param, that was in 1990 as this link shows:Quote:
Originally Posted by PARAMASHIVAN
http://lmgtfy.com/?q=kizhakku+vaasal+release
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param, that was in 1990 as this link shows:Quote:
Originally Posted by PARAMASHIVAN
http://lmgtfy.com/?q=kizhakku+vaasal+release
Thanks for Doordarshan National Service and Wednesday/Friday Chitrahaar, Sunday morning Rangoli I was exposed to new and old Hindi songs. I think my first recorded hindi album was "Tezaab". Then QSQT, MPK, Saajan, Ashiqui, Dil Hai Ke Manta Nahin.... I almost forgot TFM for few years. The only TFM songs that recorded during this period were primarily MR movies. (As you can see, I did not miss SPB much, with MPK, Saajan, Patthar Ke Phool etc)Quote:
Originally Posted by app_engine
yeah...dhoordharshan, chithrahar, radio programs etc..
Even during glorious 80s IR time and before, Kabhie kabhie, Sholay , Aandhi, Aaradhana , Abhiman etc.. are popular.
Once I went to college, out of state students only added more old hindi works to my attention after I told them about my favorites of Lata, Rafi etc.. songs.
then, moving around Seattle, Bangalore, Chennai, California over three decades only added IFM addiction.
So what, SPB's works in hindi offering are there..:roll:
We always want SPB's vocals in IR songs.
When Bala-IR numbers reduce, we are unhappy, that too SPB flying high in his formidable years.
Unacceptable.
No time, I moved away from Tamil cinema music. Whenever I call home - tanjore / trichy/B'lore/Chennai, I always asked my amma,
"என்ன வந்து இருக்கு?
எங்கம்மாவா... இளையராஜா தானம்மா போட்டுண்டு இருக்காரு... எப்பவுமே இளையராஜா இசை தான் நம்ப ஊருலே.., even by 1996 , ரஹ்மான் வந்த பிறகு கூட ,அப்படித்தான் சொல்லுவாங்க" :)
listening to MSViswanadhan-TMS is not my favorite, adhu onnu dhaan :(
I think this TMS factor is discouraging for me.
When I regularly took time to visit MSVTIMES at least for 10 mins or a single post or read konjam kojam SL's articles or Ram's articles, I was enthu sincerely, for Padma award petition, I signed.
I surprised myself with Yesudas, Bala, Susheela hits without knowing the film detailshttp://www.mayyam.com/talk/images/sm...icon_smile.gif when I was going to MSVTIMES.
End of the day, Lata hits with various hindi composers, Rafi- Lata combo, Geeta Dutt, asha collections, Composers like Khaiyyam, Madhan mohan etc... along with Ilayaraja invite me, I crave for the music time, hang around with them with different themes, moods.
I think MSV-TMS not giving me that soothing, sublime mood.. not listen to MSV-TMS songs at all :???:
P.B.Sreenivos collections 3 cds only I have, I cherish them. Often listen.
I listen konjum puravey.... MLV hits also often.
all in all, from C.Ramachandra to Vishal Barathwaj, Konjum puraavey- MLV hits to up coming Gibran's vsv songs, I am doing good. Content.:)
vinatha
I couldn't post on Sat / Sun / Mon...will try tonight to post at least one (doubtful, holiday means busier schedule)...if not, 4 songs will be due tomorrow :-)
Thanks al_gates :)Quote:
Originally Posted by al_gates
Another gem from the movie was "Paadi parantha kili" :notworthy:
app,
padikaren. All are Sweet home works...........
#259 ஓல ஓலைக்குடிசையிலே கொஞ்சிக்கொஞ்சி விளையாடுங்க
(ஆனந்த, 1987 )
Nice sweet themmAngu from this Prabhu movie that had a lot of air-time on buses per my memory. One quickly gets reminded of Prabhu and that's a big success for SPB, nicely sung!
One of my close colleagues (and a year senior) at the workplace was from Kovai and he frequently used the word 'paradEsi' at anyone / anything that got him upset :lol2: The second interlude of this song -where some conversation etc happens -, this term comes ("paradEsippasangaLA") and instantly reminds me of this nice man who was also my roomie for sometime later on. Far removed from film music (he was the one who exclaimed 'Oh you identified that sound instantly - that it is from violins - neenga periya ALunga') but heavy watcher / commenter of movies & was many a time company for the second show. Size-wise too he reminds one of Prabhu :wink:
Unfortunately, I never recorded any of the SPB songs from this movie on my cassettes those days; but somehow that 'ArArO, ArArO, nee vERO, nAn vERO' got into one of them. Not because it was a fav but simbly for snob value. This was the year when both northie sisters came to sing for rAsA. I loved sheNbagamE very much though. LM had to wait till the Sathya song to get my repeat listens. From the snob POV, however, both these songs helped me a lot with peers those days ('enga composer kooppittA - with viral sodukkal - chummA vadakka irukka top-top pAdakikaL ellAm Odi varuvAnga theriyumA, avvaLavu mariyAdhai' :lol:).
Like many movies of that year, don't know how the movie fared, what was the story etc. From the net, I could see that it had both Radha & Sasikala.
Oh that terrible farce this movie was...Quote:
Originally Posted by app_engine
The only thing that must have gotten Raaja to do this movie would have been the fact that this was another adaptation of Devadas . It was also done in Telugu by Annapoorna studios with Nagarjun (but i am not sure about the Music Dir of that movie). Here devadas and paru were not childhood sweethearts .
The movie had sivachandran playing the role of villain - he does a Lago(from othello or for ppl who saw VB's Omkaara - LAngda tyaagi) here and breaks the love of devdas and paro by planting suspicion thereby keeping both characters as saintly as possible. The movie runs a tumultous course (for the audience) with Prabhu contributing early proto sketches to Nic Cage's Leaving Las Vegas and in the course he sings this song for a "kuppaththu" kaadhal couple (incidentally he is a pop singer catering to the elite Michael jaaksun casette holders!!)
The biggest casting gaffe of the universe was having the ever "not to be taken seriously" cho ramasaamy as Sad father of devadas paired with "ever ready to cry" soccer janaki (sorry typos sowcar) .
The movie ends with estranged lovers lying on the road dead like "road kill" - looks like the director got us viewers like that in our neghbourhood roads - had only he known that another 5 minutes sequence of amara lovers united in heaven - thankfully producer and distributors prevailed with the movie ending .
I could have spared all this and said - "Anand The Massacre of the innocent". But wouldnt have been half as funny or wouldnt have provided me of much needed catharsis.
jai,
:rotfl2:
romba bAthikkaptturukkeenga :-)
#260 தொடாத தாளம் போட வேண்டும்
(ஆனந்த, 1987 , ஜானகியுடன் )
Another "heard-only-in-buses-in-and-around-CBE" song :-) With excellent wind instruments + drums + guitar work, this song is quite catchy and enjoyable! The top singer pair sings without much ado and the song was in the "then-latest" rAsA format (following some of the style / patterns that he developed during the prior year for the MR / PM kind of movies where the rain songs had similar arrangements). We can match each set of "sounds of rAsA" to its own time period and that's how we get nostalgic feelings also. These sounds are purely late-80's, peppy, "almost programmed" kind of drum work, majestic trumpetting etc.
Now question to music-genre experts - under what genre can this song be classified? The melody almost sounds like 60's (MSV-TKR-ish when they had some jazzy songs, theirs were a little slow IMO where jazz drums was deployed...whenever they wanted to speed up the tempo, bangos were invariably used - paruvam enadhu pAdal, pattaththu rANi are quick examples that come to mind) and it's easy to picture MGR-Sivaji in this song with 60's setting. OTOH, the drum-work can be taken as disco. Then there's some harmony using chorus, naduvula oru strong guitar sound. Nice challenge to identify the genre :-)
Now that jaiganes revealed the fact about the hero of the movie - pop singer - the lines of the pallavi is a little bit more interesting :wink: pudhu anubhavam for the fellow whose earlier toys were drums and rAgams and not flesh and blood stuff. Since the movie has already been trashed, one cannot expect the director to have some dialog around such things, get into some poetic setup etc. Still, it would be interesting to read about the 'sichchuvEshan' as how this duet gets placed in the movie...One website says director was billA Krishnamoorthy (who did a few with producer Balaji)...so was this movie a Balaji / Sujatha films production?
#261 ஐ வான்ட் டு டெல் யு சம்திங்
மற்றும்
ஹே யு யு கம் டு மீ
(ஆனந்த, 1987 )
Recently, skr sir had been trying to collect rAsA's English songs and this Anand movie is notorious for contributing 2 among his list, though not entirely English songs :-) Both are part of this post and I've heard them on buses, both as songs themselves and as fillers (cassette ends). Nicely paced, dance worthy and some interesting arrangements (guitar / wind konjam thookkal & drums as per prevailing standards of the time). In any case, I don't remember having any emotional connections with these songs but I'm fairly sure they were heard around TN and can be classified as "bus-hits".
Like I mentioned in an earlier post, let me use these songs to talk about a huge shift in my music listening sensitivities around this time period. I am very sure most IRF's who are today in 40's-50's had undergone similar shifts during their lifetime (some prompted by IR getting into other lang fields, others prompted by his interviews / statements etc). Most hubbers here can relate to predominantly listening to alternate forms of music at one point of lifetime or others. Well, to me that started during late-87 and went on to full-blown state in the next few years:-) It wasn't like the leanings towards MJ or MFM but on a much more strong bonding level. Ofcourse not HFM (already informed in a reply to Plum).
While frequenting the cassette / recording shops in Palakkad (actually there weren't too many, 3 or 4 cassette shops & only one recording place I'd been to), on one evening I spotted this casstte with a beautifully illustrated inlay card. It had the name "Paul Mauriat"! What! I couldn't believe my eyes and kaNNaikkasakki vittu, maRupadi pArththu made sure. The album had the name 'nagekidori'. (From the time I read about him in Kumudam sangeethakkanavukaL, his appreciation for EdhO mOgam etc, the name was strongly wired in my mind and I didn't have even think a second to recognize the name). Within a minute, the cassette was mine and I was feverishly walking to the room to stuff it into the walkman.
'nagekidori' was PM's own composition and had mesmerizing flute work that did something to the nAdi-narambu. Then there was the instrumental version of Whitney Houston's "Didn't we almost have it all" that I immediately recognized and was spellbound by the tremendous arrangements. The best piece, however, was "back to the pyramids" (I'll try to get youtube links once I reach home). It pushed the spirit to some levels that I've never experienced prior! (Ofcourse, I may not feel the same way today - but at that age, circumstances and position, it was...unlike anything I've experienced before...do I sound like some sAmiyArs / preachers? :lol: Music has power I say!)
Thus started my hunt of any cassette with his name on it! 'Love is blue' 'Classics in the air 2/3' are among the best but there were just too many and every visit to Bangalore had me hunting around the music shops for some collection of him or other and I was also feverishly sharing them with many associates, relatives (sometimes gifting - last year I met a cousin after years and she had Love is Blue on the smart phone (not by PM, some other version) and recalled how I introduced to her that track years before). I was overjoyed when identifying the Mozart symphony that was used by National Panasonic as demo to be PM's version!
It wasn't a fad but lasted for years, changing my music listening taste forever! Even now, I can't stop with just one listen of 'love is blue'!
Too good post App :clap: The way you kindle everyone's memories and invite everyone to post is one of the most unique quality of your posts. :thumbsup:
Yes, till 1986, as far as western music is concerned, I had only listened to MJ, Boney M, ABBA, Wham! and Tina Turner (apart from the ones our Maestro introduced). I was thinking MJ was the only superstar of western pop/rock music (ofcourse still he is), but I was blind and could not ready to accept any other songs as that great. My friends at my college introduced me to whole new world, especially in 1987 from there I did not look back. When I was sure MJ would win Grammy for his Bad in 1987, there came a big surprise from U2 in the form of Joshua Tree. When we were watching the Grammy could not believe U2 grabbed that. To be honest, didn't like them at all at that time, but that was one cracker of an album. which goes with me everytime. Sameway, I got introduced to so many artists, right fom Megadeath, Europe, Dan Seals to Houston to Tracy Chapman and the list goes on. But once I get back to our Maestro, it will again take months to go back to them. :smile: Thanks for your wonderful post about Paul Mauriat which made me write this.
I don't remember these numbers now, will have to listen to it in the evening.
PS: Sorry to say this, Another bad thing is the amount of exposure I got into the contemporary western music (all kinds). It is so huge that if any indian song does the same/similar tune, singing or arrangement, immediately it is disqualified for next listen from me, as I find nothing new and I have a feeling that I have heard these kind of songs many times before. Just singing in indian lyrics won't help for me, if it was a pure pop/rock song. That's a bad habit, but I cannot help it.
Why sorry? I think that's a GOOD habit :-)Quote:
Originally Posted by V_S
Who wants to listen to such rehashes?
Some Indian music has "better sounds" than original compositions or that such are "cool" to listen or listening to such is a requirement to be accepted by peers etc are not valid reasons to culvitate a liking for rehashes :-)
Lovely write up App
Nice knowing your experiences.
I feel Raaja's music also slowly underwent a change during this period (for the good only) with albums like Anand and Poovizhi Vaasalile (which came a year later) which had a jazzy flavour to it.The song 'I want to tell You something' is an absolute stunner. SPB at his effortless best , the chorus is so goosebumpy.
The song overall is so breezy and feels like u r taking an early morning walk humming along in a spectacular hillstation under the backdrop of a picturesque landscape ..
Check out SPB's humming chromatics in the 2nd interlude (also notice the bass guitar playing along-Wah re Wah) from 02:52 to 03:06, which is laced throughout with chromatic passages.Instantly transports you to dreamland.
nanRi V_Sji & skr!
I need to post two more songs today to catch-up and will possibly end the year 1987 with them :shock:
Not that many SPB-IR hits in that year.
app,
Anand was produced by Sivaji Productions and it was directed by C.V.Rajendran and not by Billa Krishnamurthy. As Jai had pointed out it was a remake of a film called Majnu, a Nagarjuna starrer. This was the second film done by Sivaji Productions with Prabhu being the sole hero [meaning NT was not there], the first one being Aruvadai Naal that came in 1986. This was November 1987 release. Jai had already massacred it and there is no use in me trying to give a life to it. So only some tidbits
app, you must be aware that Thalavattam was remade as Manasukkul Mathaappu with Prabhu in the lead and I assume that you had seen Thalavattam. But even before Manasukkul Mathappu came out, some scenes like, where Lal tries to impress Lizzy [like putting flower decorated I Love you on the road etc] and many such small things were reproduced in Anand, when Prabhu tries to woo Radha [maybe Telugu had taken it from Thalavattam]. Though one cannot by any standard rate this as Prabhu's good attempts [compared to the variety of roles he was doing at that point of time like Aruvadai Naal, Palaivana Rojakkal, Chinna Thambi Periya thambi, Megam Karuthirukku, Chinna Poove Mella Pesu, Kavalan avan Kovalan and Poo Poovaai Poothirukku, to quote a few], it was not bad either.
All that you quoted were good songs but the most popular was aararo aararo by Lata.
Regards
Thank you Murali sir, for the clarification on the production house & director for Anand!
Ofcourse, thALa vattam was a big fav movie those days (pon veeNai ennuLLil a big fav song and my collegemate / colleague was a big Karthika fan).
Also, I had 'dEvanin kOvil moodiya nEram' on a Sony cassette and possibly listened 100's of times during those years on headphones...
App,
just curious. Did you buy a boatload of AA batteries those days to run your walkman? This used to be a sore point with me as pair of batteries can run for a listening time of only 48 hours and I have to wait for some days before asking parents for money to buy new batteries.
al_gates,
I had a few advantages :
1. I was employed and was spending 50% of my salary, called "stipend" and no cuts / taxes etc, all by myself :-)
(In 1987, 50% of Rs 2350 was a lot - for e.g. the room rent was Rs 175 and one could have all three meals at good restaurants for < Rs 15 a day)
2. Used an adopter when at room :wink:
3. With 6 day work week, practically 8 to 8 at workplace plus travel plus sleep plus restaurants etc left very limited time for music listening
#262 ஏத்தி வச்ச நெருப்பினிலே
(ஆளப்பிறந்தவன், 1987 , சித்ராவுடன்)
Very sweet song with signature rAsA arrangements (strings, shenoy, tabla, flute) and a nice folkish melody. SPB & KSC sing so sweet that this song is instantly catchy! I hate to repeat this but I'm instantly reminded of bus travels again. I don't remember listening to this song otherwise. Thanks to thiraippadal, I can hear this again and based on the memory recall, happy to list it here as a "bus hit". Net search says this movie had Sathyaraj / Ambika and A S Prakasam was the director. (We talked about him for Sivaji's "sAdhanai" and not surprising that he could get yet another sweet melody from rAsA as their association goes back to echchil iravukaL days).
As in the case of most 1987 movies that had SPB, don't know the fate of the film. (OTOH, I know very clearly what happened to a few non-SPB movies that had IR, Gangai Amaran / Ramarajan combo's enga ooru pAttukkAran was a hit , KH-MR's nAyakan was a hit :lol2:). Well, if there are any thiruvALarkaL / thirumathikaL who had opportunities to undergo the viewing pleasure of this movie, please post your experience. (I don't expect any selvan / selvi's to have any familiarity with this kind of movies :lol:)
#263 ஒரு காதல் என்பது என் நெஞ்சில் உள்ளது
(சின்னத்தம்பி பெரிய தம்பி, 1987 , ஜானகியுடன்)
Possibly the last song for this year in our collection (if there are any other major hits, please post ASAP). When this movie arrived and was running well, my colleague wanted me to go with him and I couldn't make it. When I heard this song the first time, I liked it but have never recorded or had the cassette because it was not credited to IR. Well, there had been often posts in the hub (including by me) of "correcting" people who assumed this to be an IR song. That the MD is Gangai Amaran.
Then came the youtube where Gangai Amaran explained that this song was done by IR and he "borrowed" it (possibly Manivannan, the director did the purchase / borrowing). This song was reasonably popular - on buses / radio and even in the web. Very recently, during a trip I loaded a few hundred rAsA MP3s in a hurry using some disk that came from a relative in Bangalore and this was among them. That was the first time when I listened to this song in my own music system - it had terrific recording quality - and got amazed. How can anyone associate such orch with non-IR composers? Never!
App,
How about these:
Eduthu Vechcha Paalum from Ninaive Oru Sangeetham, very famous Captain's song.
Theerthakkarai Orathile from Theerthakkaraiyinile, Mike MOhan's hit song.
Vaa VeLiye from Paadu Nilaave, Mohan-Nadhiya hit song.
Jai's discovery, DeepangaLe OLi ThoovungaLe from Dhoorathu Pachchai- Psychedelic rock at it's best, but I don't think it was hit, it is a rare gem.
As far as I know, first three are hits.
Wish you knew me then. We prolong the life of these batteries by rubbing both points against the floor (cement floor the best). Yes! I still do it with our remote control batteries when too lazy to go out and buy em.Quote:
Originally Posted by al_gates
http://www.youtube.com/watch?v=-EpQSdoE6n8Quote:
Originally Posted by app_engine
And app, years going by fast, and am feeling sad. Hope even after the most recent SPB/IR, we can still go back and catch up on stuff you missed out. Great going as usual, boss, you are awesome.
IlanchOlai Poothatha - Unakkaagave Vaazhgiren
A brisk semi-classical dance number. Beautiful locations apt for the song at the temple background and also lush green landscapes ideal for dancing. Tailor made song for Sivakumar and "touch-me-not" Nadhiya. I was totally surprised in another song, 'Kannaa Unnai ThEdugiren' where she was looking and longing to meet her lover after a long time after some 'oodal'. When he comes before her, what do you expect her to do?. I was astonished to see him with grim face (he and director cannot do anything as strictly instructed by Nadhiya) and she is giving all expressions, but she is not going anyway near to him at all, forget about 'touch-me'. Too plastic scene that was. Luckily this one escaped all that being a dance number, so she is free from those restrictions as she is dancing her way, still keeping her distance from Sivakumar, whenever he approaches her (I am dancing you know), with a plastic smile intact. One big plus being Nadhiya sporting a big 'bindhi' which we cannot see in any heroines of today's films. Every time a plus has to be compensated by a big minus. That is, a truck load of flowers on her head, takes away the beauty of the dance costume. Sivakumar almost dances when he walks as he makes all hand and leg gestures with wonderful facial expressions which resemble dancing and not to forget everything is strictly to lyrics. Sorry, was just sharing some lighter moments. :wink: Definitely we all know, Sivakumar a thorough and sincere actor, friendly to every director. Visually no complaints, wonderfully done, except some dance shots were at a very wide angle, not sure what director/cinematographer wants to convey.
This inimitable and aboorva composition was composed in Dharmavathi raagam (a melakartha raagam) set to Aadi thaalam. Other notable compositions from Maestro in this raagam are Konji Konji (Veera), Meedum Meendum Vaa (Vikram) and the 1st charanam of Pularkindra Pozhuthu (ULiyin Osai). Are there any other?
Just by hearing, I can definitely tell SPB is singing for Sivakumar. SPB does not change his voice only for Kamal or Rajini, but for Sivakumar, Mohan, Ramarajan and many others. Only singer who can do it. If we credit Maestro for this numero uno composition, SPB deserves equal credit for taking it further and adds more beauty and nuances with this excellent singing. It's a beauty how SPB sings every note with some outstanding gamakams, to enrich the sweetness. Without him the song would not have reached this height. If any aspiring singer or even the current set of singers want to enhance their skills this is one of the song they need to practice to achieve mastery, especially on the emotions side.
SPB glitters in initial aalaapanai. When he starts singing, thampura gives the sruthi and flute replicates the aalaapanai. Flute took me to the starting flute in Azhaikkiran Madhavan (not sure why, as that was subhapantuvarali). Next part of aalapanai is replicated by veena. That's where Nadhiya intends to dance first in her mind where we hear the ankle bells. The best part of aalapanai is when flute and veena mimic the aalaapanai alternatively, but the last aalaapanai is mimic'ed by both instruments together. One of the best aalapanai one could hear in film music.
Veena speaks his mind and flute speaks her mind. As soon as he starts singing, we can hear the same tune repeated in flute just as her mind is echoing his singing. Every time it does and at last both veena and flute play together in 'sangamam' as both their minds are tuned together to perform the classical art. But the actual situation is, Nadhiya is in her dream dancing to Sivakumar's singing. I also tend to think in another reverse way. Hero is playing veena, where veena is akin to her mind (rather than his), while the heroine tries to speak/understand his mind through the flute, as they both care for each other and then the sangamam happens. Little more interesting?
Maestro does not start composing the song for a classical dance straightaway (even though I assume director would have said it is a dance song). The prelude time is required to get into the dance mode as she is not yet ready for that. This is like indirectly asking the director to do the initial homework before the dance. :wink: Imagine the song without that aalaapanai. Gone with the wind!
If you closely observe during the prelude and pallavi, she is intermittently seen as dancing few steps and she is back into that room listening to the song. She goes back to the dream and comes back. Again during the prelude she does not even get a good picture where she is dancing, director aptly shows only her feet. This continues till the pallavi is over and into the charanam. Will explain the beauty of interlude little later.
The tabla roll when SPB starts singing the pallavi is very rare phenomenon which we don't get to hear often. When he repeats the pallavi again, the tabla roll is different. For the third time when he repeats the pallavi, what and how do you think Maestro would have played the rhythm. He has completely gone mad and introduces mridangam, totally unexpected. Unbelievable touch from Maestro! Cracking shot that is! :notworthy: Before we recognize the switch over, it is there. Another best part of this pallavi is he also introduces the bass guitar that too at unconventional places. Definitely I was expecting a bass guitar as it is his style of composing (even that is not a standard for this type of composition), he plucks the chords at 'chOlai' rather than at 'iLanchOlai'. Sameway at thathaa instead of at poothathaa, at jaalam instead of at ennajaalam, at kOlam instead of at vanna kOlam and so on. This can be seen as giving stress to those words rather than it's adjectives.
We can even find similar style in Western classical/Jazz where sometimes we need to have alternate chord placement to stress the melody note, against what we think where the melody is. Definitely there could be more reasons for the chord placements. But what a thought process in those few seconds. Who would care where he places the chords, or who would care if the chord is there or not? Why would he then do it? That's the completeness we are talking about in every Maestro's composition. That's the sincerity we are talking about. In those flurry of movies at around 50 movies per year, he never compromises and never becomes lazy to put those chords that too at appropriate places, even he knows many will not take notice, definitely in this semi-classical number.
We have already seen the tremendous amount of innovation in the first minute right in the rhythm, instruments and in the chord placements. On top of all this, a honey-soaked aalaapanai, pallavi-anupallavi emerging as Godess Dharmavathi.
இளஞ்சோலை பூத்ததா என்ன ஜாலம் வண்ண கோலம்
ஒரு பூந்தென்றல் தாலாட்ட சில மேகங்கள் நீரூற்ற
இளஞ்சோலை பூத்ததா….
Wonderful lyrics!
Generally when we think of something, sometimes it does not come to our mind immediately, it will be at the tip of our mind, but does not come out. That's where Maestro starts the first interlude with few heavy violin strokes, symbolizing the flow of our mind and then suddenly it rings a bell in her (please observe director shows temple bell). Yes she got it now where she is dancing. I cannot stop appreciating the director having exactly conceived what Maestro would have thought while composing. Just after the ring of the bell, we first time see the temple backdrop. Beautiful! She gets a full picture now. She is seeing herself now dancing and could not stop dreaming. The initial flow of violins and flute show that. After that there is little drop in the flow. Why? After she is seeing herself, she wants to have a good closer look of her at various postures and admire herself. That's where we hear some xylophone sort of sound from the keyboard and flute between every stroke of mridangam. She dreams her various dance postures. Definitely during these later portions of the interlude, a dance cannot be performed, so director cleverly used that footage to show various postures. Excellent synchronization between the music and the visuals, one of the best, if not the best. Again the director superbly swaps the shots by showing real Nadhiya(in her dream) and Nadhiya dancing. So here we are, till the end of this interlude, she is not fully in her dreams, nor she is fully at present. This is where Maestro's impromptu works. He brings veena here to stop dreaming only of her, reminding her to dream about her lover too, remember we already associated veena with her lover.
Have to tell about that temple bell sound which we just heard. During our earlier days of listening, sounds like this temple bell will occur only once in the entire song. Even after watching the films also we could not much understand why Maestro is teasing us by giving such sounds only once and why does he not continue those beautiful sounds atleast for sometime. Here it would sounded rhythmic too if continued. Now having come through years of listening, now we can understand the reason. The reason is we just saw above. Strictly for the situation and even if it is needed for beauty or ornamentation of the song, strictly No from Maestro!. Director has again perfectly nailed that sound in visuals. Again, whenever I start writing about his compositions, especially the interludes, he gives me appropriate and convincing argument of every instrument used every time, never thought he did not answer me or let me down. If a novice like me gets so much from his compositions, I could not imagine, what's in Maestro's store for serious listeners and experts like.
The charanam gets sweeter and sweeter. We continue were we left off. From the charanam she does not come back to her present till the song is over. She is completely dissolved in it. So we can even see new locations where she is dancing and now she is even thinking of her lover. My favorite lines: "ஒருமௌனம் தீர்ந்தது, சுதியோடு சேர்ந்தது" What a line! Please listen how SPB pronounces 'சுதியோடு' exactly as written, as there is no "shru" in Thamizh. :thumbsup: Charnam is SPB all the way. Excellent gamakams at the end of every line. The gamakams during these lines, SOlai engum sugantham, meendum ingE vasantham is just superb. Also please listen to the instrument following 'meendum ingE vasantham'. You can smell vasantham here in Maestro's music. Again only once! Take a deep breathe to get the vasantham. :smile: Maestro beautifully composed keeping the first two lines at higher octaves, then the next two lines in middle/lower octaves, going up again for the next two lines and stays here except a small dip at 'maayam alla mandhiram alla' for mridangam to take over to pallavi. Beautiful variations, one of the best by Maestro, making it one of the sweetest ever song from Maestro. :notworthy:
Second interlude is brisker than the first one. So much happening there. Normally while dreaming there will not be much correlation between the events that's what this interlude portrays (according to me). As you can see, she is now confused what to focus on her dream, whether the postures she saw during the first interlude, or the one which she is seeing now or the ones with her lover. So she juxtaposes her images randomly. Big Sabaash to the director again! I have never heard a better mridangam in a film song (atleast not in the last 35 years). Please hear it to believe it. Astounding! The play of violins, flute and mridangam clearly brings us the state of her mind. I have even stated there were some long shots, I wasn't sure at that time, but now it makes sense. It is a dream anything can happen, sometimes the images can be closer, sometimes not. You can see what we dream of typically and we have not imagined too. I would even say it as a great test between the music and the visuals. Even if we don't care for the visuals, this is a perfect classical interlude we have ever heard. If you are a classical dancer, automatically your feet will dance to this interlude or atleast wanting to dance. Just a glorious piece of music!.
Again in 2nd charanam what lines!
ஊமையாய் போன சங்கீதம் ஒன்று
இன்று தான் பேசுதோ (please watch out for excellent gamakams by one and only SPB)
மேடை இல்லாமல் ஆடாத கால்கள்
இன்று தான் ஆடுதோ
கண்ணில் என்ன கனவோ (please watch out for excellent gamakams by one and only SPB)
நெஞ்சில் என்ன நினைவோ
நம்மை யார்தான் கேட்ப்பது (Here comes the triple A's, please watch out for excellent gamakams by one and only SPB, This one line, especially 'KEtpathu' I admit, I became slave for SPB's singing. I can even challenge to any singer if they can sing this line exactly like SPB)
விதிதானே சேர்ப்பாது
In that word KEtpathu, you can hear not just the gamakams; but yEkkam, Azhugai, santhosham, kaadhal, whatever emotions you line up, everything is right there! Singing genius unparalleled!
This is a rare song atleast from the picturization point of view, as we don't get to see often great visuals in Maestro's music. Again we are talking about instrument level! Big applause to the director :clap: Great lyrics. Is it by Vairamuthu? Normally for a classical dance composition like this, not much concentration given for lyrics, still Maestro opted for Vairamuthu and he delivered. :clap:
We have heard V Dakshinamoorty's (one of Maestro's mentor) Nanda en Nila. I heard this was composed in Madhuvanthi (janya of Dharmavathi). There are only a very few songs in this raagam and only very few songs which has that sweetness and carry us till our life. Again sung by our dearest SPB. If you listen to this song, you can never stop listening to it. Such is the composition and such is SPB's singing, touching our deepest hearts. Incidently, I see IlanchOlai Poothathaa as a rich tribute by Maestro to his mentor. I even think of Maestro using the same family of raagam (Dharmavathi) just because as they all belong to one family, which is music. Even here, Maestro chose our SPB to sing this greatest composition. And both are solos. This song should be among SPB's top best. A composition Maestro should be proud of. A composition SPB should be proud of. A composition musicians who played should be proud of. A composition director should be proud of. A composition Nadhiya and Sivakumar should be proud of acted in it. A composition every listener should be proud of as we don't get to hear this kind of music often (now, not at all).
A composition music should be proud of! VEnu gaanam!
http://www.youtube.com/watch?v=4kOLgcCu3VQ
Sorry App for taking such a long time. Still not sure if I have done any justice to this master composition, with my very limited knowledge. Also would like our experts to analyze technically and also point out any of my mistakes.
ஆஹா, வி_எஸ்-ஜி, பிரமாதம்!
இவ்வளவு அற்புதமான ஒரு கட்டுரை எழுதிட்டு எதுக்கு இந்த 'ஸாரி, பூரி, குப்பத்தொட்டி லாரி' எல்லாம்? :-)
தமிழ்க்கலாச்சாரத்தை (தன்னடக்கம்) ரொம்பவே கடைப்பிடிக்கிறீங்க!Quote:
If a novice like me gets so much from his compositions, I could not imagine, what's in Maestro's store for serious listeners and experts like.
நீங்களெல்லாம் novice-னா அப்புறம் இந்த serious listener / expert அப்படீங்கறது யாரு? ஒன்னு ரெண்டு உதாரணம் சொன்னா நல்லா இருக்கும்:-)
இந்த விஷயத்துல உங்கள மாதிரி நம்மூர் ஆளுங்க, ராசா கிட்ட இருந்து கொஞ்சம் கத்துக்க வேண்டி இருக்கு:wink:
nanRi groucho, for the kind words and also the youtube link!
Going by V_Sji's post, the year is not over yet :-) At least one more song is in "my" hit list (eduththu vachcha pAlum) that is not on thiraippadal - will have to get another link to post...
OTOH, V_Sji,
I have already posted about my non-familiarity with the 'vA veLiyE' number :-(
Same goes with the theerththakkariyinilE song which I've never heard before.
So, I guess such songs need to be discussed without "numbering" (or later, as recommended by groucho) :-)
#264 எடுத்த வச்ச பாலும்
(நினைவே ஒரு சங்கீதம், 1987 )
The coolgoose (that became cooltoad - what a metamorphosis) link for the SPB version of the song is inside the above post by SP ammA (she does not like to be called chEchi/akkA). She has also posted the lyric there. With due respects to her reactions to TFM, I can't say if this song can have any kind of emotional impact on me. Just an "easy listening" kind of number. For the SJ version, check this thiraippAdal link . A sweet, typical late-80's IR song. idhu mAthiri eththanai eththaniyO :-) That way, neither the lines nor the melody / orchestration created any "wow" feeling in me then & now. It was a hit song nevertheless, from a Vijayakanth movie. (It's very much possible that the movie had a successful run as well, me don't remember...Honest is the right person for stats on VK).
EththamayyA Eththam - onakku romba EththamayyA Eththam was my fav number from this movie those days. The interesting slEdai use of the word Eththam (1.mechanism to fetch water for krishi 2. kozhuppu) caught the ears on the very first listen. I have a faint memory that tells me of watching this song on "oliyum oLiyum" where Radha was full of kuRumbu, supported by the excellent singing of Chithra and MV the apt choice for the pattikkAttu hero.
From what I remember, the one on screen was not the kind of water-fetcher that was used in our area.
What we had in my appA's village / surrounding area was the one pulled by bulls and it was a wonderful sight to watch the process (and listen to the kreech-kreech sound). Their yoke was pretty much like the one used in the cart but it got attached to the rope that will pull the 'kavalai' (villager's slang for what the science teacher called as 'kamalai' when teaching pulley & related principles). The "run way" of the bulls is at almost 45 deg slope and they run with ease when pulling the water up and then lazily walk backwords after emptying pAni into vAikkAl.
With the way in which minsAram gets rationed in TN, people may have to go back to Eththam / kamalai etc :wink:
Thank you App sir for your kind words and appreciation. :D Thannadakkam ellaam illeenga, Raasa'voda ella paattu'leyum classical touch irukkum, aana Indha paatt'la classical touches rombave adhigam, like they say 'Manodharmam' in carnatic classical language, which is all very far from my area, that's why I reviewed the areas where I am comfortable, leaving out the vast area for experts to discuss.
pEr sollum piLLai, that came in 1987, is perhaps a rare case of a Kamal-IR movie where none of the SPB song qualifies for this thread, though thiraippAdal lists 3 numbers sung by him...the only song I remember from that movie - 'ammammA vandhadhindha singakkutty' - was by Kamal and I never liked that number also. What a pity :shock:
At such peak form & productivity, I can't believe rAsA failed to make catchy numbers for a KH movie. He possibly had some irritation towards the project, IMSO!
Velakkethu, Ammamma - Good songs only. Spb got boxed into regular duets during this phase I think. Thappu thandaa could be the worst ir-kh number ever. Ammamma is brilliant, infact - watch the orchestration closely, app. I think - reading from your posts over years - that it might be you who got irritated with Kamal during this period. I am not surprised - me also same blood. AS and MMKR varaikkin apdi thaan irundhudhu
Excellent write up V_s ji, regarding "ilancholai" , like you mentioned SPB simply flows through emotions like a river flow, with no effort at all! I fell in love with this song one my 1st hearing! :clap:
Only IR + SPB possible!
Thank you PS, very glad you like it. :D. As I said, this should be among SPB's top songs.
In general, yes...but this year had that awesome nallavarA-kettavarA thingy (I know you prefer D-Magan over that but in my book it's all-time-top-list candidate), so it was not all -ve :-)Quote:
Originally Posted by Plum
Possibly, the string of horribles (e.g. gerAftAr) ended with nAyakar :-)
Also, the general reduction in the # of songs by SPB-IR combo (with no significant increase in KJY-IR / PJ-IR / MV-IR kind of "quality" combos) automatically meant heroes getting not-so-good-male voices / songs which included KH & RK. (e.g. vElaikkAran)
1988 gets better with Ir's offerings of SPB songs like
UNNAL MUDIYUM THAMBI for Kamal (Kamal's other movie with IR is SOORASAMHARAM..2 films only he has done with IR in 1988).
DHARMATHIN THALAIVAN for Rajini
ORUVAR VAAZHUM AALAYAM ..some classical delights.
IR-Yesudas shows of AGNI NATCHATHIRAM AND EN BOMMUKKUTTI AMMAAVUKKU,
Raja took care of Tea kadaigal needs.:)
vinatha.
App - nalla vELai T-magan-nu abbreviate paNNala :lol:
1988 ! the same year a big MONSTER came out from IR's : AGNI NATCHATHIRAM !Quote:
Originally Posted by baroque
how can one man come up with such variety in one single year ??!!
yeah... it is Yesudas show,
poove sempoove ... too has come the same year.
avaru manushan illai!
Vinatha