Poetry..Music..Nature..and..

Poetry is a very beautiful thing indeed!

In fact, our life itself is poetic.

Coming to think of it, there is a close relationship between poetry, music, nature and life.

Sometime back I had written in my other Blog Ragaranjani
‘’Whenever we read something beautiful, we say it is poetic.
Whenever we hear something great, we say it is musical.

But we also use these expressions whenever we undergo a great experience…
We say ‘The journey was Musical’ or ‘The valley is poetic’.

At times we also say that the Music is so poetic or that the Poem is so Musical..

This is because there is a Connoisseur in all of us!’’

For some people, this ‘connoisseur’ is dominant.

They see poetry in all forms.

They feel music everywhere.

This is what Bharati was. He saw the almighty in everything. So poetic and of course philosophical was his outlook that even while touching the fire, he felt the pleasure of touching the God(‘TheekkuL viralai vaiththaal Nandalala, Ninnai TheeNdum Inbam Thondruthaiyya Nandalala’).

Another great poet Rabindranath Tagore describes a flower:

‘Pluck this little flower and take it, delay not!
I fear lest it droop and drop into the dust.

I may not find a place in thy garland, but honour it with a touch of
pain from thy hand and pluck it.

I fear lest the day end before I am
aware, and the time of offering go by.

Though its colour be not deep and its smell be faint, use this flower
in thy service and pluck it while there is time.’

Bharati and Tagore.

South and the East!
But look how poetic their approach to life was.

Such people are born to make mortals like us also feel poetic.

Another gentleman who is a living legend and who can be considered on par with Bharati and Tagore sees music everywhere.
To him even silence is musical.

Long back, he was asked as to what his most favourite instrument is.

Without any hesitation, he said the Tanpoora. Unable to comprehend what the Maestro meant, the interviewer-a cynic, who considered himself to be an authority in Carnatic Music and Dance- later ridiculed this.

There is indeed nothing to beat the drone of the Tanpoora. Only people who feel music everywhere can understand this.

At times, I have even wondered as to what makes his compositions so special.

Though there are a variety of reasons, I feel that his propensity and proclivity to appreciate nature is the main reason. And for this, we must all thank his rural upbringing.

If only he was born in Madras or even Madurai.......
He would have become a musician but I doubt if his music would have had this much of impact on all of us..

On this day as we step into a new year, let us look at one of his most beautiful compositions that sees the beauty of a village through the eyes of a city-bred young girl.

Generally,one would expect a folk melody for this situation(though this kind of a situation itself is a rarity in the present day movies!).

But the Emperor of Film Music has composed the song in a pure Carnatic Ragam, Madhyamavathi.

The song is ‘Solaikkuyile’from ‘Ponnu Oorukku Pudhusu(1979).

This was also S.P.Shailaja’s first song for Raaja.

The song starts with a beautiful humming that is deep and crisp..

The musical piece that follows make us jump from our seats. The mesmerising flute transports us to a village effortlessly. The prelude winds up with a short piece that encapsulates Madhyamavati.

Musical images of a village!

The short Pallavi is delightful and prepares us for the treat.

The first interlude makes us see the wonderful vistas of the village as the flute plays with lucidity and fluidity.
The different rhythmic patterns in Tisram show us how musical the nature is.
The guitar piece is appealing and reveals the ravenous beauty of the place.

The vibrant end piece sustains the glory of the musical village.

The CharaNam is a dexterous display.

The first two lines are tender.

The third line is moving. A word of appreciation for the lyricist M.J.Vallabhan(his first film song!) for the line ‘Asaivil Isiayil Kanni Tamizhe’(‘The movements and the music is as beautiful as the Tamizh Language’).

The lines that follow are luminous.
It is Laya Raaja in full flow as he indulges in a beautiful rhythmic pattern.
Shailaja renders this rather tough piece lines with felicity.

In the second interlude, he weaves a silken thread.

The violins take us to a beautiful river in the village.
We immerse ourselves when suddenly we see the clear blue sky and looking at this grand spectacle, we shake our heads in disbelief as the guitar resonates.

Steeped in tranquility, we begin to swim as the violins play with harmonious precision.

The shrill flute makes us feel the stillness.

Nature’s overwhelming beauty!

Poetry, Music and Nature..
…And the Living Legend!

Darkness follows Light..and Light follows Darkness..

I have often wondered at the beauty of the Raga system.A simple permutation and combination of same set of swaras give us what is called as Raga.This set pattern gives us various patterns and the probability of the same pattern getting repeated is very low.

Let us take just three compositions of Saint Thyagaraja- ‘Amma Raavamma’, ‘Nidhi Chaala Sukhama’, ‘Ethaa Unaraa’.All these are in Kalyani but still each one evokes a different kind of emotion.

‘Amma Raavamma’ extols Tulasi,’Nidhi Chaala Sukhama’ridicules the materialistic world and ‘Ethaa Unaraa’has philosophical contours.

While it is a fact that each Raga is unique, the mood of the raga also depends on how the composer conceives the composition and importantly how successful he is in terms of communicating this to the listener.

Hindustani music is very strict in even the time of a raga.For example, a Raag like Yaman(Kalyani in Carnatic music) can be sung only in the night while a Raag like Bhairav(Mayamalawagowla in CM) must be sung in the morning only. It is considered sacrilegious if these rules are broken. This is because it is believed that certain ragas evoke certain emotions and these are directly related to our biorhythms.

Carnatic Music does not have such strict rules though it does have morning ragas(Bhoopalam, Bowli, Bilahari), afternoon ragas(Madhyamavathi,Sriragam,Manirangu),evening Ragas(Vasanta, Lalita).There are also ragas for each rasa.

But the greatness of Carnatic music lies in its ability to be flexible and at the same time adhering to the rules.

That is why great composers like Thyagaraja, Dikshithar, and Shyama Sastry have been very successful in bringing out the emotions so subtly.

Long back, the great G.Ramanathan broke a rule.Mukhari, a raga considered to bring tears in our eyes was used by him in a romantic duet in a movie called Ambikapathi.Of course, there was a reason behind this as well.The movie was based on a (supposed)romance between Kamban’s son Ambikapathi and the King’s daughter Amaravathi with the Hero meeting a tragic end. GR sir brilliantly used Mukhari to foretell what was to come later.

Musicians are great indeed!

The Genius whose other name is ILaiyaraaja has used ragas so differently that at times it is difficult to believe that such ragas are also capable of evoking such emotions.

Mohanam was used in a pathos song-Oru Raagam Paadalodu Kaadhil Kettatho.
Kalyani in ‘Alai meethu Thadumaaruthe siru odam’.

Subhapantuvarali in a humourous song-‘Kandu Pidichchen’
Chakravaagam in a love duet-‘Nee Paathi Naan paathi’
VakulabharaNam as a philosopher-‘Aarum Athu Aaazham illai’.

These are just some examples.More examples will be shown in my 'Ragaranjani' Blog.

But I have always been intrigued by his use of one particular raga. Not a single human emotion has he left out using this raga. Not a single facet of this raga has he left uncovered in this raga.

In ‘Madha Un Kovilil’, the raga prays.

In ‘Mani Osai Kettu Ezhunthu’, the raga cries with the lover.

In ‘Shenbagame’, it waits patiently for her husband.

In ‘Enna Saththam intha neram’,it cries,laughs,dances,walks,runs,sits,meditates.

In ‘Enna solli naan ezhutha’, it writes a letter.

In ‘Aaatama Therottama’,it is a cabaret dancer.

In ‘Aasai Adhikam Vaichchu’, it is a tribal dancer.

In ‘Poongaatru Puthithaanathu’, the raga jumps with joy totally oblivious to the uncertain future.

In ‘VaLai Osai ‘, it is the naughty love.

In ‘Muththu Mani Maalai’ it is the newly married couple.

One can go on and on…

The rare gem of today is also based on the same raga.

It is ‘Hey Masthana..’ from ‘Azhage Unnai Aaradhikkiren’(1979).

The sequence is somewhat interesting.Two young lovers travel to Goa and dance with the hippies in the evening.The girl’s aunt- ditched by a man(villain!)-and a man totally devoted to this lady accompany the couple.

Listen to the prelude.The long flute slowly takes us away from the hustle-bustle of city life while the guitar and the chorus leave us in the midst of hippies.
A short interlude with the strings and the trumpet and we start dancing to the voices of Jayachandran and Jency.

The next interlude is what shows us the genius.

The western fast –paced beats suddenly give way to the violin evoking a totally different and contrasting emotion.

The next CharaNam is slow in keeping with the mental state of the senior couple.Vani Jayaram and SPB do full justice to the situation.

As the CharaNam ends, we start jumping with joy with the young lovers.

We continue to dance in the next interlude as the Shehnai and the other instruments stare at us with glee.

This continues in the CharaNam as well.

Now comes the beauty.
The flute and the violin making us close our eyes and just relax.
We become sober in the following CharaNam.

Contrasting emotions depicted so musically.

Well..after all what is life?
Darkness after light..and Light after Darkness..

Just like the Ragam-Sindhu Bhairavi!

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It is raining music...

It is raining in Chennai..
Yes..natural rain and musical rain(isaivizha).

Now talking about the rain,

Most of us have had the experience of watching a Drizzle..

Many of us have run out of the house to get drenched..

Some of us have danced to the beats of the rain drops..


Here is a song that makes us do all these!

This is a song for the 1977 film 'AaLukkoru Aasai'.

What makes this song great?

Is it the base voice rendering ?

Is it the very different tune ?

Is it the orchestration ?

Is it the modulation ?

Is it the acoustic Guitar that appears now and then?

Is it the Bass Guitar?

Is it the Spanish Flavour?

Is it Yesudass?

Is it Suseela?


Listen and tell me if you can find the answer..


If I was asked to describe this song in two different words,I would say

ABSTRACT
ECSTATIC

This is the real "Isaimazhai"!

Rain of Music!

Musical Hatari..

Danger!

This is what Hatari means in Sawhili language.Swahili is one of the many dialects of Africa.’Hatari!’ is also the name of a 1962 film directed by Howard Hawks and John Wayne.The film was very popular in the ‘60s and the ‘70s because of many reasons.

It had some breathtaking live wildlife chases never seen before on the screen.

It was shot near the picturesque Mount Meru, a dormant volcano near Mount Kilimanjaro in Tanzania.

The actors (and therefore the characters) were from different parts of the world like the USA, Mexico, Germany, France, Italy.

One of the most popular tunes in the world , the ‘Baby Elephant Walk’ was composed for this film by the world renowned composer Henry Mancini. Mancini was the winner of Academy and Grammy awards and has also scored music for the ‘Pink Panther’ theme- a beautiful piece in Jazz.

Another world- class composer, who hails from India and who has given many excellent songs over the last 33 years gave a song that according to me is a Musical Hatari!

And that is today’s Rare Gem.

The song is ‘Nandavanaththil Vandha Kuyile’ from the film ‘Annai Oru Aalayam’(1979).

The Hero takes the Heroine for a ride(literally and metaphorically!).

Hunting is his hobby and the Heroine- as usual- is scared of animals and the forest.
He takes her on his jeep to show her the myriad hues of the forest.

The entire song is very fast and moves aesthetically like a Cheetah!

The opening itself is very beautiful and prepares us for the Ride.

The Pallavi in the magnificent voice of SPB is an incredible combination of power and elegance.

In fact, the entire song brings out the subtleties and the contrast. For example, the beginning of the first interlude is westernised with the electric guitar and the allied instruments and suddenly the flute appears from nowhere.

It gives traces of the Raag Jog. The beats then change when the trumpets take over.

The CharaNam is also astonishingly beautiful and we feel like being in KaLakkad forest.

We get to see the lions, tigers,antelopes,jackals, elephants in the second interlude.

The Bass work is so wonderfully conceived to give us the feel of the forest, the animals and the ride.

Truly a musical Hatari!

Immortal Poems..Immortal Music..

Subramaniya Bharati is one of the greatest poets of all times.

A very radical personality,he simplified Tamizh language. His poems covered a gamut
of subjects.

India, Tamizh Naadu, Tamizh languge,Freedom movement,Patriotism,National leaders,Other Countries,Bhakthi,Philosophy,Society, Feminism, Nature, Love,Kannan songs..well the list is endless.

What is amazing is that he was able to visualize India’s independence as early as 1910 and was able to sing ‘Aaduvome PaLlup Paaduvome..Aananda Suthanthiram Adainthu vittom Endru’(Let us sing and dance!We have attained freedom).

His clairvoyance is shown in another song where he says ‘Kaasi nagar Pulavar pesum Uraithaan Kaanchiyil Ketpatharkkor karuvi Seivom’(We shall invent an instrument that will make people in Kanchipuram listen to the speech of a poet in Kaasi).

In the days of Satellite televisions, DTH and the internet it is easy to ask ‘what is so special in this?’

But this poem was written much before a gentleman called Marconi invented Radio.

Bharati is also considered to be the father of New Poetry(Puthuk kavithai).

As we celebrate his 127th Birthday today,it is with great pride that I write about one of his songs set to music by the other genius, who is the Bharati of Film Music.

The Film Kavarimaan(1979), directed by Sp Muthuraman has some wonderful songs.It has a Thygaraja Keerthanam in Bahudari Ragam as well.We shall see this sometime later in this Blog.

The song ‘Solla Vallayo KiLiye’is very special.Sung by the veteran singer S.Varalakshmi, it is the first Bharati song set to tune by Raaja sir.

The entire song is in pure carnatic style.

The Pallavi is in Surutti, a beautiful and different raga considered to be very auspicious.In fact, it is not easy to handle Surutti since a small slip could land in Kedaragowla or at times even Madhyamavati.The sweet aalap in the beginning gives the essence of the Raga.

The first Charanam is in AtaaNa, a Raga full of valour.I am sure you all remember ‘Baala Kanakamaya’in Salangai Oli..

The brief sangathis after ‘AllikuLatharuge’ take us directly to the pond full of flowers.

The second charanam is in Shanmukhapriya and the Swara singing passages have a charm of their own and give us an exhilarating experience.

The Parrot seems to say this:

Long live the poems of Bharati! Long live the Music of Raaja!!

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I think of your Music..and it is so...sweet!

What determines the mood in music?

Is it the Raga?
Is it the Tala?
Is it the way it is sung?

If it is the raga, then the Mukhaari(considered to be a ‘crybaby’ raga) song by G Ramanathan in ‘Ambikapati’ should sound sad. But did he not do it for a romantic duet?

And what about the Mother of Pathos-Subhapantuvarali?

Raaja sir composed a song humourous peppy in this Ragam(‘Kandupidichen Kandupidichen'-Guru Sishyan’).

Maestro often says that music is nothing but a kind of ‘Sithtu Velai’(black magic).Of course, words of such geniuses should not be taken literally. They carry lot of meanings.

He has even composed a pathos song in Mohanam(Oru Raagam paadalodu-Aananda Ragam) and happy duets in Sivaranjani(Adi Aathaadi-Kadalora KavithaigaL, Vaa Vaa Anbe Anbe-Agni Nakshatram).

But I am still amazed by one of his compositions-I must say two compositions.

In 1979, he composed two different songs for two different movies.Both were based on the same Ragam, Suddha Dhanyasi.Both followed the same Tala structure,the 7 beat Mishram.

But one was a slow (somewhat sad) song and the other a romantic solo.

The slow song is ‘Aayiram MalargaLe’(Niram Maraatha PookkaL).

The peppy number is the one we are going to see today.It is ‘Ninaiththaal Inikkum’from ‘KalyaNa Raman’.

‘Ninaiththal inikkum..’ starts with a humming of Janaki.And yes’Aayiram MalargaLe’ also starts with a humming.But look at the contrast!

The subtle bell sound the violin and the flute that follow are enough to create the right mood.

Now listen to the beats.

The ‘Tha Ki Ta Tha ka Dhi Mi’ that moves our hearts in ‘Aayiram malrgaLe’ sound so sensual in ‘Ninaiththal inikkum..’

In the first interlude, the guitar at the end plays almost the same notes as the Violins..but how different it sounds! The Flute appear now adding to the beauty.

We get to hear a classical western piece in the beginning of the second interlude and suddenly it becomes folksy.

The third interlude is aggressive and sensual at the same time.Of course, this has to do with the sequence in the movie where the Hero holds and throws away at a snake ‘hurled’ at him by one of the villains while the Heroine keeps singing at her house.

One has to also notice the difference in ‘speed’ between the Pallavi and the Charanams. But are they really different? They follow the same tala.It is the pattern played in the percussion instrument that gives us such an illusion.

So, now what determines the mood?

Whether it is ‘sa ga ma pa ni Sa/Sa ni pa ma ga sa’ or ‘Tha ki ta tha ka dhi mi’, it is the composer who determines and gives us the mood.

And aren't such compositions sweet even when we think of them?

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Garden of Music..

It is a garden of flowers.We see the trees, plants, and creepers.We hear the song of the birds..

Is it just the birds?

Hey, wait! We feel the trees are singing; the plants and creepers providing the orchestra; the birds and animals dancing.

It is a garden of Swaras.. A Musical Garden!

‘Nadhiyai Thedi Vantha Kadal’(1979) was yet another novel adapted for movies.Written by the tamizh writer Maharishi, the novel revolved around one middle aged woman.

This was the last film of Jayalalitha who played the middle- aged woman.

But let us focus our attention on the musical garden.

The composition starts with the simple but beautiful humming of Shailajaa.

The birds welcome us ..and…the floodgates open.

It is a dazzling canopy as one hears the flute and we jump and run with joy.We chase the birds as the strings and the violins play.

We get to see the jumping rabbits, romantic deers, majestic lions, astonishingly beautiful monkeys, and sweet parrots in the first interlude.

In the second interlude dominated by the violin (and how wonderfully conceived!), we see the multi hued butterflies flapping their wings and playing with the flowers.We see the luscious fruits.We see the covey of birds.

A grand spectacle!

It is palpable blithe in the third interlude as the violins follow the strings.

Harmony all around.

Yes, harmony of nature.Harmony of his music.

Garden of flowers-Garden of Swaras-Garden of the Emperor of Film Music!

Musical River

Rivers are Very Musical.

Saint Thyagaraja lived in the village Thiruvaiyaaru-meaning the confluence of Five Rivers.

The River Danube flows in Vienna considered to be the Temple of Western Classical Music.

One can give more and more examples..

Apart from these facts about the composers and rivers, we also know how musical the river sounds when it flows.

It is said that in the olden days, Carnatic Musicians used to do Saadhakam(practice) standing neck deep in the river.

The River gave their voice a special charm and Shruti unison.I have a feeling that it also gave them the Laya Gnaanaa(sense of rhythm)!

The Emperor of Film Music also grew up in a place very close to where the Vaigai River flows rhythmically.. And I am sure this has had a great impact on him.

There is an old composition of his where the river Cauvery has been dealt with romantically.

The song is ‘Cauviriye..’ from ‘Archchanai PookkaL’(1980).

River and Romance..

Is there any surprise then that he chose the Mohanam Raga for this?

With just the sound of the strings, we are transported to the banks of Cauvery.

We see the white water birds welcoming us.

The Bass Guitar and the strings play and river smiles as we place our feet somewhat stealthily on the water.

The golden voice of SPB hums blissfully with the repartee from the flute and there..we jump into the river ready to taste the beauty of the music.

Janaki joins with her sweet voice and we begin to swim.

We see the sinuous waves as the violins play and we go with the stream.We see the playful fish under the water as the Flute throbs.

As the Charanam is sung, we look up at the golden sky and are mesmerized by the sight. As the alien note is used now, we take a turn and watch a grand spectacle.

We see the celadon green fields as the river speaks to the plants and trees.

The raindrops now fall on us and now it is the romance between the river and the rain.
It is the vibrant Flute again.

The River now passes through craggy surface and is slightly obstreperous as it gushes out spraying water all around.

It is in perfect synchrony as it continues to flow nonchalantly .We get out of the river and step on the banks reluctantly…. only to take a plunge again!

What an enchanting experience!

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Shruti and Laya..

Status of women in the society- a pet topic of many. A topic that will be discussed/debated/argued but finally end up doing nothing. The way society (society includes women too..) contradicts itself baffles us.

At one extreme, women are glorified as Gods(or is it goddesses?).At the other extreme, they are considered as glamourous creatures meant for providing fun and entertainment.In between are the various roles that they are expected to perform without fail.

Why should they be deified in the first place and then pushed to a corner?

Let us look at films. Of course, a majority of the films is ‘hero-oriented’ and the heroine speaks like a doll, dances like a doll, runs like a doll, cries like a doll, laughs like a doll.. But what about the ‘Heroine-oriented’-or rather ‘Women-oriented’ subjects ? Here, the lady invariably sheds tears, does a lot of ‘sacrifices’, brings up her children/brothers(or even husband!) but reveres her ‘mangalasutram’ and finally dies on her husband’s lap.

One of the very few exceptions was a film called ‘Thyaga Bhoomi’(1939)-story by tamizh writer Kalki-where the main protagonist fights for her rights till the end.This movie was a box-office hit and was later banned by the British Govt. for its pro-Freedom movement ‘propaganda’.More about this later in some other thread(maybe Vintage thread).

Though Rudraiah made an effort in ‘AvaL Appadiththaan’(1978), the film failed to make a real impact because of the weak screenplay.

It is rather unfortunate that exceptions have always been exceptions and no film maker dared to make a movie to show the woman as woman.

The film songs too echo the same sentiments.

The Lady Love will be addressed as ‘Maane Thenae’(Oh..Deer/honey) and will be mainly described as one who fulfils the wishes of her lover.

However, today’s Rare gem is an exception. Here too, the male sings ‘women are like deer’ with the female countering him. But the end is very interesting.

The song is ‘PaavaiyargaL Maanpole’ from ‘Ore Muththam’(1980).

The song starts with a beautiful harmonium piece- that lasts for at least half a minute- giving a Qawaali flavour.

The Pallavi-rendered by SPB- says ‘Women are like deer; like the Cauvery river.If only they lead their lives properly, they are more than angels. Why be modern?’

The Qawaali flavour continues in the first interlude with the Shehnai, harmonium and the claps..

The first charanam talks about the looks of an ideal woman-well-braided hair bedecked with flowers..It also asks the woman to read tamizh(does the poet mean tamizh culture or tamizh language?)

The second interlude changes beautifully.The Qawaali now becomes jazz with the trumpets, electric guitar and a host of other western instruments.

The tempo too changes in the charanam as Janaki renders ‘A virtuouswoman can be found in a forest or even in a ‘Daasi’s house(I am sure no translation is required for this word!).I know what I am and I don’t need anybody to preach me’.

The next tempo change is very interesting and intelligent too..The 4-beat Chatusram changes to the 3-beat Tisram.The orchestration is jazzy again and makes us tap our feet.

The male now sings ‘The heavens protect you when you wear a saree(silk!!).God comes to you when you are with your sindoor and flower(wow!what a way to suppress woman by glorifying her beauty!)’

Repartee by the female: ’Even if the God comes now, he will be by my side since times are changing.Please put things in the proper perspective.If you can’t ask me’.

The next interlude has the Shehnai bit alone indicating how the momentum has picked up.
The tempo changes yet again and the male now sings’ Women those days would only look at the ground while walking (so scared of the silly men folk!) but the present day woman smiles directly looking at our faces(maybe so handsome!).If a woman laughs it is doomsday’.

One more jazzy interlude followed by my favourite charanam.

The female says ‘If I make a mistake, you are welcome to tell me and similarly, if I find a problem in you, I shall point out.After all, Men and Women are equal.’

Now both sing, ‘Good and bad exist in everything. Let us discover the world.Let us unite!’.

Yes.. let us learn this.

Men and Women differ physically.. biologically...maybe emotionally..
But both have equal rights. One cannot exist if the other ceases to exist.

Like the Sruti and the Laya..

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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..