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!’

A Thought Runs in My Mind..forever!

The husband takes his wife out. There is nothing new in this. But if the husband takes her out cunningly with the idea of pushing her down the hill??

Scary?

Well, we could say one of the many weird imaginations of Tamizh cinema...

And they go atop the Hill singing a duet.
At the end of the song, there is a twist..

This sequence appeared in the 1949 movie ‘Mandiri Kumari’.

The song ‘Vaarai Nee Vaarai’ rendered by the inimitable Trichy Loganathan and Jikki became an instant hit.

This song based on Raag Bhimplaas was composed by the great G Ramanathan.

An almost similar sequence appeared in a 1981 tamizh film ‘Vidiyum Varai Kaathiru’.

With K. Bhagyaraj and Sathyakala in the lead, the song is yet another gem from the Maestro.

The first thing that strikes us is the tune itself.

The Master chose to use Kalyani ragam for the song.

Strange? Weird?

But I find it to be amazing…

Just goes to show how things can look different in the hands of the magician.

The next thing is the orchestration (of course!).

The prelude is just one note from guitar.

The Flute and the strings in the pallavi in the gap between the male and female voices carry lot of meanings. The Flute represents the innocent loyal wife while the strings represent the cunning criminal husband.

Throughout the composition one can see the juxtaposition of contrasting elements.

Take the first interlude where the flute plays a big role.One almost hears a plaintive cry when the notes are repeated and before we realise that the violin orchestra starts in western style(with Indian flavour!).

The second interlude is another beauty and we can easily visualize the husband’s futile attempts to murder his wife with her wife being totally oblivious to it.
The Bass Guitar says it all…

Added attraction - Malaysia Vasudevan and Janaki.

Further attraction-The Lyrics(Vaali) that depict the character of the two.

Yes, there is always a thought running in my mind.

I wish to keep listening to music-Maestro’s music in particular-forever...

http://music.cooltoad.com/music/song.php?id=171465

Musical Snowfall..

It is indeed amazing to note how Raaja creates a particular mood, and transports us to another place with just a simple combination of notes..

Not just the notes but also the pattern..

Not just the notes, the pattern but also the instruments..

Not just the notes, pattern, instruments but also the construction of the pallavi and the chranams..

Examples galore and I can quote N number of songs.

The song I am taking up today takes us all to the snow capped mountains.
We see the snowfall.

We feel the snowfall.

We get drenched in the snowfall, a musical snowfall.

It is ‘Pani Mazhai Vizhum’ from ‘Enakkaga Kaaththiru’(1980).

Raaja has always been fascinated with the Mohana Ragam.So fascinated that he also takes lot of liberties with the Raga. When he mixes the alien notes(mianly the 'dha' making it sound like Vaasanti), it only adds to the beauty.

‘Pani Mazhai Vizhum’ starts with a beautiful tribal instrument. We see the sherpas moving with glee but with military precision.

The interludes are illuminated by brilliant flashes- at times rollicking, at times reposeful. The Shehanai and the Flute are sedate while a different instrument and the Bass Guitar move quickly like a stream on the mountain. The stream becomes a water fall .A Musical Water Fall..

The Question and Answer session between the Shehanai and the Flute is an aural treat.

The Pallavi is designed cohesively while the Charanam moves decorously.

The instruments echo the voice in the first two lines in the charanam while the following two lines throb vibrantly.

The voices of Deepan Chakravarthy and Shailaja are intoxicating..

The Snow Capped Mountain is dizzyingly beautiful…like his Music!