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My first walkman had a tiny hole thru which a "watch screwdriver" can go in and adjust the cassette reading "head". Some cassettes (especially those "pre-recorded" ones) had issues with the locating of the tape and often only one ear will have sound with a "hiss noise" in the other. Without that screw-driver thingy, I would've been driven mad:-)Quote:
Originally Posted by KV
(The contact problems that develop with the headphone wires is another horribly irritating factor :-( )
V_S,
Please take your time and we know it will be worth all the wait :-)
nAn konjam nallA irukkaRadhu pidikkalaiyA :-) j/kQuote:
Originally Posted by baroque
Yes, I love that song. Actually, all the songs of IK - not one can be tossed or can be called boring (OTOH, I don't relish anymore 'ennOdu pAttuppAdungaL' or 'padippula zerO' kind of songs from prior Motherland pictures movies).
Just that I was in a job for the first time in life -morning 7.15 bus catching, 8 O'clock testing-shop-floor opening, leaving the premises after roughly 11-12 hours etc was a big transition from years of a different kind of life : lazily getting up after 8, gang-A messla pOy break-fast, 1 hour indhu paper in common room, 3 hours carrom, another gang-A lunch, konja nEram library-la reading all kinds of mags / books except the subject items, chAyA, playing outdoor for a couple of hours, arattai, meesic, gang-A dinner, cinema, again arattai finally dropping in bed after 1...
Well, two songs are due today and needless to say both are from IK...and we'll have IK for a few more days as well :-)
#211 இதயம் ஒரு கோவில், அதில் உதயம் ஒரு பாடல்
(இதயக்கோவில், 1985, ஜானகி ஹம்மிங் உடன் )
Simple pallavi melody combined with rich saraNam melody and three delicious interludes :-) Standard / typical / singnature but very effective tablA accompaniment that is always palatable for people like me. Simple lyric with no earth-shattering thoughts but no irritating or repetitive phrases either. rAsA gets greater marks for music and pass marks for lyric, SPB sings without much ado (some prefer rAsA version, to me both are good) and SJ's humming is sweet.
padam pArththa ganavAnkaL please post about the storyline, song sichchuvEshans etc as I may not visit this movie in any foreseeable future. Is this number a name-credit-title song? Or, situational? I can't imagine any other situation than a stage-mike-singer-thingy. And, like many say here, this was a typical MP movie and not in the 'later-day-MR' style.
His prior movie, pagal nilavu, also wasn't like the later day MR movies per my feeble memory. I watched that in a 'deck' in the college common room and guys who organized the deck informed us that the main character - Sathyaraj - was moulded by the main character of 'officer and a gentleman' as per magazines. I couldn't find that kind of similarities, however. While 'poomAlaiyE' song was awesome on screen, there's also 'mainA mainA mAmen pudichcha mainA' which was more like the kuppai movies of that time period. So, PN too was a mixed bag and MR arrived big in TF only in MR.
That way, IK is something that 'happened in-between' and possibly a typical MP movie. Well, the big change from udhaya geetham is not that many songs with mAnE-thEnE business :lol2: Still, I don't think we can accord a lot of credit to the director for the songs of this album as even K Rangaraj kind of remakers were given superb numbers when Kovaiththambi produced the movie and placed IR-pic on the poster. Possibly the producer's last movie with IR (unless he took an u-turn sometime later which I'm not aware of...the next movie of Motherland pictures was 'uyirE unakkAga' where Lakshmikanth-Pyarelal were the MDs).
And, like V_S mentioned, the recording quality was great and the songs sound grand in huge-speaker-hi-fidelity kind of systems.
#212 வானுயர்ந்த சோலையிலே நீ நடந்த பாதையெல்லாம்
(இதயக்கோவில், 1985 , ஜானகி ஹம்மிங் உடன் )
Somewhat old fashioned song (engE nimmadhi / dEvadhai iLam dEvi kind of sounds here and there and "Avi" sounding humming etc) with certain terrific musical twists. Especially the first interlude where rAsA switches off the strings, jumps to flute and makes a sudden shift to 'percussion-only' mode, delectable! Also, the second humming in the prelude with sweet guitarish accompaniment! The whole song boasts of sweet-sounding guitar chords but the 'max-treble-less-bass' kind of tablA sound is not my personal preference. I don't know how MR felt at that time (as he seems to have a keen interest for 'sounds' thru out his career :wink:)
Possibly MR didn't have much say on that aspect at that point of time but definitely was in command by the time 'O priyA priyA' happened. Accomplished much by the time IT arrived and could demand things from his team members including IR, MR had terrific tablA work for OPP IMHO. hA, how sweet it is for the saraNams! (I'm taking that song for comparison as both vAnuyarndha & OPP fall into the same "category" of songs in my book, i.e. they have a common "feel" though I cannot explain how in musical or lyrical terms...ofcourse, OPP suffers from Mano but KSC is awesome!).
This song was a regular on buses and I don't know how many times I would have heard it that way! I can't help but repeat that IK is perhaps the 'most listened to' album on buses in my life :-)
This song also evokes strong memory of frequently hearing it from a distant place (possibly the Walayar theater) when getting down from the bus at night after work and walking into the Malabar cement quarters, to my friend's room where I stayed for a few months, until I got a monthly-rental room in the town...tall teak trees, darkness, strong possibility of snakes on the ground with lot of dry teak leaves lying around...such foresty environment itself made the walk of that few hundred meters eerie, with hardly any people around. On top of it, hearing this song coming from a distance could often send a chill up the spine :-) Fortunately, I never had to jump and cross a snake all those months (interestingly, I had to jump off snakes a couple of times in the dry REC campus - that had some really bad vipers, one of them bit our badminton captain which made him bleed non-clot and with great difficulty doctors saved him).
People used to warn that the snakes of Palakkad are extremely venomous and many die each year! (Well, they also opened a snake park in the Malampuzha dam during my stay and I had taken everyone visiting us there) and we had a few frequenting our backyard in the later years including moorkhans (cobra) but I was fortunate not to get into any accidents :-)
app,
Thanks for the Great picks. indha padathula ellamae GEMS dhan. adhuvum SPB nala.
Paatu thalaivan paadinal - kudichitu padara expressions and the ragalai.. SPB is Great.
Vanuyarndha solaiyilae - Bhavam. Thaniya thannoda sogatha nenachu padara style......... He is the King.
idhayam oru kovil - Affectionate Renditiion. idhilum.. He is the Best............
Ella paatukum.. SPB..anal. konjam bore adikadha oru Renditiion................ wat about
kootathila kovil pura.. something spl to me.. oru Innocent a sandhoshamana expression.. to her Lover..............
idhaiyum solungo app.
indha paatula.. 2 stanza .. 2 sorgam. kaathoda satham.. adhu kuda music a , inimaiya varadhu. Raja kite dhan............
app. unga detailed post a padika ipo time illa. mor la power cut.. home work madhiri serndhu pochu. complete pannanam
unga writings a......
nanRi UshAkkA :-)
mella, time kidaikkum pozhudhu padiyungaL...
(appadiyE Shankarji kitta oru invertor-kku application pOttu vainga :-) )
heavenly Rag sivaranjani pathos of S.P.Bala Subramaniyam.:bluejump:
Who can resist!:musicsmile:
ஒரு ஜீவன்தான் உன் பாடல்தான்.......நான் அடிமை இல்லை.
உங்களோட சிவரஞ்சனியே உங்களுக்கு சமர்ப்பணம்...எங்க கிட்டே ஒன்னுமே இல்லை உங்களுக்கு கொடுக்க, only love and affection !:redjump:
tere mere beech mein...Ek duje Ke Liye
rhim jhim ke geet sawan....romance in the air with Rafi and Lata!
Mysterious Kahin deep jale.....Lata's haunting humming composition.
:ty: I will return to your thread tonight , App_eng.
vinatha
My dear App_eng wants to know the songs situations.
here is kadhai...:)
ஊரோரமா ஆத்துப்பக்கம் தென்னந்தோப்பு .....இளையராஜா's jazzy composition during , ராதா & her friends bored of their class , irritated the teacher , வெளியில் வந்து ஆடுவாங்க.
காலேஜ் election லே win பண்ண வைச்சா,ராதா promised singer மோகன்'s music program . Instead of arriving for the scheduled program on time, he was drinking at home .
Students were upset , started to leave .
Finally he decided to come to the arena , found nobody at the music hall ,he started to sing 'நான் பாடும் மௌன ராகம்......' pathos .
ராதா & some of her friends heard his voice /song returned back to the hall .
மோகன் finds solace in drinking after losing Ambika .
Ambika , his lover inspired ,encouraged him to sing . She believed in him .
One evening, Mohan goes to Ambika's cemetery, started to sing IDHAYAM ORU KOYIL.......pathos .
Flashback story ,app _eng .
மோகன் was telling ராதா .
இதயம் ஒரு கோயில்......joyous version , மோகன் & அம்பிகா , enjoyng their company in their village . கொஞ்சிண்டு, விளையாடிண்டு, his lover encouraged him to sing for her .
மோகன் sang கூட்டத்திலே கோயில் புறா.....பாடல் in their ஊரு திருவிழா.
அம்பிகா asked him to go to city , try for singing opportunities -' பெரிய பாடகரா திரும்பி வாங்க, I will wait for you !'
city க்கு போயி ரோடு லே உக்காந்து, அவளை நினைச்சு 'இதயம் ஒரு கோயில்....' பாடுவார்.
Thus he was found by இளையராஜா's folks . He got the opportunity to sing in cinema .
Meantime , அம்பிகா's father arranged her marriage , நல்லா செட்டில் ஆயிருக்கற fellow க்கு தான் தருவேன் என்னோடபெண்ணை, She was upset . She decided to go to Madras . She writes to him , asking him to pick her up at the பஸ் stand .
He went for recording - யார் வீட்டில் ரோஜா....
She arrived . வழி தெரியாது, thugs - rogues கிட்டே மாட்டிண்டுடுவா. composition's lyrics & ராஜா's dramatic interludes portray the situation .
ராதா takes interest in him , tries to reform him .
One time ராதா and மோகன்'s car met with an accident , ராதா is heavily injured .
Though they both are in same ப்ளூட் group , மோகன் can 't give blood for her operation , He is an alcoholic . That opens his eyes . He reforms himself
On சித்ரா பௌர்ணமி , மோகன் goes to his village , that 's where he sings this ராகம் சிவரஞ்சனி pathos - வானுயர்ந்த சோலையிலே.....
ராதா in love with மோகன் wants to marry him but மோகன் is fond of her , grateful for all the good things She has done for him .But he doesn't want to marry her, asks her to marry her classmate who loves her dearly .
கல்யாணத்துலே again இதயம் ஒரு கோயில்... பாட்டு at the end .
What will ராதா do ?
Will She fight to marry love of her life ?
or
settles down with the other guy to honour மோகன்'s wishes !
Can மோகன் ever love another girl ,marry & live in harmony?
'marry the person who loves you '- Doesn't that apply to him too ?
Find out yourself , app _eng !
http://www.youtube.com/watch?v=5E9fh...eature=related
இதயம் ஒரு கோயில்......lovingly forever, இளையராஜா!:ty:
மனசை பிழிஞ்சு எடுத்துட்டீங்க, ராஜா...:(, loving it always!:musicsmile:
Vinatha.
Great summary of the movie & song situations!
Thank you so much baroque !
From your description, it sounds like yet another "typical Motherland pictures' movie" (possibly the last successful one of such "aspiring singer" genre of movies).
App,
While Idhayakoyil is clearly atypical maniratnam (which strongly indicates he could've been a standin), I think Pagal nilavu has some mani ratnam touches. One can see shades of pagal nilavu characters in Nayagan: a bit of Satyaraj character in Velu Nayakkar and Sarathbabu in Asst Police commissioner (nasser). Like how you see Nayagan hangover in Thalapathy :mrgreen:
Idhaya Kovil is a fantastic album of Mani - IR Combo.
The song of the album for me is Paattu Thalaivan , what sheer magic by the combo of IR and SPB . Oru periya Kumbudu .
Good observation, RR sir!Quote:
Originally Posted by RR
My memory on that movie is very feeble though...only some images from the videos of the great songs...
Another minor milestone for the nool :
> 100K views :clap:
(not as fast as in the case of threads in the TF section but still good to see this reaching it)
Re: pagal nilavu, you actually have the nee thottaa kambilipoochi oorurA maadhiri irukku dialogue here...
#213 கூட்டத்திலே கோயில் புறா
(இதயக்கோயில், 1985 )
Rain started last evening and continued all night and was still pouring down poonaikaL & nAykaL when I came to workplace this morning. The November Rain. When I thought of that phrase, the Guns and Roses song got played in the mind - the portion when the singer walks carrying the coffin of his bride - but it got abruptly stopped by the strong smell in the parking lot.
This is an interesting feature I've noticed in this workplace - the arrival of 100's of earthworms on rainy days and the whole parking lot having a very strong smell of them. There is no maN (every non-paved area is covered with grass) & so no maN vAsanai but only strong puzhu vAsanai. I'm sure in years to come, the mention of 'koottaththilE kOyil puRA' is going to remind me of the maN puzhu smell :-) Well, they've predicted a few inches of snow tomorrow and the next IK song may have to be associated with a dreary drive tomorrow.
Such thought processes were running through the mind when another interruption happened with the loud noise of the birds in V formations flying above. oh-Oh, many birds have started leaving the lake, migrating to faraway places and will return only next year. A few will remain here however (mostly Canadian geese) that will walk on top of the frozen lake, make marks on any fresh snow that falls etc. I cannot wait to see those footprints...winter's coming and fall leaving...
While this song is hardly about the literal kaboothar, I always get reminded of that beautiful puRakkoottam each time I listen to this song. Their peculiar sound when rushing in-and-out of tall buildings. They're present even in big cities, not necessarily only in country side. (I have watched puRakkoottam for hours in front of gateway of India. But now, if I think about GW of I, it unfortunately brings to mind the horrible Mumbai attack that happened 3 years ago just around the same time of the year :cry:)
Well, no strong past memories of events for the kOyil puRA song except some Palakkad rains of the first year that made us TN-ers feel tired of them, though I've lived there long enough to simbly love the rains that arrive in June wk1 promptly and even worry in case of the delay of few days.
The song had a few supporters on this thread for the #200 spot but adhikAlai nEramE was favoured by more. Ofcourse, an out-and-out SPB special and fully qualified to be among the top numbers from the SPB/IR combo! Dance song that has mild 'nAnoru ponnOviyam' feel but faster and more jubilant! (Please warn me if chEchi dances for this number and I won't search for the youtube). Never a dull moment, this song is a clear winner from start to finish!
Groucho Sir, I am wondering what team is this and why is this not 1992(when Malaysia won the Thomas Cup. Or are you referring to 86 Merdeka Cup? :))Quote:
Originally Posted by groucho070
Vinatha,
Never knew there was a Madras Cafe in Atlanta. I recollect lunching with a dear old friend at Udupi when our paths happened to cross in 2005 there.
radiochandra, wonderful observation on Radha going to Operations research class to learn PERT/CPM. In Mouna Ragam, we found Revathi going to Econometrics class. Looks like Manirathnam preserved all his 1979(?) MBA textbooks from JBIMS and found good use for them :-D
al_gates,
I never lived in Atlanta.
We used to live in Seattle during early 90s.
We called the store, they sent us movies by post.
Even I am thinking of checking with our friend at Atlanta whether they have the same store now. I am curious too.:)
There was a NI grocery store in Seattle, we got Hindi movies in that shop.
Vancouver, Canada is just few hrs 3-4 hrs drive from Seattle, USA. We used to go often.
We bought music , did shopping at Indian bazaars, of course I did jewelery shopping:-D - chokers, step jhumkas:swinghead:.. good old days...
Vinatha
yes.. App_eng, Chechi is dancing:-D enna aval dhaane inspiration for her lover!
vinatha.
Back to ENIGMATIC Vaanuyarndha Solaiyiley...... , Sivaranjani pathos for my pleasure, one more time or couple of more times :swinghead:
haunting strings, bewitching humming by Janu, mysterious flute / kolusu / bird calls... MAGICAL ILAYARAJA:musicsmile:
http://www.youtube.com/watch?v=Y_7LPPslBXo&feature=related
மோகன் movies like கோபுரங்கள் சாய்வதில்லை, குங்கும சிமிழ், உதய கீதம், ரெட்டை வால் குருவி, மெல்ல திறந்தது கதவு etc ..I love to watch several times .
ஸ்கூல் days , many of classmates simply loved மோகன்.
good job , மோகன்! Glorious 80s :thumbsup:
Vinatha.
app,
Kootathila kovil pura.. padichuten.............. Diary madhirii iruku. nice to read app...............
Raja songs.. afterall Feelings................ avvalavu dhan. inum enna...........
#214 யார் வீட்டில் ரோஜா பூப்பூத்ததோ
(இதயக்கோயில், 1985 )
I used to mildly wonder about the necessity of the fight-scene-kind-of-interludes whenever this song got played. It got to be situational man, the mind will tell. Also, it'll remind similar songs in almost every Motherland pictures movies - PM had rAgadheepam, maNiyOsai & vaigaraiyil, nAn pAdum pAdal had pAda vA, udhayageetham had udhayageetham pAduveN with similar characteristics - singer on a stage or recording theater with a melodious song and soft orchestration while the interludes have thadAladi drums / violin gumbal / wind instruments etc creating war-like sounds. So, it wasn't a big novelty to have a couple more in the next MP movie as well :-)
Though a sweet song adorned by SPB's singing, this is possibly the bottom number in the album for me. Possibly because all other songs had some specialty in them. Also, even in 80's, this felt like a song from the previous decade ("is it really from a new movie?"). Nevertheless, it's not boring even today which is remarkable. It was a regular on radio, buses and recording centers and the whole album seemed to be a favourite everywhere in Cbe. Possibly popular elsewhere in TN as well but my travel domain at the peak of this album was limited to few towns of TN with Cbe getting at least a weekly visit if not more.
Like baroque mentioned, yet another 'recording' song, somewhat a reverse of pAda vA -there the hero met with an accident and here it seems the nAyaki gets into one. Limited range of imagination of the production house. Like some thodar kadhai writers in AV / Kumudam - very limited imagination and won't go beyond certain situations / scenes / drama but reasonably successful. Never aspired to be a Sujatha. Interestingly, despite being so closely associated with such mega talents as IR & SPB...
nanRi, Usha Chechi!Quote:
Originally Posted by tvsankar
BTW, no diary habit, all are memory recalls and ruminations.
My fav of the album (my CD has a flaw, immediately after this song finishes it begins KootatthilE Koyil purA and stops...and the latter begins as next number). As usual app, wonderful.Quote:
Originally Posted by app_engine
It's difficult for me to pick a winner in Idhaya Koyil except Oororama Aathupakkam song. Another aspect about the film which I would like to add is the separate comedy thread (with no connection to the main film story, it was common those days) in the film by the great Annan. I watched this film multiple times only for music and comedy. Definitely it is (not was) a surprise package by MR. Anyway at that time he was not much known (as he just did one tamizh film before this), we were not in any surprise. Everything transformed from Mouna Raagam.
Thank you App for giving me this golden opportunity to do honors to our dearest Maestro. But I don't think I have done justice at all. Anyway here we go:
We know there are four paths of yoga; Bhakti, Jnana, Karma and Raja yoga. Similarly there are four goals of life according to Hinduism; Dharma, Artha, Kama and Moksha. Kama which is pleasure is often misunderstood as just sex, but the pleasure is a result of art, music, drama, dance, poetry including sex. Since the composition of interest is related to third goal (Kama), we will see how Maestro attacks every component of Kama Yoga through this composition. The interesting part of this whole composition is while all the above 6 components are tightly integrated, they can also be easily separated as per individual's taste and we can even add our own aesthetics in this composition (except the music part, haha).
Before going to the composition, first we need to applaud K Bhagyaraj for coming up with some outstanding concept very little known in film industry. We might have seen so many songs using 'Manasatchi' (inner voice of ego) including love songs, but this song is unique as it talks about a person's inner feeling of the desire and pleasure. Actually there is a big risk taken and he has done it quite well nailing down by walking on the rope, but could have picturized better without all those standard p.t. exercises. Also song was not much appreciated at the instrument level, that's where visually it was not engaging!
Having got the draft from the director, how Maestro works and develops into a full blown art is the topic of interest. We will come to that later.
Dance and Drama
Almost at the dawn, dreams galore. Hear how this composition showcases such a feeling with aplomb. Hero imagines being in indra loga with four gandharva kannigal, but his hands are tied. Why? There comes his manasatchi (manmadhan) first. This was another beautiful concept. Manasatchi appearing first than the actual person. Here KBR implies brilliantly that even before we start any physical interaction, our mind already attains/completes that state. புலன் வழி இன்பம் அடையும் முன்னரே மனம் அதனை அடையும். First manasatchi, then the actual person, so his hands were tied. Only thing I don't understand is why he was shown as an old man. May be just because of experience. :lol:
Maestro complements musically by calling Vatsayanar, Adiveeraramapandyar (no idea who he is) and then those gandarva kannigaL; Athini, Sithini, Padmini and Sangini. There starts all the drama and dance. Crash cymbals for introduction of each female. Even there he adds some minuscule sounds from synth alternatively to our each ear, very pleasant to hear. Two trumpets one at lower octaves and another at higher octaves followed by great strings in crescendo, setting up the right tempo with trumpet echoing at last. Such grand opening is required for this big bash in that maaya logam. The trumpets implying the big ones used at those times. Somehow that grandeur was not much captured visually, especially when the trumpets and violins are played.
How about this one? The two trumpets, the higher one is of the soul and lower one for the body. His manasatchi after introducing each one of those angels, he makes them disappear as the body actually tries to reach them, as he is not yet attained his desire. The high trumpet shows that agility of the soul, while the body is still in the phase of getting activated from the soul. Also manasatchi is not willing to give it to him, so he teases him every time. The time when violins plays in crescendo, he races behind each one of them and when the trumpets echo, they are gone, vanished! Magnificient Pause there (only in video).
S Janaki and S P Shailaja sings alternatively. When they sing the angels appear again with the magic of soul, but he realizes now that his hands are tied. Maestro understanding this ahead, does not start the vocals with SPB (the body) instead starts with females to again build up the tension to the hero and sarcastically complemented by his manasatchi at the end of every line. As this is a dance song, Maestro brilliantly introduces the 'jathi' at every line and every jathi is different. Please hear the jathi. 1. nakinthinnaa nakinthinna thirana, 2. nakinthinaa thirana, 3. thakathimi tha, 4. thirikidathathom tha, 5. thirikidathom tharikidathom. Some great singing by TVG sir (I think) and it appropriately sets the tone for this extra-ordinary composition.
Another beauty is how he has used the percussion instruments during the pallavi. For the single beat punches he uses mridangam. For every other beat he uses acoustic drum or hi-hat, if you hear closely. I don't know how he conceived that idea. May be because he wants to convey throughout those two instruments that those two beats are the heart beats of soul and the body and how it sounds when tapped one after another. Soul and body cannot exist independently. Both has to co-exist to attain the desire which they are longing for. But when listened casually we can only hear one instrument. Oh man what an innovation at every note. Colossal talent!
Not just that, if you observe even closely, the beats coming from hi-hat are more compared to mridangam as he soul is slowly transferring its desire to body thereby the heart beat of the body is pounding faster than the soul. Brilliant! Brilliant!!
Poetry and Sex
We have some great lyrics for the situation. Eventhough we have to appreciate the lyricist for conceiving appropriate lyrics for the situation, I am going to first appreciate Maestro for the lyrics. Why and How? The whole soul in the song is this jathi which is aptly sung by TVG sir. You can clearly hear where the jathi is leading to, from where it started. :wink:
nakrithana thiranana na (starts the real fun)
thana nakrithana thana dhiranana dhirana (improvisation compared to first line)
nakrithana nakrithana nakrithana (kenjel, seendal, climax)
nakrithana nakrithana nakrithana dhiranana na.. (salvation!)
Why have I linked poetry and sex together?.
Again purely my thoughts. Why Maestro adds more jathi here instead of actual lyrics. Could have been better? May be, but as I interpret, Maestro cleverly stops with sandham and wants us to conceive our own lyrics based on our imaginations for this jathi, so that composition becomes dynamic instead of being static. Instead of what is being given is what we have to listen, as I mentioned ealier, we can add more aesthetics to appreciate it better. Assuming Maestro has given us a small template where we can play with (on the final output, which is truly amazing!). Have we ever witnessed such scenario, I honestly do not remember.
So, he is also teaching us to code on the template, but strictly there are no rules and syntax, except to match the sandhams. :wink:
Singing these lines gives so much merry. Greatest aural poetry!
Music
At every section there is music. The drama, dance, poetry all associated with music. Here we will continue where we left off from previous section.
The drums after the above jathi is just spellbinding, no one, I repeat no one can ever create this atrocious punch and magic, mavane dhool! He gives that chill and literally gets into our nerves, no one can ever give me! I remember one of my town friend who is elder to me and studied at CIT, Coimbatore during that time (may be 2nd or 3rd year - perfect time to be in college). He used to visit our town for semester holidays. He always calls Maestro as 'Mottai'. He used to always get hyper about this song, especially during this beat. He used to scream "mottai" during this part and used to say 'Mottai mandaikkula ennathaanda irukku'. Even now I am screaming and my wife and kids are in for a rude shock :lol: That's a monumental piece!
I mean the whole rhythm arrangements and syncopation (as KV mentioned), surely cracking and out-of-the-world stuff!!
While the energetic trumpets, bass guitar, ferocious violins tells the true story, visually KBR does not have a damn clue what needs to be done during this piece, just moves his legs here and there. Truly underwhelming!!
We can now hear the single trumpet at very high octaves which is of the body as the body is now ready for fun (except he is still in bondage), while at the last we can hear the second trumpet dipping down (of the soul). After the soul has attained its desire, it is now passing it to the body. Now the angels prey for the actual body. SJ and SPS seize this opportunity and comes with some extremely cheerful and erotic singing. Superb tune in charanam, giving the appropriate mood. The highlight is how the tune goes to lazy mode exactly during 'raaghu kaalam pOnathu, yOga nEram Kooduthu', Paarizaatham vaaduthu dhaagasanthi thEduthu', as still the hero is in bondage and they are becoming restless. The last line goes in for a great finish with violins to follow! Experience the "Maestro Roller-Coaster effect"!!
என்னைக்கும் இல்லாம இன்னைக்கு உன் கிட்ட ஆச (punctuations with synth/guitar?, clearly calling for hero's action!)
எப்பப்ப வந்தாலும் அப்பப்ப கல்யாண பூச
ஒன்னுக்குள் ஒன்னாக ஒன்றாகி நின்றானே சாமி
அத கண்ணுக்கு முன்னால என் கிட்ட இப்போது காமி
ராஹு காலம் போனது யோக நேரம் கூடுது
பாரிஜாதம் வாடுது தாகசாந்தி தேடுது
மதில் மேலே வரும் பூனை எதில் பாயுமோ (excellent guitar chord progression there!)
The crescendo violins after the last line clearly states the body is now out of bondage and the soul has completely transferred what it got, to the body. That's where our hero SPB kicks in with thunder, this time 'Pala macham ULLa' and not 'Ada macham ULLa' except to be let down by some funny dance movements by KBR. No look back from now on musically. During this pallavi we can hear his manasatchi again punctuating with those jathis. When he sings "thirikidathom tharikidathom", we can easily put "nadakattum nadakattum". That's the magic I was talking about the template.
High energy violins and trumpet in second interlude played only to again discover that KBR used it to some naive dance movements. Wasted opportunity! First time we are hearing flute as well in this interlude.
எங்கெங்கும் முந்தானை கண்டாலும் உண்டாகும் போத
சத்தங்கள் இல்லாத முத்தங்களின் என் காதல் கீத
மெத்தைக்கும் வித்தைக்கும் எப்போதும் பட்டத்து ராசா
உங்க கட்டுக்குள் வந்தாலே மொட்டுக்கள் தள்ளாடும் லேசா
நீரில்லாத மேடையில் நீந்த போகும் மீன் இது (hear how he extends the 'Ithu', so elegant!)
பாயப்போகும் வேங்கையை சாய வைக்கும் மான் இது
புயல் வீசி வரும் வேகம் கொடி தாங்குமோ (hear how SPB pronouces ThaangumO, what a punch! Only him possible)
When he finishes the pallavi lines for the last time, for the same lines TVG sings jathi differently. "nakinthinna nakinthinna thiranana na" instead of usual "nakinthinaa thirana", so breathtaking! Maestro demonstrates how much space is there to pack more things in the same span.
Art
All the above sections contribute for an excellent art. Maestro here combines all the above pieces to demonstrate Kama Yoga. He also cleverly leaves some portion for us to fill, thus making the composition a dynamic one.
Explosive trumpets (drama), extravagant rhythm arrangements (dance), high energy jathis and violins (poetry), terrific guitar and some glittering tune and singing (music) all makes it a wonder composition. So, all the above sections, Maestro has done through music alone. Is it not a wonder? Wonderful Keeravani (?) based composition with western pop/jazz arrangements. Maestro has used just 5 main instruments, violin, guitar, drums, trumpets and mridangam to create this grand wizadry of art.
If an art is an expression of creative skill and imagination in visual form, Maestro does not have a chance there, as the music is not a visual form. On the other hand, if a Maestro can bring visuals in front, to his listeners with his music alone, then there is a 100% chance of being called as art. Maestro does not need a separate visual media to reflect his work. In fact, he is the source for the visuals (as described in the above paragraph). It is then a superior form of art (IMHO). Why it is superior form of art?. In visual art, we can analyze the product in detail, write reviews and even point out the areas we like and dislike it. In music, with Maestro, each listener is taken to another level apart from the areas pointed above. That is the listeners visual imagination about the product of work. I wrote my thoughts above, but another person will come in and pour totally different set of ideas/perspectives on this composition (again I am not talking about reviews here). Third person can come in and paint a different set and so on. Again, if a child listens to this music, he can paint his own visual imagination over this. Only few visual art forms have his boon.
For example, take the same composition and listen again, completely forget all my above irrelevant thoughts. I am 100% sure, no one can even think about eroticism here. We can just enjoy the tune, singing and the orchestration, that's it. Unless you go by the lyrics or the situation, this composition is absolutely friendly to everyone. It will immediately trigger us to sing/hum the composition along. You are now the visual medium for the listener (may be for your family now). Even if you sing alone, you are still hearing and appreciating it and you are both the singer and the visual. If Visual forms like Dance, Film, Drama, Painting, Sculpting etc invoking visual imagination in us is such a great thing, a non-visual form like Music, especially Maestro's music invoking visual imagination in us is not a superior form of creative art?
Few titbits about the movie:
The first 1 hour of the film is a must watch. Typical KBR's punches. Few moments I loved.
KBR does not like her wife, as she is fat. But she does not want him to be embarrassed before his family. So she sends jasmine flower in one of his lunch can, so that his parents will appreciate that his son is loving his wife. In the evening KBR acknowledges that and in turn gives her 'ThirunelvEli Halwa' and instantiates that he also have a heart.
While giving her the halwa he says 'The sweet behind the love is sweeter than the sweet ; This is english, I am B.Com, ithellaam unakku puriyaathu'.:lol: Later to be discovered that the sweet he bought was actually stolen from his father.
In every KBR film, the last title of screenplay/direction will be put at a very special place. It will not come as usual at the start of the film. You have to see this film when his name comes as a screenplay/direction. Please watch from 2:05 (yes at the 2nd hour, not 2nd minute), too hilarious, but first time you will definitely believe he is speaking while sleeping. Too much!
Father-in-Law buys him a light blue scooter. He asks him if he likes the color, he in turns sarcastically replies, ' color konjam bright'a, irrukku (light blue bright color'aam). intha maroon, pacha intha maathiri irunthirunthaa romba nalla irunthirukkum' :lol:
His brother-in-law finds his illegal affair. For that KBR requests him.
dei unka akka kitta solidaathe, ediakku edaikku chocolate vaangitharen! :lol:
A must watch film (atleast for the first hour).
http://www.bharatmovies.com/tamil/wa...vie-online.htm
V_S ji
Speechless after reading your post on Ada Machamulla .
You just keep getting better and better :)
Youve added some masala too with an Erotic touch :)
Really liked your division of the song into the categories Dance and Drama , Poetry and Sex and Finally Music
Keep up the brilliant work.
I really liked the way you ended
"If Visual forms like Dance, Film, Drama, Painting, Sculpting etc invoking visual imagination in us is such a great thing, a non-visual form like Music, especially Maestro's music invoking visual imagination in us is not a superior form of creative art?
How very true , this is one song (and there are many others too) which makes you admire Music and the creativity behind such a hallmark composition.
Going to the song , this was one number i didnt hear till too long ago and it got my pulse racing when i listened to it.
This is a song which has everything you want - The Bass lines , Counterpoints between melody and bass and also melody and melody and also Harmony with the Trumpets playing over 2 octaves , absolutely jaw dropping singing by SPB and S Janaki , to add to the magic TVG pitches in with some Nadhruthaana humming and elevating the song to another level.
Also the song follows Adi Thalam , but there seems to be an Anaagatha Eduppu (the Pallavi Ada Machamulla starting after the beat). Its just half a beat difference and evalo assault a SPB and S Janaki pick that part and manage the challenge . And i also think there is a minor rhythm change only in the Charanam with the notes playing Ni Sa Ni Sa Ni Sa Ri Ma Ri Sa Ni ~ moving from Chatushram to Tisram just for a brief while and then its back to trademark Adi Thalam.
A Keeravani Spectacle
You just cannot but admire this song .
Man of the Match to V_S for decoding this landmark composition.
Take a bow :bow:
Thanks a lot skr for your superb comments. :D
This is why I am reiterating, you should write more. Amazing insights on the taalam aspect! :clap: Please keep pouring!!Quote:
Originally Posted by skr
Awesome post, V_S-ji!
:clap:
:clap:
:clap:
ungaL paNi thodarattum!
adikkadi inimEl ungaLukku vENdukOLkaL varum :wink:
Nice insight to thALam, skr!
That's quite interesting.Quote:
Originally Posted by groucho070
neenga melody-priyar enRu thOnRukiRathu :-)
#215 நான் பாடும் மௌன ராகம் கேட்கவில்லையா?
(இதயக்கோயில், 1985 )
The sOgam pizhiyum song, the last one getting posted from IK on this thread as we close out the year 1985 for this glorious IR-SPB combo.
Another year with 38 hit songs - thus equalling the top spot held by the year 1983 so far. (1985 had 178th to 215th #s in this series that had a couple of days break for the demise of Mrs Ilayaraja and a longer break for the hub-hack but otherwise running a number daily).
A song of melancholy with a fantastic first interlude that can pizhinjify the hearts of even kal-nenju people. SPB singing with very appropriate, adakki vAsikkum emotions with hardly any dramatism. Whenever such controlled emotion is deployed, it keeps doing something to the heart. That is, it keeps one depressed for a longer duration because of the 'inam puriyAtha sOga uNarvukaL'. Best song to listen during night times (the prelude possibly got an "extended play" version in NBW). The oxymoron term that occurs in the first line of the pallavi is possibly an inspiration from a whole bunch of such usage in the 80's by people like KBR-TR, especially w.r.t. the luvvu thingy. (oru kai Osai, suvar illAtha siththirangaL, mouna geethangaL, kuzhandhai pAdum thAlAttu, iravu nEra bhoopALam, mErkil thOnRum udhayam, nadhi illAtha Odam).
Interestingly, the term was so catchy that the director chose that as the name of his next movie - a historic success and a critically acclaimed one - which repeated the SPB-IR-Mohan-MR combo. (We'll probably begin the year 1986 with that one :wink:)
The azhudhu vadiyum sOgam brings back the memory of 110V bulbs that had to be used in Palakkad those days. (The regulation was so poor, so many old transformers, tube-light won't start until midnight etc...for brightness's sake people used 110V bulbs even though the "rated" line voltage was 230V :lol2: Interestingly, the voltage was so reliably low that blowing-off of 110V bulbs wasn't so frequent.)
In addition, there were power-cuts too and one incident quickly comes to mind.
When the Palakkad company did campus interview, 10 of us got selected and at least 6 of us joined. One was commuting from Cbe, me from TN-Kerala border and the rest wanted to rent a house in Pkd. The personnel department frightened them that 'nobody will rent house for bachelors' (nonsense, there were simply too many renters willing to give, as we found out much later) and pushed them into "monthly rental hotels". It was so difficult to get good rooms in that small, dull, dark, 110V, 9 PM sleeping town - but they managed to get one room that could take all of them in. ("Babu lodge").
One evening I too went with them to town, had tiffin in the HariharaputhrA hotel near private bus stand (the only place where one could get TN-like sambAr for dOsai those days) and thought of spending some time in their room / possibly going to a movie. Well, the room was as such dark (despite a gundu bulb), I was tired / sleepy / gloomy but both the twin beds had others sitting on them.
Then there was power cut and one fellow got up from the cot. I did a foolish thing then, dived to the bed :-( Alas, where I expected the pillow to be, there was this dark edge of the wooden cot. Sharp cut so close to the right eye, just below the eyebrow and I was bleeding profusely. Following some chaotic moments, I was in the auto to Kerala Nursing home and moments later in the room to get repaired. (I froze when one of the nurses shouted to another 'is that small needle not around?')
Well, for a few days I had that big bandage close to right eye and caught the attention of every girl in the factory who said 'tsO-tsO' :-)
sorry, app_eng for your eye injury, padikkum podhey bhayamaa erundhadhu.:sad:
ketteengala, IR vin manadhai uruga vaikkum sogap paadal.
haunting flute and grieving singular violin with strings counterpoint, Vairamuthuvin varigal, Bala's soulful singing... my favorite!
:musicsmile:
http://www.youtube.com/watch?v=uE6cFfnLdcM
http://www.youtube.com/watch?v=Mxqm0tfxe54&feature=related
vinatha
80களில் இப்படி இருந்த காதல் சோகம்/தோல்வி , இன்று "கொலைவெறி" யில் வந்து நிற்கிறது.Quote:
Originally Posted by app_engine
Thankyou very much App sir for your nice appreciation. :D You are most welcome, anytime.
As vinatha mentioned, I could feel, how much pain you would be in that time. :sad:
Very nice observation on MR using the title for his next film from this song. Very nice and even tempo for such a sad song. The starting echoing flute still echoes in my mind along with that birds chirping sounds. These are the songs, me and our friends were mad to sing like SPB and not even 1% of that depth/soul we can meet, what that legend has given. :notworthy: The way he sings 'vanthu povathundu' in second charanam, is just top class. Second interlude flute is more light with breezy guitar and high flute. Both the interludes are exquisite portions of the song!
Manathai uruga vaikkum soga geetham. the exact reason I always tend to skip this song frm listening, kekkum pothe manasukulle appadi ore sogam varum, kal manasaiyum karaiya vaikkum... orutharoda vaazhkai thunaiye izhanthu nikkarappo vara koodiya tanimai unarvaiyum, valiyaiyum romba azhagaa kuduthurukange.
The way the song has been orchestrated , and the way SPB sung it. :bow:
Just saw this, sorry for late response. I was referring to the world cup and my favourite team.Quote:
Originally Posted by al_gates