fans must now think of newer factors to accuse other MDs :lol:) In this song too, Raja immediately hooks you to the tune, SPB's singing helps, and you don't realize that a store bought rhythm loop is playing in the background. Also Raja very nicely uses some folk tunes. 'Rama Rama Rama ane Rama Mandiram' has a nice charm of its own. Overall, Raja manages to get the Telugu touch completely in this album. Knowing Raja, this is something expected. The virutham in Mohanam by SPB, the 'rama rama', the 'Devulle Mechina' rhythmic pattern, everything is close to the Telugu people's heart. So getting their approval is not going to be hard. Going by all reports people seem to quite happy with the songs.
This album interests me more for the alternate possibilities. First: Jonnavidhula's lyrics are nice but not something to shout about. He is done the needed job. What if Veturi was alive and was given the job. Or what if Bapu had asked Sirivennela to pen it. What would have been the quality of lyrics? Would it have been a level higher? We don't know. The second possibility is: how would the tunes have turned out had Raja been asked to tune first and then lyrics were written? That to me, is an interesting possibility. An unfettered Raja can surprise you by what he can do. That is why I see beauty in this album, melody in this album, freshness in this album but not surprise. Having said that I must say that this album is mint fresh. Everything sounds so fresh, the tune, the voices, the orchestration. That is one more reason why people are liking this album in large numbers.
The singer selection is good as well. SPB back with Raja has made many people happy and for good reason. SPB does deliver a good punch. (I felt that towards the end of 'gali ningi neeru' he became a bit over dramatic but we can forgive that .) Chitra as usual is rock solid. Shreya is sweet as ever though in the 'Seetha Seemanthamu' songs she has a few problems wrt pronunciation. I personally felt that song should have gone to Shweta, who does a wonderful job in the other songs. Sriram does a neat job in ' Sreerama Lera', while Tippu surprises everyone with a superb rendition of 'kalaya nijama'. Everyone associated with this album would be proud of their participation.
Overall a mint fresh, soothing, melody based album, which has everyone rooting for it.
Suresh ji, what a fantastic write up, sir! :clap: You might of not reviewed the album but the things you have brought fourth really do sum up how I feel, I cannot speak for others. Particular things you mentioned were well said like, “Raja has not given anyone any reason to complain.”
Thanks for sharing thoughts on other outcomes of the album due to change in lyricsts, tune, instrumentation.. Raaja saab does surprise once again and the album has a mint fresh was well put by you.
As you said the synth is subtle and hides away so that the album can be more in line with the expectations of a film of this genre. For me Jagadhananda completely overshadows the album and this one track is also in tough competition as it has surpassed the amount of times I heard the album, Thandavakone as a whole.
My take on Jagadhananda.
Although I’m a follower of the Telugu film songs I am completely oblivious of the language but this song has this charisma which strikes you on the first hearing. Usually what happens is when you hear a song repeatedly, give or take a few days it wears out? Although it has been two days, it is still early to say how the song will perform in the test of time. But my gut instinct says it has already passed the test of time with flying colours. IR has packed the whole world in this composition. He’s got harps and trumpets flourishing in the prelude, along with synths and bass smoothly intertwined with humming in the pallavi and other parts of the song. Making religious songs is not easy as it does somehow narrows the number of listeners but here this song has the appeal to entice everyone and IR here has outdone himself. The folk flute touch in the second interlude which is completely on the other of spectrum compared to the WCM prelude is not really conventional for bhakti sangeet, but this is where Raaja engages into his out of the box thinking and fires on all cylinders.
Thanks Sunil. 'Jagadananda Kaaraka' and 'Sreerama Lera' have the potential of immediately impressing the listener.
Currently loving the mood swings in 'Sitarama Charita....'. Part between 3.30 and 4.15 reminded me of 'Kannil Paarvai...', though.
Superb Sureshji. Excellent gist of the whole soundtrack, but with every minute and needed details. Yes telugu audience should be very happy. I just listened to one or two songs, but could not listen to it thoroughly due to various commitments. I was very curious about how the lyrics has come. It seems ok, not great. Surely as you suggested if we could get those legends back, it would have sounded more authentic. But tuning songs to this much depth and in various raagas for already written lyrics is not an easy achievement. Should get some time next week to listen to this masterpiece.
Nice to see Karthik's comments on Sri Rama Rajyam.
Sunil, excellently put your thoughts on Jagadananda kaaraka. One song which does not take any time to flow inside your heart, just one listen is enough. I remember Raja saying (I think in MOP Vaishnav college felicitation), that a song is loved/liked by you is because of a simple reason that it is already inside you. Just that I am reminding you. Golden words and how true. This is one such song!
Sri Rama Rajyam - Just to see SPB & Chitra in the album credits of a Raaja film is in itself a sweet surprise. Rest is icing on the cake. SRR, as my namesake has so precisely laid out in his review before, didn't quite hit me like the broodingly surreal "Thandavakkone" did, but nevertheless, looks guaranteed to become the big commercial success that has been eluding Raaja for quite sometime now. Fantastic vocals right down to Shwetha; 'Jagadanandha Karaka' and 'Sree Rama Lera' clearly my highlights, this is Raaja at his commercial best where the whole production is so watertight, not one note out of place. I only hope that the God on whom this movie is premised on, compensates for the scary casting (Balayya & Nayan! Bapuji, what were you thinking?) and the not so great luck for mythologicals of late.
But "Thandavakkone" is clearly the thunderbolt from the blue. I can't understand Raaja's untiring effort to makeover Madhu B into a versatile, genre-hopping singer, but since I've kind of now begun to expect the album's weakest song from him, 'Kula Deivam' didn't deviate from the pattern. I find 'Aanukkulley' trite and predictable, given its pedestrian lyrics, boring rhythms, saved only by Haricharan's presence. But what a triple whammy Raaja delivers with 'Kattu Vazhi', 'Ennappol/Unnappol' and 'Neeral Udal Kazhuvi'! Outstanding singing (surely must rank among Tippu, Sriram P and Manickavinayagam's top 3), lyrics and orchestration combine to give us three songs that are so rich with musical ideas, wannabe MDs can milk dozens of hits from each one of them. Raaja's grainy vocal texture during the plaintive "Shambo Siva Siva", the way the charanams effortlessly glide towards the pallavi in these songs, the precision with which the soundscape has been designed to convey the mood and tenor of the film - even if the movie becomes yet another 'also-ran', this album is one for the serious film music lover's archives.
I know lot of people like us are aghast at Balayya taking up Rama's role but almost every Telugu friend of mine feels that if there is one person now who can do mythological characters, it has to be Balayya. So the public sentiment is not too bad when it comes to Balayya. Not sure how Nayan will be accepted. Lets wait and see.
Superbly put. Couldn't have said this better. For serious lovers of film music, 'Thandavakone' is by miles the best album of the year. Not just the 'Best Raja Album of the Year'.
While Madhu Balakrishnan is just not suitable for these high energy songs, I find that Raja has made Tippu crossover from these 'kuthu' songs to deliver some poignant numbers and he has risen to the occasion. His songs in 'Thandavakone' and "SreeRamaRajyam' are very ear grabbing and he has done a very good job, though his voice still lacks the consistency across the range. I hope Raja stops giving these high energy songs to Madhu B. Earlier he used to give such songs to Arunmozhi, who had an approach very similar to Madhu B when he was singing such songs. That is, he also sang without any emotion.
Not sure what inspired the man to conjure such an intense composition. Idhukkagave risk eduthu padam paakalaamnu thonudhu.
Neeraal udal and Kaatu vazhi make a deadly pair. The former being almost like a virutham to the latter.
KV,
Here is the very rough translation. I think the lyrics are by Raja. (He had earlier written a book of 'venba's. May it was picked up from that.)
First stanza:
Cleansing the body with water
And everyday, all three times, filling
our stomachs
is this lazy hill of a body
To wash away the obstacle of slush
you reached the feet of the Lord
Wanting to embrace
the light against your heart
Second Stanza:
Tied together tightly
are these bones of ours
upon which is draped
the stinking skin
Slushly with blood and water
is my body
in which only your memory
is like a beautiful lotus
Third stanza:
Clinging to the umbilical cord
we take on this birth
When did it start and
when will it end
Who here can explain?
On the unpaved path
unsaid goes our life
this is wrong
Fourth Stanza:
In our ship of sin
we started somewhere
Our journey broken by the
bonds of 'samsara'
The hot breeze is
chasing us
Give us your protection
:clap: Lovely, Sureshji. Mikka nandri.
The lyrics are by both Raaja and Muthulingam......
i just re-hashed and revised some of Suresh's nice translation work (doing the first version is tough, subsequent versions are easy -- i would welcome further changes to this version 2.0 of translation)
First stanza:
நீரால் உடல்கழுவி நித்தம்நித மூவேளை
சோறால் குடல்கழுவும் சோம்ப பிறவிமலை
சேறாம் இடர்கழுவ சேர்ந்தாயே அண்ணலடி
மாறாச் சுடர் தழுவவே.
You, lazy incarnate,
who washes the body, with water,
and washes your intestine, thrice a day, with food,
Thou have now reached the feet of the Lord,
to wash away the stumbling block (the body),
which had so far prevented you,
from embracing the unchanging light within your heart !
Second Stanza:
நாறென வெள்லெலும்பை நன்கிணைத்து கட்டிவைத்து
நாறிடும் மூட்டைச் சதையொட்டி நீர்க்குருதிச்
சேரனதான எண்சான் உடம்பில் உன் நினைவே
சீருரும் தாமரை யாம்.
strung well together by the white boney strings,
is the stinking sac of flesh, all bundled,
and mixed with blood and water,
as the eight jaan (length) body,
This (body) can boast of only one thing......
the memory on the lord,
shining within as the graceful beautiful lotus
Third stanza:
தொப்புள் கொடிபுடிச்சி தொத்திவந்த இப்பிறப்பு
எப்ப தொடக்கியதோ எப்போ தடங்கிடுமோ
செப்பவே யாரிருக்கா செப்பனிடா பாதையிலே
செப்பாமே போகுதே தப்பு.
Clinging on to the umbilical cord,
has this birth emerged,
Where & when did it all start and
when will it all end
Who can explain?
On the unpaved rotten path,
this wrongful event (of birth & death)
is continuing unabated....
Fourth Stanza:
எம்பாவக் கப்பலில் எங்கோ புறப்பட்டோம்
சம்சாரக் கடலில் சருகாய் இடர்ப்பட்டோம்
வெம்பினை காத்து வெரட்டுதே எம்மையே
தம்மபயம் எந்தருளை தா.
On this ship of sin (this body),
we started somewhere,
we are struggling on our journey,
totally bound,
by the bonds of this 'samsaric life',
The heat of our sinful journey is
chasing us,
Lord, please shower us with your saving grace !!
Lovely Vel. Earlier I had a problem getting the meaning of a few words, after your translation I get it. Thanks.
Suresh, if I may ask, wherefrom you learnt so much of Tamizh? nAnlAm thakkaNUndu telungu therinji vechukittu adhai ivLO advertise paNNikkaREn. nInga silentA tamizhla veNbA ellAm assault-A translate paNdrInga?
/Digg
Plum,
I think it is pure interest, that is all. I still have problems with writing in Tamizh, mainly spelling and grammar. I love the language and also love the challenge of translation. BTW, I did read Tamil as a language from 3rd to 10th Standard :) My interest in Tamil literature blossomed quite late.
BTW, I did try and translate some poems of 'Kurunthogai'. I will confess that I had to read all of them twice, with the relevant Tamil pozhippurai and also take the help of Tamil to ENglish dictionary. Stopped after 60 poems due to lack of time. You can read it at your leisure here: http://sites.google.com/site/sureshtranslation/
by casual, i meant the nadai... mudhal rendum oru pazhuttha kavignan ezhudhuna maadhiri irukku... நன்கிணைத்து கட்டிவைத்து, சீருரும் தாமரை யாம், etc.,
matra rendulayum konjam graamatthu kavignanoda nadai... like தொப்புள் கொடிபுடிச்சி, தொத்திவந்த, எப்ப, etc.,
if only u can understand wat i mean.
mattha rendum oru gramatthu kavignanoda nadai'yila irukka...
+1. For example the thoppuL kodi pudichu (should have been pidiththu to be consistent with the first 2 stanzas). And the eppa thodangiyadhO does not sit well at all.
Kaattu vazhi is the clear winner in the album. Bloody brilliant. Though Mavicka V had sung neeral udal kazhuvi well, its a Raja song. He should have sung it. Enna Pol / Unnai Pol are sort of OK, the other two are forgettable.
இப்படி விமர்சனம் செய்வதால் "கூட்டுருவாக்கம்" என்ற முயற்சியின் பலனே தெரியாமல் போய்விடுகிறது. ராஜா குரலில் நன்றாகவே இருக்கும். அதே வேளையில் மற்ற தேர்ந்த பாடகர்கள் செய்தாலும் நன்றாகவே இருக்கும் என்பது என் தாழ்மையான கருத்து. அம்மா என்றழைக்காத உயிரில்லையே பாடல் வசதியாக ராஜாவே பாடி முடித்திருக்க வேண்டிய இன்னொரு அம்மா பாடல். ஆனால் யேசுதாஸ் பாடிய வடிவமும் அழகா இருந்தது. மா.விநாயகம் சிறந்த பாடகர். தமிழை கணீரென்ற குரலில் உச்சஸ்தாயில் பாடக் கூடிய பாடகர். நீரால் உடல் கழுவி பாடலின் உணர்வை சரிவர வெளிப்படுத்தியிருக்கிறார். இந்தப் பாடலை இவர் பாடியிருக்கலாம் என்ற பார்வை ஒரு முற்றுப்புள்ளியில் நிற்கவே நிற்காது. கமா வைத்தால் போல, போய்க்கொண்டே இருக்கும்.
I am fully with Venki here. I can't think of any other voice doing justice to this song after hearing Manicka Vinayagam. The way he has controlled the expression, the way he was able to hit the right registers, the overall feel he could get to the song are terrific. Some voices have an unique quality. Manicka V's voice is one of them. Not the best voice around and in other songs I have heard him struggle, but in this song his voice fits to a 'T'. Absolutely no complaints and should appreciate Raja for this selection.
Shri Rama Rajyam - ok ok got it now - in the song "seetharama charithram", 45 seconds before "yendhuku ee parikshaa", the segment strongly resembles "yemmayey aanda ...immaiyey ennai chikkene pidithu.. engezundhu aruluvadhiniyey" from "umbarkatkarasey" from TIS !!
anyone else noticed the same ?
this man has got some creative juice in him to use two different melodic motifs from the same source but for a shaivite song as well as a vaishnavite song!
the next one : "devulle mechindi" is a briliant derivative of "vetri vetri yendru sollum koyil mani" from Kattumarakkaran - the part "inthantha shukha shanthi" is a close cousin of "ninaikAdha pirivum
nilaikAmal vilagum " and the following part is a close cousin of "idhu nedungala payanam" from vetri vetri!
IR's music is like solving SUDOKU puzzles indeed!
Goddess Saraswathi playing veena, Lord Ganesha playing mridangam, Narada maharishi and Saraswathi singing in praise of Lord Rama and Goddess Sita with floral tributes from all over heaven and earth, when HE ascends the soorya vamsha throne of great Ayodhya for Pattabishekam. People of Ayodhya join the chant with Rishis of four vedas, devas, deva rishis to sing this Deiveega gaanam. The heaven and the whole world is filled with happiness that they have never seen.
Just when you are praying/flowering praise on Lord Rama, you don't feel he is God, he our charming, innocent child with whom you can play, scold, sing, dance, be with him all the time. That too now he has returned to our own town, just imagine how happy we should feel. It will be infinite. Just the beautiful and divine word 'Rama' is so powerful that everyone surrenders everything in their life and humbles to HIS feet. What beautiful lines!. Rama naamame amrutham. Rama mantrame taarakam. All this beautiful feeling has been excellently and accurately brought out by our by beloved Maestro, Jonnavithula, SPB and Shreya. Maestro's immaculate and unadulterated tune and orchestration brings that ecstatic love towards Rama. Thalaivar's another forte!
Raama mantrame taarakam bhava shakti mukti sandhaayakam
Raama naamame amrutram sri raama keerthanam sukrutham
Ee Raama chandrude loka rakshayani antharathma panike (what a finish!)
This song should be consumed and enjoyed as a whole without picking in parts. Nothing more to say about this song, except that this song and the entire soundtrack has already substituted the suprabhatam at our home.
Cracking start! Rajaness is next to Godliness. :notworthy:
While everyone is enamored with SPB and Shreya in 'Sreeramarajyam' (and rightly so) I am pleased with Tippu and Shweta. Tippu does a terrific job of 'Kalaya Nijama'. Maybe because he is in awe of Raja, he keeps well within the limits and ensures he has the grip over the emotion unlike SPB who spills it too much in his sad song. The other singer I was very impressed with was Sujatha's daughter, Shweta. In both 'Rama Rama Anu Premamandiram' and 'Idi Pattabiramuni' she gets the inflection right. She brings in the right amount of the folk touch to the song. Compared to that, though Shreya is quite melodious in 'Seetha Seemanthamu' she struggles to get the diction right. Ofcourse, the winner, from the singing point of view, is clearly Chitra. 'Ramayanamu' is probably the underrated of the songs but in my opinion the best song of the album. What a SindhuBhairavi Raja delivers. And Chitra understands Raja's mind perfectly, as if she were his elder daughter, and delivers the right amount of emotion in every line. Her diction of course is flawless. I am sure I will be listening to this song for many a years to come. As one of my friends remarked on twitter, when Chitra goes, 'emamiyya raamaiyya' it is goosebumps stuff.
thanks suresh, you did all the groundwork....i just built on it....
I just noticed three changes...
a) i think it is சோம்ப பிறவி மல not சோம்ப பிறவி மலை....we need to club the ""saeraam"" from next line to the "mala"...மல சேறாம் ...if that is the case, literally that means "this body is a dirty incarnation"
b) a more relevant meaning to செப்பாமே போகுதே தப்பு......தப்பு is the instrument played during death processions...செப்பாமே poguthae....means without telling the truth the instrument is merely playing the music of death....the poet laments that the musical instrument is playing loud, but is not telling the actual truth behind the birth and death cycle....
c) வெம்பினை காத்து வெரட்டுதே எம்மையே - no, i think it is வெம்பினை காத்து கலங்குதே இம்மையே ....means i am boiling, struggling & suffering to save myself in this birth
நீரால் உடல்கழுவி நித்தம்நித மூவேளை...translation
First stanza:
நீரால் உடல்கழுவி நித்தம்நித மூவேளை
சோறால் குடல்கழுவும் சோம்ப பிறவி மல
சேறாம் இடர்கழுவ சேர்ந்தாயே அண்ணலடி
மாறாச் சுடர் தழுவவே.
meaning with quotes
You, lazy dirty incarnate (சோம்ப பிறவி),
who washes the body, with water (நீரால் உடல்கழுவி),
and washes your intestine, thrice a day, with food (நித்தம்நித மூவேளை
சோறால் குடல்கழுவும்),
Thou have now reached the feet of the Lord(சேர்ந்தாயே அண்ணலடி),
to wash away the stumbling block (the body - மல சேறாம் இடர்),
to embrace the unchanging light within your heart (மாறாச் சுடர் தழுவவே) !
Second Stanza:
நாறென வெள்லெலும்பை நன்கிணைத்து கட்டிவைத்து
நாறிடும் மூட்டைச் சதையொட்டி நீர்க்குருதிச்
சேரனதான எண்சான் உடம்பில் உன் நினைவே
சீருரும் தாமரை யாம்.
meaning with quotes
strung well together by the white boney strings (நாறென வெள்லெலும்பை நன்கிணைத்து கட்டிவைத்து),
packed is the stinking sac of flesh,
mixed with blood and water, all bundled, (நாறிடும் மூட்டைச் சதையொட்டி நீர்க்குருதிச்)
as the eight jaan (length) body, (சேரனதான எண்சான் உடம்பில்)
This (body) can boast of only one thing......
the memory on the lord,
shining within as the graceful beautiful lotus (உன் நினைவே
சீருரும் தாமரை யாம்.)
Third stanza:
தொப்புள் கொடிபுடிச்சி தொத்திவந்த இப்பிறப்பு
எப்ப தொடக்கியதோ எப்போ தடங்கிடுமோ
செப்பவே யாரிருக்கா செப்பனிடா பாதையிலே
செப்பாமே போகுதே தப்பு.
meaning with quotes
Clinging on to the umbilical cord,
has this birth emerged,(தொப்புள் கொடிபுடிச்சி தொத்திவந்த இப்பிறப்பு)
Where & when did it all start and
when will it all end (எப்ப தொடக்கியதோ எப்போ தடங்கிடுமோ)
Who can explain? செப்பவே யாரிருக்கா
On the unpaved rotten path, செப்பனிடா பாதையிலே
this wrongful event (of birth & death)
is continuing unabated....
the drum playing the death music ,
is playing on & on, without sharing us this secret of
life and death.....(செப்பாமே போகுதே தப்பு)
Fourth Stanza:
எம்பாவக் கப்பலில் எங்கோ புறப்பட்டோம்
சம்சாரக் கடலில் சருகாய் இடர்ப்பட்டோம்
வெம்பினை காத்து கலங்குதே இம்மையே
தம்மபயம் எந்தருளை தா.
meaning with quotes
On this ship of sin (this body),
we started somewhere, (எம்பாவக் கப்பலில் எங்கோ புறப்பட்டோம்)
we are struggling on our journey,
totally bound,
by the bonds of this 'samsaric life', (சம்சாரக் கடலில் சருகாய் இடர்ப்பட்டோம்)
we are boiling, struggling & suffering
to save ourselves in this birth, (வெம்பினை காத்து கலங்குதே இம்மையே)
Lord, please shower us with your saving grace !! (தம்மபயம் எந்தருளை தா).
Sri Rama Rajyam
Instant nit
Veteran director Bapu’s recent films were not so successful at Box-office, so when Sri Ramarajyam was announced, none in trade circles have shown interest. Post the audio launch of the movie, Sri Ramarajyam has suddenly become hot among the trade circles. Reason is simple: the songs are instant hit. Maestro Ilayaraja's soothing and mellifluous tunes for mythological movie, Sri Ramarajyam, are being liked by everyone. Ilayaraja's songs have helped the movie get huge publicity and raised expectations on the movie.
Out of the 14 songs (including bit songs), 5 songs from album have become instant hits: 1. Jagadananda Kaaraka 2. Sita Simantham 3. Evadunnadu 4. Kalaya Nijama 5.Gaali Ningi Neeru
When contacted, Aditya Music, that is marketing the audio CDs, informed us that audio sales are fantastic. “In the recent times, we are witnessing huge demand for audio CDs for this film alone,” Aditya Music representative told us.
SRI RAMA RAJYAM CREATING RECORDS IN AUDIO CD SALES
BTW, as Someone said in twitter SRR is NinaithalE Inikkum for Raaja (in telugu)?