Saamakozhi Yei Koovuthamma - Ponnu Oorukku Puthusu
This film though not a big hit those days but most talked about film and had a big history in my life. When we were kids (including my cousins), my parents, chithi almost all my mother side relatives went to this film leaving us with our grandparents, stating it's an 'A' movie. We don't know what is 'A' but just that letter caused some embarrassment but also convincing enough for us not to see that movie. Till now I haven't watched this film, so good you know :smile: Most talked about film that time especially for the songs and all songs were by Raja except a solo by SPS.
The song needs a deep analysis and research, as it has numerous dimensions, I am not qualified, but just gives a pleasure in writing by random thoughts. I heard Ushaji's famous analogy about elephant and blind men and raja's music, it works perfectly for this song. Even when we finished with our perspective another new one comes through, just like we keep digging his treasures daily unending. Just putting my thoughts, but will not be complete.
The song starts with a beautiful mood of 'mayakkam' or half sleep mood with the help of lazy violins. But bass guitar starts the proceeding right from first note. It's beautiful to hear the counterpoint right at the prelude between synth and guitar followed by synth-based rooster call followed by that single beautiful guitar chord. We have so much history behind the crowing of rooster. Again as the title and implicit 'Nadu' Saamakozhi, this is not the call at the break of the dawn and not the call to register it's territory, but this call is in the middle of the night and it's a call for romance and desire. The lyrics exactly tell us that. Just this prelude is enough to bring the mood and location of the song. Rest of the song says how Maestro enhances the mood. I used to listen to that bouncy guitar which comes just when SPS sings 'Saamakozhi'. Very gentle, but yet so powerful in bringing the erotic mood.
The first interlude, solo violin will tear our heart strings, followed by WCM violin concerto finishes by a bell sound. The violins has a touch of melancholiness.
The charanam is very interesting and the most loved part of the song. Hear how Maestro uses the bell sound to perfection at the end of every word and not just every line. That again gives enormous strength to the overall folk structure. That break at each word though sounds discontinuous, the bell sound sort of connects every word beautifully just like a stone between gold in a jewel/necklace. Maestro intentionally tuned this way to give room for ornamentation. This is one of the most beautiful place in the song. Again, another superb innovation in the bell sound is, it's just a single knock everytime, but when SPS sings 'Mohathile', how the sound progresses, like some perl fell on the floor with some gorgeous sounds (muthu chitharal). I can't express this in english, not accommodating. :notworthy:
Here comes the most awaited second interlude. Flute though somewhat resembles the senthazham poovil flute, just invokes such a gentle mood. Again there is nice touch and go play between guitar and synth bell sound, which closely establishes the actual play going on. It agains ends in a bell sound exactly when Sudhakar and Saritha hit their heads in love. The third interlude has some amazing counterpoints first between violins and synthesizer, and second between guitar and synthesizer. But not even a split second you get distracted by all these western techniques, it's all combined for an all-in-all folk treat. The percussion bongo rhythm gives the added folk flavor.
This song has unusual imagination and innovation (as always) throughout, but worth pointing out.
This is a perfect folk song backed up by western instruments and WCM techniques including counterpoint, though not seen unless watched keenly. Without bass guitar? no chance.
Raja comes to sing only from the second charanam, that too only from second line of second charanam and till the end, I have not seen many songs like this or this is the only song.
This one has one of the shortest interludes those days, despite having three interludes.
Only the first 'Saamakozhi' has 'Yen' following it, all others has only 'Yei'. Very interesting.
Normally Raja uses fillers at the end of every line, but here he uses after every word in charanam, sounds beautiful.
Unusual and short ending just with Samakozhi yei koovuthamma.
Both S P Shailaja and Raja excelled in singing. Raja even though enters almost at the interval, he carries on, bringing some excellent adaptation and huskiness required for the mood. SPS brings that domination as the lyric and the situation demands excellently. One of the best Raja duets of all time. Even without watching you can clearly hear the SPS domination over Raja, but that is intentional. Just curious to know the raaga of this song, is it the same 'bouli' as Senthaazham Poovil? I think the raagam used in the song is very apt for the time (past midnight/dawn). Raagams like bhoopalam, bouli will be mostly used for this time (but for different purpose :smile:), but bringing such a fantastic and different mood out of this ragas is purely Raja's magic. I haven't listened such a beautiful folk composition in long time.
Eventhough the mood is erotic, I have cried so many times hearing this composition and still crying as I am hearing this one. This is also one of the reason I don't watch this song as all the imagination I had created on this song will be distracted. Such a great earthy and heart-felt folk song which again takes us to the village, people, not just that, I am not shy in telling it again. The innocence in the song always captures me completely and it will take this whole night and beyond to come out of this. I can never get such a feeling in any of the folk songs composed by others. May Raja be with us for many many years to come to make our days worthy of living!
http://www.youtube.com/watch?v=M7h6g6Q8Xcg
http://www.youtube.com/watch?v=6ftz26vJtDc
http://www.thiraipaadal.com/album.ph...R00500&lang=en