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!
App,
Engenthu sir pidikkireenga intha valuable information. Wow! :clap: Still there are secrets about the song, now it is not Jency. But the voice sounded like Jency. That's a great valuable news and all credit goes to Sarala ji. Thanks. I agree the authenticity Raj mentions in BR blog. Beautifully explained. Especially I love the bell sounds of bullock carts. That is enough to take you to our respective villages. Master of mood!
Lovely posts V_S on Thottam Konda Raasave & Unakkenathaane. Both are lovely, earthy songs sung with a raw feel that can be found only in IR's voice.
Aridharathai Poosikolla Asai Illayaraja, S. Janaki from Avathaaram.
The drainage of water from a bucket is heard and it seems like that water is being used to clean. Theres literally no instruments in this track, only a xylophone and keyboard riff and kanjira makes up for the mild percussion after the first interlude which paves way for a flute and pads to give an ambiance. The violin and synth flute at 3:49 can only be done by sir :)
Sunil,
Thanks for Aritharatha.. In this album. this is the song am inspired a lot.... lovely no..............
V_S, awesome posts! :2thumbsup:
Thanks for bringing up Unakkena thaane; very very soothing melody.
This is turning into some kinda 'golden phase' in this part of the hub, with App and you going great guns in writing about some lovely songs. Feels like one of those magical VVS-Dravid partnerships! Keep 'em coming folks! :thumbsup:
Ninaitha varam kettu
Just brilliant. :bow:
app, epdiyA indha pazhaya links ellAm pudikkaRInga. andha Blogical Conclusion comment "Raj"-ukkE maRandhurukkum :shock:
V_S, what app is to the Raja-SPB thread, you are to this thread(now, isnt that high praise?). oru series pOdunga nIngaLUm ingE...
BTW, that pause and the thevaram rottu vazhi is absolutely mesmerising as you observed. adhirasam sAptutkittE irukkaRachE, nadula "you think that's sweet, take this" apdinnu vAila jAngiri ootaRA mAdhiri...
BTW, sing these two in succession and tell me what you think
தேவாரம் ரோட்டு வழி தென்சென்னை போற வண்டி
போடி வழி போகும்முன்ன ரோடு ரொம்ப மோசமடா, ரோடு ரொம்ப மோசமடா
kathAzhang kAttu vazhi kaLLi patti rOttu vazhi
vandi katti pORa peNNE...
Plum, you hit the nail on the head. I was humming when I was writing that post, but somehow another song was coming often to my mind, it was in the tip of my tongue, but could not recollect the song, left it, but you rightly pointed out. Wow! You are the man! Excellent!
Thanks a lot rajkumarc, KV and Plum for your praises! I will try do my best!
Possibly same source... after all its quite a generic gramatthu isai passsage.
Manick Basha:Manickkam :: Raj:Plum ?
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
andha google-ai bendu nimirthi vElai vAngavum oru thiRamai vENumla?Quote:
நான் என்ன பெரிசா புடிக்கிறேன்?
எல்லாம் கூகிள் செய்யும் லீலைகள்
For instance, when I read your post on unakaena thaane, immediately I remembered "raj"'s comment and wanted to link it. But adhu apdiyE mindlEyE ninnu pOchu. That is the difference
VS,
Very Nice write up.. 2 naala TFM page enaku open agalai. ipodhan work aradhu..
padika mudinjadhu.. adharkaga indha mail. padichitu reply panren.........
Thanks for ur writings VS.
Nengga remba menmayana aalo? I never had this experience (since my hardcore-ism was only in 80s and early 90s), but yeah, there's a disturbing feeling this song gives. Not a bad one, it's a nice disturbing feeling. Anyway, great writeup. Engellam varamatten, vara vachutengga.
V_S, nice pick, interesting thoughts.
One little doubt - that bell sound that you refer to, it sounds more like a santoor to me (maybe keyboard generated).
Another educational post :clap:
Even though there are irregular comical sounds in the prelude the mood shifts to a pathos in the first interlude where it's a hard to decipher whether the instrument is a sarangi/ Ravanahatha/ violin. The beauty of sirs numbers is that notes that are apt for a particular instrument are experiment on various other one which pleasantly confuses the listener. The charanam is very interesting as VS said and yes KV's suggestion of a keyboardish santoor would be the best match.
Excellent, awesome write-up on sAmakkOzhi!
V_S, you've made the forum come alive & kicking!
I've mentioned many times about OrampO and the 'minor Ilayaraja maNamigu coffee bar' :-) The 'poNNu oorukku puthusu' movie was made fun of all the time by my cousin. He was so humorous and I used to laugh all the time listening to him.
I believe this movie was about a village rule of only XXX number of people inside a village and even when they get a visitor, someone has to spend the night outside the village to accommodate the number :lol:
I'm not sure whether this song happens when Sudhakar / Saritha gets to spend the night outside the village or something like that - must have been a hilarious movie. Yes, it was a commercial success.
They included the 'oru manjakkuruvi' song weeks after the release and advertised in the poster as 'another song has been added' :-) A movie that ran solely for songs / IR!
Thanks everyone for your kind words.
App, nice to read your thoughts as always about this song, film and your experience. Your mighty experience says it all.
Grouch, Yes it gives such a nice feeling (especially the charanam flow) listening to this song which automatically brings happy tears. It's amazing that still we can hear these songs with same amout of interest. Glad to see your post here and please bring back your 'hardcore IR fan' experience.
KV & Sunil, yes you are correct, that sound was from santoor. As I was writing in a flow I didn't mention it clearly, pardon my English.
Siru Ponmani - Kallukkul Eeram
Simple straight forward melody with most concentration on word power play. The song is mostly about how singers utilized the power play to maximum and won, without losing any wicket. I think Maestro created the tune for already written lyrics. Lyrics by Gangai Amaran (?) is the highlight of the song. There is no two thoughts about it. Beautiful lines!
சிறு பொன்மணி அசையும் அதில் தெறிக்கும் புது இசையும்
இரு கண்மணி பொன்னிமைகளில் தாள லயம்
விழியில் சுகம் பொழியும் இதழ் மொழியில் சுவை வழியும்
எழுதும் வரை எழுதும் இனி புலரும் பொழுதும்
தெளியாதது எண்ணம் கலையாதது வண்ணம்
அழியாதது அடங்காதது அணை மீறிடும் உள்ளம்
வழி தேடுது விழி வாடுது கிளி பாடுது உன் நினைவினில்
நதியும் முழு மதியும் இரு இதயம் தனில் பதியும்
ரதியும் அதின் பதியும் பெரும் சுகமே உதயம்
விதை ஊன்றிய நெஞ்சம் விளைவானது மஞ்சம்
கரை தேடுது கவி பாடுது கலந்தால் சுகம் மிஞ்சும்
உயிர் உன் வசம் உடல் என் வசம் சதிராடுது உன் நினைவுகள்
SJ and IR share top honors here. Main secret to success is the breath control. Raja and SJ has taken the song to new heights with amazing breath control and perfect pitch, yet sounds they did it very easily. But there are some anxious moments (atleast to me). The rhythm pattern sounds bit anxious, if it will lose to singers or the singers will lose to the rhythm pattern, so tight-knitted. So free flowing and we cannot afford to even breath. Again it's just not about breath control, the emotion conveyed is truly amazing. Playing just the rhythm pattern separately, followed by humming the tune will obviously will have a feeling that both will not go together, but inspite of those anxious moments, both go perfectly in sync. Even the singers might find difficult to sing for this rhythm pattern, always conscious about missing it, but no worries, leave the blame to Raja and he will take care of it. Such a beautiful rhythm innovation. Bass guitar and tabla both provide unique rhythm. The bass lines goes higher appropriately when SJ sings 'nidhamum thodarum kanavum ninaivum ithu maaraathu' and drops back when the first line is sung. Again how many bass lines?
Apart from lyrics and singing, we haven't explored Maestro pet territory, orchestration. Any song has to be blessed by Raja's orchestration without that it does not get it's jenma saphalyam. WCM Violin and flute galore in prelude with flute even substituting the vocals with kenjals and konjals. Gush violins with santoor finishes the prelude and gives a lead to SJ. First interlude starts with santoor and violins and mesmerizing flute followed by some unique sound from phaser (or flanger?). How he gets new sounds even those days with these limited and same instruments. Sound is not all new to him. After this, there is a sudden violin crescendo and veena giving an aural treat. He uses electric guitar like no one. Observe the guitar sounds just before second charanam, you will surely be blown away.
Eventhough it looks straight-forward, unlike railway track, he has to walk parallelly on more than 9 to 10 tracks. Right from getting the tune for lyrics, basing the tune on perfect CCM raagam (suddha dhanyasi?) and at the same time mixing it with folk, accommodating WCM over that without compromising it's technique, getting the right rhythm, bringing right emotion to the tune and most of all singing himself. Most of all bringing the nativity and soul thus keeping it close to everyone's heart. Is it not a tough job? And this is just one of the song out of 300's (may be) that year, all this might have happened in just minutes.
Any time we can listen this song. The song gives a serene feeling like traveling in a train non-stop gazing through the fields, trees, lakes, birds and landscapes, stretching our hands through the window, breathing and feeling the fresh air. A mind-blowing experience. I don't remember hearing this song in 1980, but only in late 80's I got introduced to this gem, may be because the film didn't go well. App should be knowing better about it's reach that time. But it stuck on to me very close from then on.
Siru Ponmani - Keep it straight, No udaans!
PS: Appreciate JV for using the song as it is in his Subramaniapuram. Even better picturized than original.
Great post, V_S!
There you got the answer :-)Quote:
Originally Posted by V_S
That Sashi & co chose to showcase this number as the "80's mileau" simply underlines the impact it had on youngsters then.
It had decent radio time - at par with koththa mallippoovE. However, teakkadais (that I was exposed to) had a preference to kotha mallippoovE. It looks like "Sashi's audio shop" loved siRu ponmaNi.
(My village teastaller had the vinyl and played all four songs in series everytime, yes, including that sweet eNNaththil EthO jil enRadhu).
Thanks App, I got it. Should be a great song among teenagers that time. Listening on vinyl should be a great experience. I need to see all the vinyls you saw right now. :smile:
Kann Malargalin Azhaipithazh - Thai Pongal. :notworthy:
This film again has some wonderful compositions starting with stunning Theertha karaithanile by KJY and Jency (humming) but solo again by Jency and Panivizhum Poo Nilave by MV and SPS, and beautiful folkish 'Thaane Sathiraadum' by SJ and BSS. But coming to our hero's song Kann Malargalin Azhaipithal, Raja is stepping into a new territory (only in singing). All his earlier songs were mostly folkish, and I think this is his first song in western (70's pop delight) and it's a challenge for Raja. See how he starts gracefully and compare with his earlier songs like Thottam Konda resale and Thennamarathula. Totally different singing and you will be stumped to hear this.
One of the graceful starts to one of the graceful duets, with guitar and violins. The call and response in prelude with violin and flute and then with keyboard and flute which gives an indication how the song will start. Very soothing melody and charanam is so lovely composed. The first interlude with violin-violin providing counter melody followed by santoor and flute and violin filling occasionally. We can surrender ourselves to this flute. First interlude ends with grand violins and whistle. Sameway second interlude starts with violin-violin counterpoint, but completely different than the first interlude. Then again the magical flute which ends with violin again.
There are many many lovable portions in the song.
Charanam starts gracefully and peaks up and just dips a little bit at the end giving eternal beauty. Please hear this line 'enkenna oru gaNamo ViLakangaL tharum manamo Namakena vizhithidum malargaLo manangaLo.
In second charanam when IR sings 'Thaamboola niram thaanae maamboovin iLameni', then SJ hums this sublime 'aaah' then starts 'Thaangadhu inimele thoongaadhu manam naaLai'. This humming does not come in first charanam only in second charanam. Also this is also one of the reason IR starts second charanam (but SJ starts the first charanam, so she does not get that chance and Raja does not sing that hum), as IR would have thought that SJ should get to hum which adds another level of sophistication to the song. I would dies for that humming!
Again at the end of song at this line when SJ sings 'ini varum iravugaL iLamayin kanavugaL thaan' Raja hums at the background to bring another rare counter melody.
Again the rhythm pattern in the song is amazing with typical raja's rhythm. The best part is when SJ starts first charanam 'naan aaLum manam poovo, nee naaLum thamizh paavo'. The beat pattern is 1 beat, a pause, followed by three consecutive beats, especially at 'Naan Aalum'. Then it follows the natural rhythm pattern. That first four beat jerk is absolutely stunning piece and used rewind to get enough of it. Great piece of work there. Feels like some start of bump in the ride and then cools off.
All the above beautiful portions in the song tells me a beautiful story. Right from prelude, tune in 1st and 2nd charanam and interludes have a beautiful pattern.
The prelude and interludes always starts with a violin which creates a tension, then the flute comes and eases the tension and then again violin at the end of ludes builds it once again giving the easiness to the start of the charanam. Charanam peaks and dips a little bit and gives away to interlude again to start building tension with violin.
Do you find a pattern there. Just like riding a bike uphill and then comes a downhill where we don't have to pedal and then comes uphill once again. Or even takes this pattern to kayaking on a river or a stream. Whenever any Raja song I listen we can draw many imaginary patterns and just enjoy that joyous trips. And our imagination has no boundary and remember this is also a kind of meditation which Raja takes us to. What else do we need?
http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00624
You have to watch this video to admire how this graceful song has been pictured by the director understanding every nuances of the song structure. That amazing 'Kaaka valippu dance' and wide open Radhika's mouth. Wow! it's a great treat to watch!
http://www.youtube.com/watch?v=EL2x2doWd6k
PS: I will be out of town next week, so this would be last song for this week, will continue a week after. Enjoy and have a nice weekend!
Crikey V_S :shock: eppadi....speechless...
V_S,
Aaah..aaah. You and app_eng are tearing it apart I say. Wonderful writeup. Swamped with work but still have to come and read both your columns. And the writing is so good that I _have_ to comment, even if it is to say that it is good !!! Wonderful stuff. Hope the mods ensure these threads are archived properly.
V_S, very enjoyable posts! Siru ponmani, in the vonly-hub-fossible lEngvEj, is vonly-IR-fossible. Like you said, the incorporation of several styles of music and that too so seamlessly, speaks for a true genius behind the scene. And yes, this portion in Subramanyapuram was created really beautifully, abdiye 80s ku pona oru peelingu.
I'm listening to Kann malargalin after a very long time... lovely swing this one's got to it.
Wonderful thread.. !!
Nice to see great collections of Raja.. will be building playlist from these list ;)
Thanks all for your contribution.
My 2 cents to start..
Munnam Seidha Thavam - Vanaja Girija
Unnai Edhirpaarthen - Vanaja Girija
Great post V_S on kaNmalarkaLin azhaippidhazh!
From the time I read your post, 'thamboola niRam thAnE mAmboovin iLa mEni' keeps playing in my mind non-stop! What a sweet melody there!
BTW, thaippongaL - who acted? Not many know (definitely not me)
Whether the film even got released? Not many know (not me, I heard the songs only in IOKS)
Still people talk about kaNmalarkaLin azhaippidhazh (either heaping praises like V_S or picking on the 'money-money' kind of beginning, crying 'copy-copy-thuLi-visham' kind of other extreme).
Such is the power of brand IR :thumbsup:
Ask me App. Ask me. It is the self-same Koodai thalayan Chakravarthi whom we discussed during Rishimoolam discussion few days back.
Aan azhagan – Nilatha venila
The song commences with WCM and this is pretty much reflected until the first interlude appears, :omg: the shift to rural sound just plays with your soul. The reverbed flute along with the synth pads used by Raaja sir is highly manipulative as well as being healing. When the flute bit does come we feel at home and even more so with the accompanying Shenai. The two bar percussion beat in the charanam takes the rurality feel to even more stretching emotional heights, where one feels in a nature trail trip. Before the second interlude, the pizzicato resurrects the WCM in the song, but what follows is a surprise packet –
PATTERN 1) the song starts on a WCM note with midi jumping from left to right ear (on headphones :bow: ) – 2) first interlude and charanam, visualising a village with a warm atmosphere. 3) ????
Yes the 2 interlude is the surprise packet where Raaja merges WCM and the rural sound flawlessly. The earthy orchestration is in many of sir’s songs but in this one the flute with the strings generates a progression chord which takes the song that special step higher.
Well, that’s the instrumentation over. The saying, “music directors keeps the best songs for themselves” has been doing rounds for ages and this feather in Raaja sir’s cap is certainly a big one as his singing is glaring with passion. Though the instrumentation is complex it is still pleasant on ears and evokes the deep satisfaction subtly and simply and this is because the melody of the song itself is the greater part. Raaja and janaki maa do more than justice to this song. Songs with this rural classiness are only understood by Raaja sir so therefore he puts himself to the mic.
Simply put this song can be termed as – Rural yet enchantingly classy
It had become quiet here because the life of this thread is absent and though I’m no match for V_S in writing about Raaja sir, here is a song that should surprise everyone. Enjoy!
http://www.thiraipaadal.com/tpplayer...0'&lang=en