25. ENGIRUNTHO AZHAIKKUM EN GEETHAM

[Manisekaran]

25. ENGIRUNTHO AZHAIKKUM EN GEETHAM
Here is a story of the taste for film music taking a diametrically opposite stand- thanks to the coming of Raja. We have seen that as afar as possible Raja had tried to avoid copying from earlier tunes. The one other area that Raja deliberately avoided was copying from Hindi tunes. When Raja came to the industry, there was a craze to copy Hindi tunes into Tamil songs. Raja was of the strong opinion that Tamil songs should have their separate natural identity or MAN VAASANAI. He felt there was much to be experimented in the Tamil songs. The Tamil language was already being adulterated with so much foreign words, and Raja had no control over that. But he was pretty confident that he could impose upon an area where he could dictate terms. He did this in composing the songs, many times on pure carnatic Ragas. As Raja was churing out excellent songs year in and year out, the cine song fans had more and more of the Tamil tunes to taste, and the craze for Hindi tunes were completely driven into oblivion. By the first few years, Hindi tunes were chased beyond the borders of Tamilnaadu. The Hindi craze was completely substituted with Raja’s tunes.


As far as possible the Mumbai producers and MDs had all along avoided copying tunes from Tamil songs. However, Raja’s influence was simply too tempting I suppose. After struggling hard to falling into the trap of Raja’s music, they finally succumbed and conceded total defeat. Hindi singers yearned to sing under Raja. Both Lata Mangeshkar and Asha Bhosle were desiring to sing under Raja’s music. It was Asha who sang first. One could remember SHENBAGAME SHENBAGAME by Asha in ENGA OOR PAATTUKKARAN. Then came Lata in ENGIRUNHTO AZHAIKKUM EN GEETHAM in EN JEEVAN PAADUTHU.

Raja’s music drew attention from the Hindi composers. Rakkamma Kaiyai Thattu was one song that was copied from Raja. One would remember BBC selected that song from among 166 countries under the heading of Song of the Planet. The news dated 21 November 2002 says “Tamil track heads song poll. A Tamil song is currently in the lead in a poll to find the most popular tune in the world, beating tracks by the Beatles, Queen and Led Zeppelin. The song, Rakkama Kaiya Thattu, features in Indian film Thalapathi, made in 1991. It was written by a film lyricist called Valee and the music composed by Ilayaraja. Its leading position indicates the fact that India has so far submitted the most votes in the BBC World Service poll on its website.”


Within a span of just 15 years the Hindi film industry copied Raja’s songs. Chinnathamby songs were also copied later.

In 1999 the Madhya Pradesh government conferred upon Raja the LATA MANGESHKAR AWARD for his achievement in music.

The great Hindi composer Naushad Ali, whom I met personally in the Mumbai Holiday Inn Hotel in December 2001 had many nice things to say about Raja. He had earlier made a public statement as follows: “ What this man has achieved is 100 times more than what any of us have achieved; only time can tell the quantum of his achievements”

Coming from Naushad Ali, which is the best accolade anyone can give on Raja. That was the barometer to gauge the superb musical mind of Raja. I consider that the best award Raja could have received from the Doyen of Hindi Film Music.

I personally consider ENGIRUNTHO AZHAIKKUM the best of all songs sung by northerners in Raja’s music. This may not be a landmark song, but I have marked it as one that, to my taste happens to be the very best, sung by northerners. The orchestration is most uplifting to the soul. Hindi songs, almost always used violins to enhance the melody. Here Raja too has used violin in most effective and moving way. But we do see raja excelling in the background and orchestration.

The talent quest winner tried her best to sing out this song. It was recorded, and finally omitted, as she was no close to Lata’s performance.

Listen to it: http://tfmpage.com/cgi-bin/song.pl?id=mani-25.1

I am sure readers have much to agree and disagree on this subject. Let us have the views.

[kiru]

Definitely, Lata was not in her prime, when she sang this song. But I think, one can HEAR her in the latter part of the charanams - the coolness in the top octaves. Similary, the ageing voice of Yesudass was used in pithamagan, again requiring singing at higher octaves. Vijay,Madhu have a long way to go in this area. No wonder a talent quest singer could not do justice to this song.

This song could be considered a best representative example of a melody that IR was doing those days. A tabla (almost looped, with no variations), a varying bass line, a harmony line that adds character to the song, like the bell like sound in this one and strings backing in the later/higher octave part of the charanams. Also, note, the stings backing for the last pallavi singing. Apparently, something ominous happens on screen when the song ends. Strings are better used for this, so they start out with the pallavi and end with the ominous note - raaja's BGM touch in the song itself.

[kiru]

I forgot the flute fills - flute is to raaja what a lead guitar is to a rock musician.

[Manisekaran]

PONNU OORUKKU PUDHUSU

Yesterday the ASTRO Satellite station showed Ponnu Oorukku Pudhusu. This time I watched the movie witha learning eye and a listening ear. The village was introduced as Pannaipuram. There were mention of Devaram and Thenee.

Could someone confirm if the village shown is the actual Pannaipuram where Raja comes from.

Thank you.

Manisekaran

[NOV]

I too watched the movie POP, paying attention to what you have mentioned abt the song.
Was also wondering whether one of the houses could be Ilayaraja's birthplace!

What great songs! Pity that they have sunk to obscurity now.

[SN23]

Some way or other i also think that some other native singer could have sung better. May be Latha could not sing with the actual meaning of the words. Moreover her voice did not suit that actress (sudha ?, who married director bharath of one terror movie acted by sarath babu, rajkumar and sunitha). Sudha looked very young to the aged voice of latha. Chitra could have been a better choice.

[M Madhanraj]

Mr Manisekaran

Since we are talking about Pannaipuram. I have some sweet memories about it and I thought let me share with you all. It was year 1985. I was doing my +1. IR & GA - they have celeberated Pavalar's Birthday in Pannaipuram. I heard that time 5 Acres of land was made very clean and stage was made in the center. It was open for all. Since my native was BODI (40 Minutes Bus travel to PP from Bodi), I got an opporunity to visit PP. You will not believe the MAD crowd (on IR's Music). It was like TEMPLE FESTIVAL. All the buses were re-routed to PP that evening. Almost 3 lakh people gathered in the ground and I was one among them. Just imagine it.
They have started the program, GA started with one of Thai Moogamibika's song. IR was singing 'IDHAYAM ORU KOIL' and GA & Chitra were singing 'ANDHA NILAVATHAAN KAIYILA PIDITCHANE'. MV was singing 'POONGATRU THIRUMBUMA...' It was just mesmorising. Unfortunately RAIN GOD came and disrupted after 13 songs. IR & Co. waited for sometime and whole crowd got very upset and they have disbursed from that place. On return we did not get BUS. We had to walk upto nearby THEVARAM town and got the bus in the Morning. Whole night we were in PP that day. It's still green in my heart.

Thanks for going thru' full text.

Regards

M Madhanraj

[thumburu]

"Engirundho" is another case of a classic song spoiled due to poor choice of singers. IR's version was only marginally better than the over aged Latha's. But the interludes were different in both versions and were great. But the most haunting song from the movie was SJ'S "ore murai un dharisanam". How I wish SJ had sung this also instead of Latha!!!

[gragavan]

When Raja came to the industry, there was a craze to copy Hindi tunes into Tamil songs. Raja was of the strong opinion that Tamil songs should have their separate natural identity or MAN VAASANAI. He felt there was much to be experimented in the Tamil songs. The Tamil language was already being adulterated with so much foreign words, and Raja had no control over that.

Hi Manisekaran, Nice writeup. But a small comment. I dont understand how many hindi tunes were used in tamil movies when Raja entered TFM. MSV, the predecessor of IR was strongly discouraging reusing hindi tunes even for the movies remade from hindi. He was bold enough to refuse the offer to score music for MGR's movie (Naalai Namathaey). I couldn't trace any song resued by KVM also. Proabably you can point out Veda, but those were handful of movies. Please clarify if I am wrong.

IR's entry in TFM is a good change and he leapt to bring new dimensions to TFM, and nobody can deny that. But I really dont understand the talk of TFM degrading at his entry. I dont think IR will enjoy such comments on him. I am surprised to read such comment in your writeup.

Even when IR was in his peak, so many hindi movies like Maine Pyar Kiya, Tezab, KMSKMT were quite popular and their songs too were appreciated by TFM fans. No need to mention that Hawa Hawa song. Whatever be the quality, those songs could penetrate fortress of the southern listener, which was sealed for Hindi songs in general. It doesnt mean that IR didnt do well. Similar thing could have happened in 70s also. In my opinion, when we write some great achievements like our "Raja Raja Thaan", we need to be unbiased. And it is not a good practise to make unfavourly statements on others to praise somebody. Sorry for the comment. In general, I could not digest you, the person with detail knowledge about TFM, writing such things.


Regards,
Ragavan

[Music4Ever]

On the other hand, MSV used a couple of Hindi numbers for his tamil songs. One was Irandu kaigal Naanganal in Tirisoolam which clearly reminds a number from the North Indian original movie. The second one was Sambo sivasambo in NinaithalE inikkum (from the hindi number Mehabooba mehabooba).

It is surprising that MSV discouraged using Hindi tunes.