Flowers that bloom once in a century..

The Music Director said ‘Thaanaa Thaanaanaa’ and the lyricist wrote’ Rajavai Paarunga’. Everyone in the composing room said ‘ok’. But the Youngman, an assistant to the Music Director said ‘No’.The perplexed lyricist looked at him and asked him the reason. The Youngman said ‘The tune is ‘Thaanaa Thaanaanaa Thaanaana Thaanaanaa’and therefore the word ‘Rajavai’ will not fit in ‘Thaana’.The lyricist changed it to ‘Raja Paarunga Rajavai Parunga’.But obviously he felt insulted.He had been there in the industry for more than a decade and here was a small assistant finding fault with his writings.

He vented his anger at the Senior Music Director in a party the same evening. He accused the MD of insulting him using a ‘chotta guitarist’.But the senior did not budge. He said ‘If there is a mistake, there is nothing wrong in pointing out’.
This incident happened during the composing session of a Tamizh movie ‘Piriyavidai’.

Music Director - G.K.Venkatesh
Lyricist – Vaali
Guitarist/Assistant-Do I need to say?

The story does not end here. During the composing of BadrakaaLi, Vaali recalled this and asked Raaja if he remembered the incident.
Any other lyricist would have held a grudge against a junior- who found fault with his lines- and would have waited for an opportunity to give it back. But not this gentleman.

That is Vaali!

I wish a very happy 78th birthday to one of the most brilliant lyricists (next only to Kannadasan).

Vaali’s original name is Rangarajan. He was born in a conservative family in Srirangam and right from his childhood showed a lot interest in sketching(both pictures and poems).Not many people know that he and writer Sujata(whose real name was also Rangarajan) authored a kind of magazine in Srirangam in their younger days. I am saying ‘a kind of ‘because this magazine was not printed and the contents were handwritten. It was called as ‘Kai Ezhuththu Paththirikkai’ and the concept was unique (unfortunately such concepts do not exist now. First of all, do we write anything at all? We only type!).

Rangarajan-the poet and the aspiring lyricist went to Madras during early ‘60s.Those days, it was very difficult for a newcomer to enter the film world. Repeated door-slamming and insinuations made him disillusioned. The Youngman decided to end his life…

It was at this point that he happened to listen to two songs-‘Vaazha Ninaiththaal Vaazhalam’(Bale PaNdiya) and ‘Mayakkam Kalakkama’(Sumai Thaangi) both penned by the great Kannadasan. The wordings had a deep impact on him. He gained confidence.
His outlook and perception about life changed.

Rangarajan became Vaali.

His first song was for the K.S.Gopalakrishnan directed ‘Karpagam’(1963) and there was no looking back after that.He has seen four generations of Heroes(I am sure it will continue for the 5th generation too) and has written the most number of songs in Tamizh Cinema.

Vaali’s words are very simple but sharp. Of course, though he considers Kannadasan as his ‘Maanaseeka Guru’ he has his own style that is impeccable. He is also adept in writing ‘Pudhukkavaidhai’(a form of poetry that does not necessarily follow grammar).Unlike some other ‘poets’ who with their bloated egos call themselves as masters of this form and use dry meaningless fillers most of the times, Vaali’s Pudhukkavidhai is unique, is rich in design and is very meaningful. He penned many wonderful ‘Pudhukkavithai’s in the Balachander directed movie ‘Agni Satchi’.

His works in Pudhukkavidhai like ‘Paandavar Bhoomi’, ‘Avadaara Purushan’, ‘Krishna Vijayam’, ‘Ramanuja Kaaviyam’ were serialized in a tamizh magazine and I would say they are sure to find a place in the annals of Tamizh Literature. In fact, even a non-believer like KaruNanidhi appreciated these works on Hindu mythology. It seems he would read them first thing in the morning every week when the magazine was out and would pick up the phone to speak to Vaali.

I was also very happy to see the lines from PaaNdavar Bhoomi being used in a Bharatanatyam performance recently.

Like all great artistes, Vaali is a very sensitive and his short-temper is well-known. He never hides his feelings when he is upset. However, he also understands that it is all part of the game and gets on with the wrok. Once it seems Kamal was not happy with a song and Vaali had to keep changing the lyrics 5 times. The sixth time, he wrote something, threw the papers and said ‘This is it. I can’t write better than this’ and walked out.
The song was ‘Unnai Ninaichen Paattu Padichen’ from ‘Apoorva Sagodharargal’

He is also very sharp with a great sense of humour. Once a scribe asked him the reason for his pen name. He replied that like the mythological Vaali -who had a boon of absorbing half the power of any opponent thus becoming doubly stronger- he also wanted to take and absorb good things from the people he met. The naughty scribe told him ‘But you don’t seem to have so much of power or knowledge’. Pat came the reply from Vaali ’That is because I come across only people like you in my life. ‘The scribe was zapped.

That is Vaali for you.

Vaali’s association with Raaja is very special.Pl. refer the beginning of this post. What started as a kind of spat between the two has now become a very healthy relationship, one of mutual admiration. Was it just a coincidence that he wrote ‘Raja Paarunga..Raajavai Paarunga’ when Raaja was just a guitarist?

All of us saw how he spoke about Raaja and Semmangudi sir’s appreciation for his music in the live show organized by a TV channel 4 years back. It came straight from the heart. He also said it was Raaja who taught him to write ‘VeNba’(a form of classical poetry in tamizh).Though I do not have numbers and records to back, I feel Vaali has written more number of songs for Raaja sir(than for any other composer).Their combination has produced some of the most memorable songs in the history of Tamizh Cinema.

Today’s song is one such gem. It is ‘Kurinji Malaril Vazhindha Rasaththai’ from ‘Azhage Unnai AaraadikkiRen’(1979).
Raaja sir is known for giving tough and very long pallavis.Most of them will have to be sung in single breaths(examples:KaNmaNiye Kaadhal Enbathu, Thiruththeril Varum Silaiyo..).

This song is no exception.

The Pallavi has 27 phrases. Imagine the plight of the lyricist listening to the ‘Tharana Tharana..’.Any other lyricist(of course with the exception of Kannadasan) would have asked for sometime to write and get back.Some lyricists also take a stroll in a park(it is not the metaphorical ‘walk in the park’) in the night and go back with the lyrics after a day or two!

Vaali wrote ‘Kurinji Malaril Vazhintha Rasaththai Urinja Thudikkum Udhadu Irukka Odiyathenna Poovidhazh Moodiyathenna En Manam Vaadiyathenna Oru Maalai Idavum Selai Thodavum VeLai PiRanthaalum Andhi Maalai Pozhuthil Leelai Puriyum Aasai PiRakkatho ‘

Romance bordering on eroticism..

Look at the rhyming words ‘Thudikkum’, ‘Odiyathenna’, ‘Moodiyathenna’, ‘Vaadiyathenna’ and Maalai, Selai,VeLai, Maalai,Leelai.’Maalai’ in the firs instance means ‘garland’ and in the second one means ‘evening’.

It is interesting to see the response of the lady.When she sings the Pallavi at the end of the first CharaNam, she changes the words and says ‘Kurinji Malaril Vazhintha Rasaththai Unrinja Thudikkum Udhadu Irandum Vaadiyathenna Poovidhazh Thediyathenna Ennidam Naadiyathenna Oru Maalai Idavum Selai Thodavum VeLai PiRakkatho Andha VeLai VaRaiyil KaaLai Unadhu Ullam PoRukkatho’.

Imagination and Creativity at its best!

I can go on writing about the CharaNams as well but would like to leave it to the readers to listen and appreciate the beauty.

Let me say a few words about the music now.

The prelude itself is brilliant. Look how the flute entices us with repeat notes, how the delightful electric guitar surrounds us and how the stirring violins play with harmonious precision.

In the first interlude, the accordion (?) is crisp, the Violins are deep, and the electric guitar enterprising.The lilting Veena and the soulful flute take over giving us an enchanting experience.In fact, the Veena dominates all the interludes and the reason for its sounding melancholic is because of the situation in the movie.(I am sure you all remember ‘Hey masthana’ from the same movie which was discussed in the same bolg sometime back).

The melancholy mood is seen in the second interlude as well while the third interlude is somber and intense.

All the three charaNams have melting phrases and both SPB and Vani Jayaram have done justice to the song.

‘Kurinji’ flowers are unique to Tamizh Nadu and its culture and one finds a lot of reference to this flower in Sangam Literature.This flower which is purple-blue in colour blooms once in 12 years -in Kodaikanal and Ooty and the name Nilgiris was acquired because of this flower only.

People like Kannadasan, ILaiyaraaja and Vaali are also like the Kurinji flowers..except that we get to see such flowers once in a century..

Grand Chariot!

Said Kamalhaasan, '‘Like BC and AD, Tamizh cinema can be divided into two eras –BS and AS.There is no actor in the AS era who does not have the influence of ‘S’ '' .

What is AS and BS? First of all, who is that ‘S’?

I am sure most of you would have guessed who it is.

Yes,it is none other than Sivaji Ganesan, one of the greatest actors cinema has ever seen.

Vizhuppuram Chinnasamy Ganesan was born on the 1st of Oct 1928.
He dropped out from the school at the age of 12 to join a Drama Company(yes..such things were existing those days!).

He learnt things the hard way.Small ,minor roles to start with ;supporting roles over a period of time;major roles; finally a Hero.

The play ‘Sivaji KaNda Hindu Saamraajayam’ was watched by none other than the great Thanthai Periyar who was so enthralled with the performance of Ganesan that he called him ‘Sivaji’ Ganesan.

And that was the beginning (that has no end).

His first movie 'Parasakthi' brought him many accolades.The story and dialogues of Kalaignar KaruNanidhi uttered with clarity by Sivaji Ganesan was the talk of the town then.

He also joined the Dravidian movement and came out of it in the mid ‘50s to become a staunch Congressman and a disciple of Kamarajar.

What can one say of his acting skills and talent?

Words like Multi Dimensional and Multifarious have no meanings in front of this Himalaya.

Though he was a natural actor, he constantly updated his skills and never hesitated to learn from anybody.

For his role as the poet Thirunaavukkarasar-a.k.a.Appar-in the movie ‘Thiruvarutchelvar’, his inspiration was the Paramacharya of Kanchi.He spent time observing the seer and brought out his mannerisms wonderfully.

Rajaji who hated cinema has watched only two movies in his entire life ,one of them being ‘Thikkatra Paarvathi, a story written by him on the evils of alcoholism.The other movie was SampoorNa RaamayaNam where NTR played the role of Rama and Sivaji,the role of Bharata.

He was so captivated by just an eye movement of Sivaji in one of the sequences that he said that alone is enough to show the genius of this man.

Very recently, I had the opportunity to attend a function to falicitate the great Bharatanatyam dancer Shri.Dhananjayan,who is very well known for his facial expressions.He remarked that Sivaji Ganesan was one oF his inspirations.

There are many souls across the globe who have been inspired by this great man.

There are also some who say he tends to ‘overact’.Fine..but is cinema itself not an exaggerated art form?

Sivaji and ILaiyaraaja were great friends and had mutual admiration.

I had written about Sivaji-Raaja story in my write-up on Deepam in the Vintage Raja thread.

In fact, some of the common traits are striking.

No formal education.
Born geniuses.
Came up the hard way.
Very punctual(both of them will be in their respective studios at 7 am sharp!).
Inspiring.(Tamizh cinema music also has two eras-BI and AI).

In fact, the day before Sivaji Ganesan passed away,Raaja sir was away in Mumbai doing the re recording for the Hindi film 'Lajja'.He was running very high temperature and as soon as he came to know that his idol was critically ill, he flew down to Chennai.

By then, it was all over.

But Raaja being Raaja accompanied the body-along with Kamal, Rajini,and Bharatiraja-in an open van till the crematorium-a four and half hour journey despite the high fever.


That is the regard and respect he had for the great actor-sorry,the greatest actor!
And maybe that is the reason he gave some unforgettable music for almost all Sivaji movies-starting from 'Deepam' to 'Devar Magan'.

Coming to think of it, my all time favourite ‘Engengo Sellum’ is also from a Sivaji movie.

Today, we are going to see one of the gems.Incidentally, the three doyens-the three lions-of Tamizh Cinema,Kannadasan, Sivaji Ganesan and ILaiyaraaja are present in this song.

There is another interesting story-though personal.

My seven year old son loves this song and asked me to write about the song a year back.

Maybe it is destined to happen on this special day.

The song is ‘Thiruththeril Varum Silaiyo..’from ‘Naan Vaazha Vaippen’(1979).

The opening of the song itself is special.
The Guitar jumps with joy as the violins join the party.
Yes,it is party time!
Party in Mohanam...

We see the beautiful Statue(of liberty?)coming to life with SPB’s voice.
We see and hear the parrot as Suseela joins.

In the first interlude, we see the Statue and the parrot play-running around, hopping,dancing,and hide and seek.

The first Charanam epitomises Mohana Ragam.

Lullaby?Lotus Dance?Fragrance of flowers?Shower of Musical notes?

A beautiful Raga embellished by a beautiful composer.

The second interlude is another marvel.

Musical notes of one orchestra repeated by the other two-canon in western music parlance-produces a magnetic effect.

As we immerse ourselves in this beauty, we are stirred by the guitar that makes us sway giving us goosepimples.

In the second Charanam, we see the temple.We hear the music.We feel the breeze singing in chaste tamizh.

And there we see the masterstroke of the lyricist.

He describes the month of Karthigai as the one full of brightness -meaning Kaarthigai,the festival of lamps.Maargazhi,the following month as per Tamizh calendar is considered to be the most divine month.

The heroine here sings ‘Devan Varum Maargazhi’-the month when the Lord comes.Pl. note that Christmas is also celebrated in Maargazhi and it is believed that Jesus would one day come back here to save us all.

That is why the poet says ‘En Devan Anuppiya Dhoothuvan’(Jesus is considered as Deva Dhootan-the ambassador of the Lord!).

The one who comes on the Grand Chariot..like Kannadasan, Sivaji and ILaiyaraaja..
Are they also not the ambassadors of the Lord?

My Dream...

Call it luck.. Call it fate.. Call it even destiny.
The entry of the genius into Film music happened during my formative years.

It has been proved scientifically that the formative (or adolescent) years shape up one’s personality. What we are likely to be/ how are likely be in future is determined to a great extent during these years. I am not sure if I would have got into appreciating music, literature and aesthetic things in general if not for my exposure to his music during those years.

And if I were asked to thank somebody/something for my exposure to his music, without any hesitation I would thank Radio Ceylon(Sri Lankan Broadcasting Corporation, Tamizh service).

Listening to radio nowadays is confined to a plethora of FM Channels. But those days, one had to listen only to the State controlled AIR which had its own whimsical ways. Long back, I had mentioned about the banning of songs like ‘Vaangonna..’ and ‘Oram Po’.It was not just this aspect.They were also very choosy in airing songs.For example, they would play only two songs from a particular movie repeatedly making one feel there were no other songs from the album. Songs like ‘Gyaan Gyaan Paadanum’(PoonthaLir) were anathema since it had Malayalam lyrics(sounding crazy?).Of course, the only thing we all enjoyed was the commercial show between 9.30 and 10.30pm every night where the promos of movies would be played along with the songs.

In this scenario, SLBC was a Godsend to lakhs of people in Tamizh Nadu.The Programmes would start at 7 am in the morning and go on till 6pm in the evening.T he versatility of the programmes that ranged from very old songs to brand new songs was amazing!

In fact, they would even bring us recorded versions of a Live Studio Recordings.I remember listening to the recordings of ‘Kaaththodu poo urasa’(Anbukku Naan Adimai) and many wonderful songs.

The versatility was not just in the programmes. It was also in the way it was presented and this is where the announcers(sorry..I don’t want to call them RJs) played a major role. The majestic Mayilvaganan(Senior), the flamboyant K.S.Raja, the honey-soaked Rajeswari Shanmukham, and my idol B.H.Abdul Hameed..the list goes on.

All these Super 10s, and singing competitions that we get to see now on TV were conducted by SLBC more than 30 years back without in anyway compromising on the decency and decorum.

I am now sad not just because we no longer get to listen to this channel but also because of the present condition in Sri Lanka. I had a very unique bond with thousands of people who would regularly write/participate in the programmes there.
I am not sure how many of them are alive.I am not sure how many of them are homeless. I am not sure how many of them have lost their parents, their brothers, their sisters.

My heart bleeds for these brothers and sisters who were instrumental in developing my taste.

Today’s Rare Gem is dedicated to all these people.

It is a song which used to be aired at least 15 times in a week (at times even thrice on a single day!).

It is ‘Aasai Nenjin KanavugaL VaLarpiRai’from ‘Mugaththil Mugam Paarkalaam’(1980).

On first listening, the song appears to be very mundane and simple. But once it gets into our system, it is very difficult to separate.

The strings of Santoor supported by a rather sharp percussion; melodious flute playing Mohanam;the violins making an appearance in western style; the resonant Veena joining gracefully.
This is the 30 second prelude magic for you.

Malaysia Vasudevan starts the Pallavi in his own unconventional style.

The majestic Violin orchestra in full flow in the beginning of the first interlude. The Flute takes over in a folksy style as we travel from Vienna to Vaadipatti. The Veena joins again pulling the strings of our hearts. Carefully listen to the counterpoints here.. and of course the very subtle bass work. The mix of alien swaras in the Veena only adds to the beauty.

It is now Suseela’s turn as she starts ‘Pongi Varum alai..’ with the violins and the flute following her closely. Vasu now replies ‘Malar kaNaigaL..’ and we become drunk with the beauty.

The stringed instrument -that is ubiquitous in Raaja’s ‘70s compositions- partners with Bass Guitar and it is the Violin Orchestra yet again that flow like a clear stream with the Veena welcoming them with a smile. The Flute now jumps with joy and literally dances.
This second interlude is one of my favourite interludes and I would be playing this mentally whenever I feel like it.

The graceful Veena dominates the third interlude. The repartee by the Violins is the mark of the Master.The effervescent Santoor greets us all..

Though all lines are unforgettable, the second CharaNam has some special wordings that are very relevant:’KanavugaLe Ninaivil Varum..NinaivugaLe Nidamum Sugam’(Dreams come as thoughts and these thoughts are always enjoyable).

The thoughts linger in me.. the nostalgia.. the formative years.. the Radio channel…and the people of Sri Lanka..

And my dream is to see my brothers and sisters live peacefully again.

‘Enathu Nenjin KanavugaL VaLarpiRai’

It is like the waxing moon..Let us hope to see the Full moon soon!

Pearl(s) in an oyster!

Kannadasan, according to me is the greatest lyricist in Tamizh Cinema.

There are a lot of similarities between Raaja sir Kannadasan.

Both are spontaneous and can compose in a jiffy.

Both are from rustic background.

Both do not have formal education (school drop outs!).

Both are very frank and do not hesitate to speak their minds (and earned enemies/detractors because of this).

And yes, spiritually inclined..

Kannadasan had a special liking for Raaja sir though his favourite was MSV sir who was like a younger brother.

In fact, Panchu Arunachalam who introduced Raaja sir in Films is Kannadasan’s nephew.

Raaja sir also had(and has) the highest regard for Kannadasan.

Before leaving for the US in the year 1981, Kannadasan wrote two songs for Raaja and it seems told his assistant ‘Raaja is very lucky because I probably wrote my last song in movies.After returning from the US, I wish to focus fully on spiritualism and don’t intend to write anymore for films.’

How prophetic it turned out to be!

Kannadasan died in the US and would never write again..

And the last songs were written for ‘Moondram Pirai’.

Though there are lot of gems in the Raja-Kannadasan combination (‘Engengo Sellum’, ‘Devathai oru Devathai’, ‘Kovil Mani Osai’-just to name a few!), I am taking up a very rare song which cannot be seen anywhere..

Cannot be seen anywhere?

Yes, because though it was composed for a movie, it was not present in the final cut.

It is ‘Aazhak Kadalil Thediya Muthu’ from ‘Sattam en Kaiyil’(1978).

The whole song follows the ‘wavy’ pattern and is as soft as any lullaby could be.

The song starts with a whistle like sound followed by the flute in lower octave, Santoor and the violins.

The interludes are simple but great. The sudden surge of the strings in the first interlude looks like a huge wave raising and kissing our feet.

The ‘Heyyy..’ in the second interlude takes us straight to the catamaran on the sea.

The third interlude makes us close our eyes and enjoy the sea breeze.

In the third Charanam the mother and father sing to the child.

The mother says,’Your father gave the pearl.’
Father says’Your mother is a golden oyster’.
Both of them say ‘We swam and had a dip to bring you out’.

‘Chippikkule Muthu vaichu unnai thantha appa kanne..
Chippiyilum Thanga Chippi Unnai Pethha Amma Kanne
Neendhinom muzhginom unnai edukka’

Very subtle (sounds more subtle in the original ..)

I wish Lyricists of today who tend to take a dip and dunk in vulgarity took a leaf or two from the Master Lyricist..

Aazha Kadalil Thediya MuthukkaL-ILaiyaraaja and Kannadasan!

http://music.cooltoad.com/music/song.php?id=207160

Musical march of the flowers..

One of the many beautiful things in this world is the flower.

Flowers give us fragrance.
Flowers give us happiness.
Flowers make us soft.
Flowers make us mellow.
Flowers give us strength.
Flowers give us a new meaning in life.

Coming to think of it, that great thing in the world called as Music also gives us all these..

Our Literature is also replete with references to Flowers.

Music, Literature and Flowers..
Lot of similarities!!

What happens when flowers take out a march accompanied by Music and lyrics?

Is it not a triple treat?

‘Azhagiya MalargaLin Pudhu Vidha Orrvalame..’ from Ullasa ParavaigaL(1980) gives us this treat.

We see the buds swaying their heads in the first part of the prelude and these begin to dance to the beats in the middle part.

These buds now begin to smile as the western flute is played and …start blooming to the background of violins.

What a great sight it is!

Has anyone ever watched the buds turn as flowers..

His Music makes us see this marvel!

The first interlude is sheer magic as the flowers nod their heads to the pure western classical tune..

We see the Lily, We see the Daisy.
We see the Daffodil, We see the Ambrosia.
We see the Carnation, We see the Lavender.
We see the Marigold, We see the Sunflower.

It is the Painter’s Palette!

The second interlude is a riot of colours as all these flowers march ahead acknowledging the music of the Great Composer…

The voice of Janaki flows like the honey from each of these flowers..

The phrase ‘Vannam Vannam Kannil Minna.. nana.. nana..’ makes the decoration even more beautiful.

Yes..It is the Musical March of the Flowers!!

http://music.cooltoad.com/music/song.php?id=218754

Music is Universal..

Music is Universal!

The more I think of music or the more I listen to all forms of music, this phrase keeps coming in my mind and I cannot help it!

Maybe that is the power of Music itself.

Though Raaja sir has melded all major forms of music in many of his compositions, I would like to take up one of the songs today as an example.

It is ‘Eriyile Elantha maram’ from ‘Karai Ellam Shenbagappoo’(1981).

The story was by Sujata and it came as a serial(sorry!not a TV serial) in the Tamizh magazine Ananda Vikatan between 1978 and ’79.

A very interesting fact about this story was that Sujata wrote this after Raaja sir asked him to write something about the folk songs of Tamizh Nadu.

The hero visits a village to research on the folk music.The story takes an interesting twist and becomes a murder mystery.

Sujata in his inimitable style had woven the story interestingly giving a special colour to each colour.

If the case of‘NaNdu’(Sivasankari-Mahendran) was one extreme where the story was changed (rather abridged), ‘Karai Ellam Shenbagappoo’ was another extreme.The Director G N Rangarajan stuck to the story religiously. But he failed to bring out the flavour of each character.

Therefore, it was like a replica but without any life.

For example, Sujatha touched upon the platonic love between the hero and Valli, the village girl in a very subtle poetic way. This was absent in the movie.

Subtle and Poetic?

Are we not expecting too much from Tamizh Cinema Directors?

But, yes, we are fully justified if we expect this from a Genius whose other name is ILaiyaraaja.

And he has never disappointed us.

Though all songs in ‘Karai Ellam Shenbagappoo’ are great, my pick is ‘Eriyile..’
Not without a reason..

The song gives us Carnatic, Western classical, Folk within a matter of seconds.

The notes of this raga form the Major scale in Western music.

The prelude starts with the bass guitar and the chorus voice sings ‘sa ri ga ma pa dha ni Sa’ followed by ‘Thanthana naadeenam Thanthananna’.

Any other proof needed for the universality of music?

And in the hands of the master, the universal music takes a wonderful shape.

The Pallavi gives us all shades of the scale in different octaves.

What does one say about the versatile Janaki amma?

Look at the way she sings like a 12 year old boy..


The interludes are great-as usual -starting with the flute in western style, chorus( in harmony), and the folk instruments in the first interlude, a mini percussion ensemble- called as ‘Tani avarthanam’ in Carnatic Music parlance-in the second interlude show the Emperor of Universal music in full flow.

Eriyilum Karaiilum Shenbagappoo, Isai poo..

(Musical flowers on the Lake and on the banks!)

http://music.cooltoad.com/music/song.php?id=216752

Midair romance!

When we listen to great music, we say it is out of the world..

We feel as if we are floating in the air..

We feel as if we are flying..

What happens if the song itself is sung in mid air?

Yes, the Hero and Heroine fly in different aircrafts and sing..

Absurd? Well.. maybe .But do movies follow any logic?

In a way it is good because we would not have got some gems.
As long as we get great music, I do not think we should complain.

In Guru(1980), Kamal is a modern day Robinhood and the Villain tries to ‘sell’ military secrets of India to another country. This he does by hiring a small private aircraft. He is accompanied by-no prizes for guessing-the Heroine, Sridevi who has no inkling of what the villain is doing(pl. read the line again!). And thinks the Hero is the Villain.

Of course role reversals do take place everywhere..right?

The Hero-in another private aircraft- follows the Villain to thwart his attempts. Not just this..

He follows the Heroine as well and expresses his love..

How does he express his love?

Any other Music Director would have used ‘I Love You’..

But not the Maestro.

As soon as the situation was explained to Raaja sir by the Director I V Sasi, he devised an ingenious way.. musical way..

He used the aircraft signal (somewhat similar to morse code).
The song starts with the beep sound which when translated means ‘I Love You’!

This beep sound forms the theme music of the entire song.

That is why I keep saying he is the eighth wonder…

He creates the atmosphere of aircrafts just with the Bass Guitar the wind instruments, and the violins..

The beautiful Flute in the second interlude makes us see a bird’s eye view of …not just the village/town/city/country but also the entire World. The Music World of the wonder called ILaiyaraaja!

Whenever I fly (normal aircraft of course!), I too say ‘Paranthaalum vida matten’-meaning I will not leave you even when I fly..

Yes….. I will not leave his music even when I am in midair..

The Queen goes looking for the King of Music!

It is a well known fact that Raaja had done many experiments.

He brought a new dimension to orchestration and arrangement.He used different kinds of instruments and each one would overlap on each other producing harmony..He used Bass Guitar in almost all his compositions and the bass notes would be entirely different from the main tune but still it would gel well with the song.

Bass Guitar was also used for rhythm following Carnatic rhythmic pattern.’Endrendrum Aanandame’(Kadal MeengaL) is a classic example.

He also composed a song without any instruments in the prelude and the interludes(Thaam ta Dheem ta).

Apart from all these, his use of vocals needs a very deep analysis.Many songs(esp.his vintage stuff) start with the humming and the podi sangatis in the humming are amazing!

Today’s Gem also starts with the beautiful humming of Janaki.

It alternates between long and short phrases.I still keep wondering if she sang it continuously or was it punched..But whatever it is, it sounds great.The higher ocatave ‘aaaaa..’takes us to an entirely different world.

The song I am talking about is ‘MaharaaNi Unai Thedi’from ‘Aayiram Vaasal Idayam’(1979) sung by Janaki and Jayachandran with lyrics by M G Vallabhan.
As soon as the humming ends, the violins start very gradually reaching a crescendo.

Honey flows as the flute blows.
The pallavi starts.

Here too, I wonder how Raaja composes his preludes and interludes.
He always ensures that the words given by the poets attain musical form.I can quote many examples.

Look at this song.

The pallavi is ‘MaharaaNi unai thedi varum nerame..engum kuzhal naadame..Thendral theril VaruvaL..Antha kaaman viduvaan KaNai IvaL vizhi’(When the Queen comes to you, there is music of flute all around..She comes on the Chariot of Breeze with eyes like the arrow of the cupid).

Now, listen to the prelude carefully.

The first part of the Humming-The Queen looks for you.
The second part of the Humming(the long one with sangatis)-She has seen you.

Violins-Sound of the Breeze.
Strings-She rides the Chariot.
Flute-She comes with the sound of the flute.
The last string section-She embraces you.

The first interlude:
The violins, strings , flute and the guitar.
The first two lines in the CharaNam talk about the sweet voice of the queen(parrot!), compares it with the sweetness of Tamizh and the lips that utter the words.

Go back to the first interlude.

The violins sound as if somebody is speaking in a beautiful tone.The flute sings showing us the sweetness(of Tamizh!).

The following lines talk about the heavenly bliss.
This is indicated by the wonderful guitar piece followed by the violins in the higher octave.

The second CharaNam:
The snowfall on the flower in the month of Maargazhi and the ecstatic blooming of the flower.

The Second interlude starts with the violins in low tone indicating the snowfall followed by the strings that show us the flower, and its petals.The interplay between the two is musically depicted by the flute!

This song is just an example of how well the Maestro understands the situation,the words and the mood to give us the best possible compositions! Though he remarked to me during the personal meeting that he does not think of all these while composing, I feel his brain captures everything(at times without his being aware) and pours out in the form of music. Certainly not possible for mortals like us!


His music is like the queen that comes looking for us in the Chariot of Breeze!

Divine Dream..

The Tamizh month of Maargzhi(Mid Dec-Mid Jan) is very special.

Lord Krishna refers to this month in Gita.

Astronomically, the Sun turns towards the north at the end of this month.

Scientifically, the ozone layer is very close to the earth during this month especially early in the morning.

For people living in Chennai, it is a real bonus since the entire city reverberates with music during this month.A host of other activities also take place this month-like the Book Fair, Circus,Trade Fair etc.,

But there is one thing that is an intrinsic part of Maargazhi.That is ‘Tiruppavai’.

In my post on ‘Sundari Kannal..’ in my other blog 'Ragaranjani', I had described about AandaL , her Thiruppavai and Naachiyaar Thirumozhi.

Each day of the month is identified with one Thiruppavai finally climaxing with two Thiruppavais on the last day(there are only 29 days in Maargazhi).

AandaL followed a very unique concept called ‘Paavai Nonbu’ where she along with her friends take a vow on the second day where she says

‘Eschew all carnal and even worldly desires like eating
ghee,drinking milk etc.
Bathe early in the morning.Don't adorn your eyes with
collyrium,or your hair with flowers till the completion
of the vow’.

After 26 days, she ends the vow with the Paasuram ‘Koodarai Vellum’(the one who wins over his enemies).Sri Vaishnavas celebrate the 27th day(which is today) as a day to make friends with enemies.

Apart from the 30 Thiruppavais, AandaL is known for her 143 verses called as Naachchiyaar Thirumozhi.Though all the verses are special, the verses 61-71 are very very special because she dreams of becoming His bride and shares this dream with her friends.

This set of 10 verses is more popularly called as ‘VaaraNam Aayiram’.

While reading the verses or even listening to these, one clearly visualizes the entire wedding as it unfolds scene by scene.

That is the beauty of AandaL’s imagination and her mastery over the language.

The Maestro brilliantly used some of these verses in ‘KeLadi KaNmaNi’(1990).

There are two versions in the album-one sung by Janaki and the other by SPB.The Janaki version is Raagamaalika while the SPB one follows one Raaga.

The film has the former version only.

The song starts with Mohanam(at times it sounds like Mohana Kalyani too to me!) as she says ‘With one thousand mighty tuskers arrayed, the Lord gracefully comes in procession. The Town is adorned with beauteous festoons and welcomes the groom with gold vessels.’

The Tavil gives the wedding ambience as the Raaga seamlessly changes to Nayaki-a very special Raga not used by any film music composer.

She sings,’All the celestials including Indra, the king of Devas assemble and speak to my parents as my sister-in law, Parvati adorns me with flowers and the wedding saree.’

The flute piece after ‘Devar Kuzhamellam’ is heavenly.

The Raaga now changes to Kapi and she says’As learned Pundits chant the Mantras and spread out the Holy grass laying twigs encompassing the sacred fire, He-Lord Krishna-comes like a raging tusker circumambulating the fire holding my hand-fast in hand!’

Unfortunately, the song has only these three verses.

The SPB version follows Kalyani ragam throughout.

My Divine Dream is to listen to all the verses tuned by the Maestro!

1.Janaki's version:



2.SPB:

Musical Angel-She came , She saw , She conquered!

Music gives us Power..
gives us Energy..
gives us Strength..

Just imagine..

If music took the form of an angel and came in front of us, what would we do?
Dance?
Sing?
Or just watch with amazement?

The Film ‘Pattakkaththi Bhairvan’(1979) was a remake of a telugu movie. A very ordinary story of an orphan (certainly not Oliver Twist!) who turns ‘anti social’.

At times I wonder as to how somebody could score great music for movies that are below par.It needs that ‘attached detachment’ defined by Krishna in the Gita.
In fact, Kedaram Raga was used by him for the first time in this movie.
While reviewing this film, the Tamizh magazine ‘Aananda Vikatan’ said that ‘the Director has succeeded in caging a lion called Sivaji Ganesan and tried to cage a tiger called ILaiyaraaja.But this tiger growls and we get at least two great songs!’

One song is of course very well known to the people familiar with my other Blog-Ragaranjani-and ‘yours sincerely’ because that happens to be his most favourite composition.

For the benefit of newcomers , let me tell you that the song starts with the lines ‘Engengo Sellum En EnnangaL’whose description can be found in 'Ragaranjani' under the caption 'ILaiyaraaja-The Wonder'.

The other duet in the film is great as well..

Of course, I am not talking about the ‘Kedaram’ song-which will be taken up later.

I am referring to a song ‘Devathai.. Oru Devathai’.

Generally, I avoid talking about the technical details of a composition in this blog.

But at times a brief mention is required.

The Ragam of ‘Devathai’ is subject to dispute.Some of the sites mention this as ‘Sudhdha Saveri’ while some others say it is SankarabharaNam.

Yes…Swaras of Sudhdha Saveri are used but in Madhyama Sruti(shall explain this concept in detail in the other thread soon..).The Raga we get is Pahaadi.

He has done wonders using this concept in many of his compositions.

As Bharati says in Paanchaali Sabatham

‘ each moment is different.. different from the previous moment.. full of surprises!’(KaNam thoRum maaRi maaRi oradimatroradiyoloththalandri..), Raaja sir’s music is full of surprises and full of beauty!

Let us look at the Flute piece that appears throughout the composition. It is in fact the ‘theme music’ of the song..

The Violin piece in the second interlude.. purely in western classical style but without deviating from the tune..

The percussion in the third interlude that makes us sway.. And the flute bit that follows ..

The way each instrument speak with one another in the first interlude..

Similar kind of syllables appearing one after the other in the CharaNams(ex-‘Swargaththin pakkaththil vetkaththai vaiththuk koNdaaL’, ‘Aaramba maagattum Kaveri Koodattum Inge’)

The lilting tune..

Yes..As the greatest poet Kannadaasan says ‘The Angel came (flying), saw and conquered’ (a la Caesar?),

‘This Emperor came, composed and conquered millions of Hearts!’