Tamil songs la matum dhana...
wat about other languages.......
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Tamil songs la matum dhana...
wat about other languages.......
Well, since there request is for non-Thamizh songs - Here are two illustrations, and two of my favorite I might add. Each is representative of entirely different ideologies when it comes to sex in relationships.
KuLirAdunnu MAnaththu - Essentially go-with-the-flow. Sex is, at best, a nice consequence, an interesting interlude, in the multitude of events that constitute a functional relationship. And then everything - including the meter and melody of the song - go back to the regular rhythm of life.
OkatE AsA is however very much a male fantasy. Vamsy sets up the mood with overly lit hallways and suggestive wall accessories. The protagonist is dreaming of a woman who satisfies his every need, to the point where one wonders if he is looking for a mother or a spouse. Here, the sex is the entire 'point'. The song is of course equal parts comedic and playful until it finally gets to the point during the second interlude.
The technique utilised is the same and yet the emphasis is vastly different.
compli,
naan nenachen. Neenga solliteenga........
:shock:
Naalo chirukulatho
Yem Debba
deivamE :notworthy:Quote:
Originally Posted by complicateur
intha pAtta thAn thEdi kittu irunthEn since I saw this song accidently in a telugu channel 6 months back. Bala vazhga :)
Sivaraathiri ?!?
solliyachu..Quote:
Originally Posted by sakaLAKALAKAlaa Vallavar
Naan pooveduthu - Nanum oru Thozhilali
"Oru koottil chinna kokilam irandu" from Kolangal
very different type of song
Kozhi koovum nerathilae - Vanna vanna pookal
AgreedQuote:
Originally Posted by ananth222
aNNan pAlA garthig-ai pala nAtkaLAga kANavillai?
http://www.thiraipaadal.com/albums/ALBIRR00070.html
Hey mama from Azhagiya kanne.
true blue erotica...
One of the most romantically beautiful songs is 'Yem Debba Teesavura' from 'Ashwamedam'(telugu).
The orchestration, arrangement and the tune transport us to a surrealistic world.Janaki is at her best(and SPB of course!).
A melodious Dharmavathi shifts to Chakravagam in the charanams.
Please read this post where I have tried to describe 'Isaiyil Thodanguthamma'(another erotic number) and 'Yem Debba':
http://rajamanjari.blogspot.com/2009...nonpareil.html
nee paartha... is the ultimate erotica in HEY RAM.
The piano, humming, chanting, flute and the strings....sets the SLOW, SMOOTH mood.
(Ilayaraja did not pay attention to Asha B. She should be singing அகலாத நினைவு சொல்லும் நன்றி நன்றி .. NOT aganaadha)
http://www.oosai.com/oosai_plyr/playerWin.cfm?list=126
some days... like this morning,
joyous ilayaraaja is more special to me than yearning ilayaraaja with lust(ஆத்தாடி பாவாடை.....that bell sound is lust ) THIS ILAYARAJA STAYS IN MY BLOOD LONGER சுகமா ! :musicsmile:
the strings, guitar strumming, the flute and humming/chorus.... ever caressing LOVERBOY entices in ilamaiyenum poongkaatru....is joyous erotic ilayaraaja.
Prelude ding ding along with wind and the strings.. the பரவசம் he sets , I got it even today .
http://www.raaga.com/player4/?id=103...18043489073795
to bring out the 16yr old in me...
சோலை பூவில்......வெள்ளை ரோஜா
lilting tune and the strings... FOREVER LOVE BALA
http://www.youtube.com/watch?v=T3RxQPaY0d8
vinatha. :)
"etri vacha neruppinile" from Aalapiranthavan - the lyrics are bad but vintage IR melody
moham ennum - sindhu biavi
Carnatic singer in erotica...
This is Raaja....
nice no.
http://www.youtube.com/watch?v=FJp2KqnGg4w
"en uLLil engo" from "Rosaappu Ravikkaikaari" will find its pride of place as a timeless
classic among TFM lovers. As this was my last song heard, I thought of posting it in the
relevant thread, but then felt it more appropriate here .
"ManjaLai poosiya megangaLe
Malligai mullai maalaigaLe" - all metaphorically indicating her at the brink of springtime bloom with its fragrance all over her.
She desires to quench her longing that runs as a musical strain , a torment , deep down her heart, which she alone could hear. Unable to find solace in the arms of the man they chose for her, her husband , she is not sure even if the new friend could provide her the succor. Her vacillating mind is aptly brought out in the prelude "tun tun" strum , guitar lead , stream of violins and then the flute lead. The second bgm is particularly the handiwork of a genius . That grahabedham foretells her treading the road less travelled , breaking away from the shackles of fidelity in pursuit of pleasure. The deluge of sitar following that ,
depicting her unbridled emotional fervour, passion, that threatens to engulf her .
Raja opts for Dharmavathy for another erotica "meendum meendum vaa", but somehow this Dharmavathy with so many sublayers of intrigue and anticipation interwoven is more captivating than the act itself
there is 'ri' in the avarohanam in this song. so it is not suddha dhanyasi. it is a rare raga agnikopam.Quote:
Originally Posted by Bala (Karthik)
i wrote this in my blog 2 yrs back.
http://narayananswaminathan.blogspot...narration.html
//
you cud have heard raja talking abt s.d.burman. raja narrated how dada (sd) wud ask for details before composing a tune. the tune so composed will have all the details the director told for the situation.
u cud have even heard director mysskin talking abt raja asking for the details before composing a tune for nandlala. that is how great composers work. they can tell the entire story in a song with just music.
swathi muthyam - 'sippikul muthu' the story of the movie goes like this.
there is a simpleton in a village. he comes across a widow with a child. he cud not bear her pathetic situation. out of childlike love and sympathy he ties a marriage knot to her. surprised at this first, the woman slowly understands his love for her and makes a man out of him. the man narrates this story in flashback to his sons and daughter-in-laws after her demise.
in this movie, there is a song 'manasu mayangum'. this song comes when the woman accepts the simpleton, who is just like a grown up child, as her husband and they mingle.
the song first starts with a humming in high pitch, denoting the high of emotions. followed by a beautiful stream of swaras played in the veena in the raaga abheri, very apt for love, indicating the flow or harmones. then the song starts.
'manasu mayangum mouna geetham paadu' sung by the woman. here comes raja's genius. usually in love man makes the first move. the woman accepts it. this is universal. eventhough the woman has feelings towards the man she does not explicitly advance. it is the job of the man to make the first step. the rest will be taken care by the woman.
in this story, the man does not know anything. so the woman makes the first move, indicated by the first line sung by the woman. he follows suit. here also he sings the same line as the woman. that is, she teaches him, he learns.
vairamuthu also aptly understanding the situation, has written some beautiful lyrics. the teacher instructs the learner, 'idhazhil thodangu enakkul adangu, sugangal iru madangu'.
the first interlude, has violins, tavil , flute and veena. tavil used for auspicious beginning. the violins narrate the happenings ' so it happened u know'. then the flute and veena have some dialogues. denoting the words of lovers.
the charanam begins. 'maarbil undu panjanai, madigal rendum thalaiyanai' is sung in the madhya sthayee by both female and male voices. 'neeril neruppin vedhanai, anaithu konden thalaivanai' still each line is repeated by the male voice after female voice.slowly the song travels to higher notes, phrase by phrase, indicating lovemaking.
'idhayam mariyadho ellai meeriyadho' is still higher on the scale. 'pudhiya paadam, viraha dhagam' is sustained in the higher notes. 'bodhai yaeriadho' reaches the highest note in the range and is sung in a beautiful crescendo only by the female voice, indicating the climax, leaving silence for a while. wow!!!
now, the best part comes. the male voice resumes the song with 'manasu mayangum', and the female voice follows indicating the simpleton has become a man, he has learnt about life, understanding its nuances and how nature works and is ready to support his wife leading from the front.
vairamuthu shines in yet another line 'kaadhal inge pala vagai, unaku mattum pudhu vagai' explaining the supracited.
wow! what a composition, i have never heard such a song rich with subtext. after the initial veena in aberi, it is mostly in sudha dhanyasi. raja raja daan.
this is how a song shud be composed. summa nakku mokka, mooku dokka-nu paatu panravanga shud notice.
abheri and agnikopam are very similar ragas. the slight difference is given below.
abheri s g m p n s / s n d p m g r s
agnikopam s g m p n s / s n p m g r s . dha missing. both from karaharapriya.
actually i thought the initial veena was in abheri. after playing the sequence, i came to know that it is agnikopam.
http://www.dishant.com/jukebox.php?songid=25715
http://in.youtube.com/watch?v=iOoy6pWoujI
//
priya32,
yaar music by v.s.narasimhan.
thumburu,
A lovely writeup on 'ennullil engo'. You have described the music very aptly and this is one song which is very difficult to express in words and everything you say is inch perfect. A lovely song sung well by Vani Jeyaram.
naarayanan,
K Vishwanath and Illayaraja combination was pure magic. Given that KV gives good situations and loves good lyrics, Raja would also ensure he got the very best. Wish there were more directors like KV who loved their language. Not in the militant way but in a very literary way. Difficult to find that nowadays.
therefore I eagerly await "THYAGAYYA" from this combo!!Quote:
Originally Posted by Sureshs65
thumburu,
"Enulli Engo" one of my all time favorites. Thanks for writing about this song.
Raaja talks about this song in the Italy CD and he sings a hindi song by SDB, I guess; expressing the feeling, longing.
When I started identifying the instruments used in this song, array goes like guitar, solo violin, group violins, flute, santoor and what not?. Whenever, I hear the call-response arrangement in the second interlude. I will forget mei, poi and everything including the raaja's genius. To me, the tabla section is very much like MSVish, especially the rolls at the end of VJ's alapanai. Again, VJ brought the feeling in me that only she could have brought out the emotion like this. Normally, when the artists perform at the highest level, they bring this feeling into the listener.
Digression:
For me, there are few Raaja songs in which the tabla playing style remained me of MSV like 'Thiru therial varum silayo', 'Udhayageetham paduvan".
End digression
I heard, from one of the internet radio stations, about Meendum Meendum vaa and Manasu mayangum (Narayanan, nice writeup) and how this thalam pattern "Thakita Thakka Dhimi" is used. Nice start. Right. When I was about to think that mmm. Raaja saves this pattern for the "Erotica Longing", bang... I heard "Kannae naan Annan alla unnai eendra annai nane (SPB)' and 'Noorandum kalangal nee vazha veedum (KSC)' with the same pattern to express motherly love. Big time lesson..... how silly of me...after keep hearing Raaja’s songs for years now…with my limited knowledge I tried to predict Raaja's pattern..I will not do it again though.
My mind goes "Ganagai Vellam Sangukullae Adangi vidathu..again…one of my all time favorites by great combo MSV/SJ and of course..KD.
Thanks.
venus,
Nice observations. The Hindi song that Raja sings about longing is the Shankar Jaikishan song, 'yeh pyar ki tanhahiyan'.
You observations about the patterns are spot on. It truly shows what Raja believes in. The unity of music. A misra chapu or kanda gathi can express love or longing or philosophy or anger or what not :) It is indeed very difficult to predict what sort of ragam / thalam will be used for which emotion. In other words, every sort of ragam / talam combination is used for every occasion. This will be a PhD thesis by itself.
irir123,
Is Thyagayya by KV? Is he still making movies? I am not sure how much scope will be in such a movie for Raja's music given that they have to play the krithis of Tyagaraja. Lets wait and see.
1. வாட வாட்டுது - சக்களத்தி
2. ரொம்ப நாளாக - என்னடி மீனாட்சி
3. ஒரு நாள் உன்னோடு - சிட்டுக்குருவி
4. நினைத்தால் இனிக்கும் - கல்யாணராமன்
5. நிலவு நேரம் - அன்னை ஓர் ஆலயம்
6. செவ்வரளி தோட்டத்துல - பகவதிபுரம் ரயில்வேகேட்
7. வெண்ணிலவில் - அதிரடிப்படை
8. தண்ணி கொஞ்சம் - ஜூலி கணபதி
I think Thyagayya is by SingeethamQuote:
Originally Posted by Sureshs65
NallA thread choose pandrAngaiyyA idhai discuss paNNa :lol:Quote:
Originally Posted by jaiganes
Plum,
:rotfl3:
ஒரு நாள் உன்னோடு - சிட்டுக்குருவி
ilai PM. padam - uravadum Nenjam.
ADi Raakozhi kovum neram - Maharasan
Beats - Paatai porupaga gavanika vechadhu.......
Aadhamum yevalum pola - Mardhu pandi.
sempoovae poovae naan - Siraichalai
Sandhana katre - Thankikaatu raja
Oru pokkiri raathiri - Idhu namma boomi
very niceeeeeeeeeeeeeeee..
ennoda favourite ragam - Brindhavana saranga????????????
'nilu nilu' from Dhanush.
http://www.thiraipaadal.com/albums/ALBIRR00111.html
In another thread Venkiram has spoken about such songs where the male lead calls the female and she is not interested. Venki had pointed out about this being a 'neydhal' type of song and the rhythm being different. This song would also fall in that category. Here Raja mixes up different genres effortlessly. The song is based on "Suddha Saveri', not really associated with erotic feelings. The beats add to the fun element of the song and the singing is nice as well. A very enjoyable song. I don't think the movie was released.
பெரிய குடும்பம் (1993) என்ற படத்தில் வரும் "தத்தி தத்தி தாவிடும்" என்ற பாலு-சித்ரா குரலில் வரும் பாடலையும் இந்த ரசத்தில் சேர்த்துக்கொள்ளலாம். நல்லதொரு இசை.
அது என்னவென்றே தெரியவில்லை. சித்ராவின் குரல் இதுபோன்ற ரசங்களுக்கு எடுபடவே மாட்டேங்குது. காம ரசத்திற்கு என் தனிப்பட்ட விருப்ப, பெண் குரல்கள் - ஜானகி, சொர்ணலாதா, வாணி ஜெயராம்.
Guys,
How could we forget the song "Mandhiram Idhu" from the movie "Aavaram Poo". Its a great song rendered by great KJ Yesudas. The lyrics will be so erotic but dealt subtly with Carnatic base by IR.
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posted in a wrong thread