Between Reviews: A Little Midnight Music
A LITTLE MIDNIGHT MUSIC
JAN 11, 2009 – IF THE INEVITABLE CROSSING from limelight to twilight can prove difficult for an artist, it can be downright devastating for his fans. The head that was held proud and high during the glory days now hangs limply, sheepishly, hoping and praying – oftentimes in vain – that at least a glimmer of that glory will manifest itself again, in the present time. The mulish mind, inconsolably steeped in rose tints of the past, often begins to play sneaky tricks, causing even a rewarding recent effort to be summarily rejected simply because it doesn’t match up to the impossible standards we hold our idols to.
It’s a tug-of-war that no one wins: not the artist, because he’s no longer going to be able to give the fan what the latter expects, namely glimpses of the effulgent former self, and certainly not the fan, because, despite this knowledge, he isn’t going to stop expecting the very effulgence that made him a fan in the first place. The logical course of action would be to look the other way and move on – but a damning mix of guilt and gratitude, proprietorship and loyalty keeps drawing us back. It’s almost as if it were some sort of morbid, masochistic penance. Over and over, we choose to immerse ourselves in cauldrons of boiling oil, writhing and burning for the Creator’s imagined sins.
It was roiled in such angst that I found myself while listening to Ilayaraja’s magnificent, midnight-black score for Bala’s hugely anticipated Naan Kadavul. Sadhana Sargam is in superbly robust voice in Amma un pillai naan, which updates the composer’s own Maadha un kovilil. Where the marvellous S Janaki, in that earlier tune, made you imagine a tremulous schoolgirl offering a quavering prayer from a far corner of a room, Sadhana Sargam bursts forth with the sharpness of a clarion call, all but ordering us to eavesdrop on her litany of sorrow. The sinuous lines of melody throb with layers of unrequited feeling, and after what appears to be an eon, the instantly identifiable violin cascades are back.
There are, on occasion, thrilling silvery flourishes, as in the line Kaattoram odum neere nadhiyaanadhe, where the singer draws out last word into a meandering loop reminiscent of the sylvan brook the lyric talks about – or the portion at the end of a stanza, where the violins burst forth with full force, threatening to commandeer the interlude ahead, but almost instantly subside with a soft sigh, as if that would be too much effort. With so much going for the song, it would appear that this, finally, is Ilayaraja’s reward to the patient, to the loyal, to those who kept the faith, even if only a brief flickering flame of what was once a raging fire.
Why, then, does He stint with his largesse? Why the horrifically tinny synth percussions, which sound as if a low-rent light music troupe barged into the recording studio and held the composer hostage until he allowed them to free-associate on the interludes? Is it because the ears of a genius hear things differently, perceiving enchantment where we mere mortals simply sense embarrassment? Or perhaps this is just his way of pointing out that, for better or worse, this is who he is in the present day, and these are his tools, and were he to create the same tunes today, this is how he’d do it.
But once our penance is complete, once we’ve flicked off the last flecks of boiling oil, Naan Kadavul proves one of Ilayaraja’s richest albums of late. In other words, after the requisite amount of hand-wringing over the first interlude of Oru kaatril (sung by Ilayaraja; Shreya Ghosal takes over the song’s distaff twin, Kannil paarvai) – imagine what that passage would have sounded like, how majestic its stride would have seemed, with real sounds – the song shapes into a piercing slice of melancholia, resting on an uncharacteristically rollicking rhythm. The ends of the stanzas, especially, are things of shimmering beauty – long lines that take flight and are quickly felled at the knees, only to crawl towards the finish through a staccato ascent of notes.
Om Sivoham is all percussive thunder and lightning, a six-minute-long detonation of musical fury that’s wonderfully fuelled by Vijay Prakash. The divine second interlude harks back to the time Ilayaraja would, in songs like Unnai naanariven (in Guna), lope across diverse musical territory with the liquid grace of a ballerina. With these passages, he would create the musical equivalent of a series of changes of scene, which would practically function as a how-to manual for the editor while splicing together the visuals for the corresponding sequence.
Pichai paathiram yendhi vandhen, the album’s second recycled tune, is riddled with willfully idiosyncratic musical stretches, but the eccentricities are smoothed over by Madhu Balakrishnan’s silken singing. I was reminded of Azhaikkiraan Madhavan (from Sri Raghavendra), the kind of devotional chant that, at the time, was a staple of a kind of film that’s all but vanished today. Listening to Naan Kadavul, you are left with a similarly disquieting notion – that for all its artful pleasures, it is more valuable as a nostalgic reminder of a kind of music that’s all but vanished today.
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The first two para…..superb rangan – u captured the feeling exactly !!
With nandalala to come , i would be happy to have 2 great albums in a yeaar !
Baddy, I agree with everything you say here…being a fan who goes through all the emotions you have listed in the beginning.
But I do feel that in terms of BGM, IR’s scores seem more complete now(though the choice of synth sounds is very disconcerting). It almost seems like the music has fully matured to be a holistic BGM score that integrates and backs the movie.
In defence of the man, isn’t it quite possible that after so many years of composing spontaneous music, he is just bored with the situational concept of music in our films? Maybe he yearns to do more theme albums…Thiruvasagam certainly was a masterpiece in terms of composition…it’s probably just us fans who are expecting more of the same that he has so effortlessly dished out over the last 30 years…while he has moved on?
In retrospect, many years from now, when we look back at his career, considering his modest background, the only answer to the question of whether he fulfilled his potential would have to be, IMO, a resounding YES!! The enormity of what he has accomplished musically is probably still not fully understood…
As a fan, I will be greatful forever that I was around when this man was at his dizzying best…
Lilting, mellifluous, ascending to a glorious crescendo before floating gently down to a rousing finish…that’s your pitch-perfect write-up that’ll have me downloading the songs onto my MP3 player in a few moments.
And to think I once thought the punning soundtrack reviews on Filmfare the pinnacle of Music Analysis (Shudder!)
Well done Mr.B!
Shankar: regarding “isn’t it quite possible that after so many years of composing spontaneous music, he is just bored with the situational concept of music in our films” – that may be so, but if that’s the case I’d rather he stopped making film music and devoted his energies to something else. It’s not as if he has anything left to prove in cinema — well, except that he will indeed, someday, master the synth
“As a fan, I will be greatful forever that I was around when this man was at his dizzying best” – that I’ll agree with. Growing up with Raja around you, at his peak, is truly something to be grateful for.
KayKay: Thank you – but I hope you’ll understand why I had to edit the latter part of your comment
Good to see a music review from you sir
I am tempted to leave just a ditto as comment. Perfectly captured (except for the part about me making excuses for raaja in the present day – I dont think I need to. A large body of His work exists to listen to and is nothing to be apologetic about).
And yes Sadhana Sargam is great – even the enunciation of the words. Madhumitha (in the 1:30 reduced piece) sounds like she is saying ETRineeen every time she says ERRinEn.
Listening to those synth sounds you so rightly point out, me and every rAjA percussion lover (I mean those glorious congo/drum/cymbal bits that used to enrich his songs) must begin to wonder, Is it that hard to get someone who plays those instruments now? I mean if anyone can find them – it would be rAjA right?
PS: Couldnt help sharingmymorning fix:
http://www.youtube.com/watch?v=eOwhAO8Qpe8&NR=1
Thank you, especially for the first two paragraphs. Listening to his last two hindi albums, this was exactly what I was going through. The same hope and prayer, though his name is not Ilayaraja.
Baddy, even though I started that para as though I was putting up a case, I was merely trying to read the man’s mind…trying to speculate why his creative juices were no longer in full flow…because I don’t really buy the theory that the well has run dry that some people propose.
Earlier the splendid tracks gushed forth irrespective of the producer, director actor etc whereas in the recent times, only some films (Mumbai Xpress, Virumandi, Pithamagan etc) have got his undivided attention. That led me to believe that he might be getting bored…again, I’m not saying this as an excuse for some of the ordinary scores. I wonder along those lines when I don’t see the usual impeccable structures, the tight orchestration, the attention to detail etc that are his customary hallmarks.
Deepauk M: With Sadhana and Shreya, there are still the odd enunciataion bits that make you wince, but they sing so beautifully otherwise, that these are easily glossed over.
paadhi: “though his name is not Ilayaraja?” — er, um, cough, cough
Shankar: “earlier the splendid tracks gushed forth irrespective of the producer, director actor etc” – I swear! Raja and RDB are possibly two composers who were spurred by the possibility of creating classics for crap films
A spendid post Baradwaj! You have captured a feelings of being an Ilaiyaraja fan exactly. Thanks a ton.I urge you to listen to Uliyin Osai, which i feel is one of the best albums of Raaja in recent times. Read this http://musicmavericks.blogspot.com/2008/06/uliyin-osai.html
“KayKay: Thank you – but I hope you’ll understand why I had to edit the latter part of your comment ”
Knowing your moderation policy as well as I do, having stretched and stress tested it multiple times, I think I know what KayKay must have said – something to do with A certain someone? Without even having read it, I agree with him
A fine article worthy of your name.
As for the tinny sounds, the Budapest Orchestra seems to be summoned by him whenever he can find a maanga producer willing to pay the charge.NK was touted to be quite expensive so he should have been able to afford it this time, too but Bala probably spent his millions on the wrong items(like reshooting after replacing heroines 3 times) instead of providing an orchestra to Raja.
BTW, I havent heard the album yet. But I read this article. Now I have heard it, without actually having heard it. This is what writing a review is all about. Thats why Baradwaj Ranga is a fine writer.
A disappointing album, thats all I could say. 2 versions of a remix(?!!) and a reused devotional song in Bitchai paathiram. Not to mention the mandatory IR-sung version of the one song that is good-kannil paarvai. The siva om song too provides instant deja vu with adada from Pithamagan and other such similiar mood/feel/instrumentation from yesteryears coming to mind.
and why this obsession with the Shreya Ghosals and Sadhana Sargams of late? what happened to swarnalatha/Sujatha/Chithra/Chinmayee and so on?
I wish this review had been saved for a much better effort from IR. But then, we wouldnt have had the chance to read the first 2 paras and nod our heads
Talking of giving classics for crap movies dont forget MSV. He probably set the precedent. RDB was good too, but I dont hold him that high especially when after Anu Malik and Deva he has probably been “inspired” by the most number of songs which also include hits his fans swear by, like Chura Liya, Mehbooba and so on. Mehbooba is a certified lift. Here is the long list
http://www.itwofs.com/hindi-rdb.html
even Khatra khatra milti isnt original.
I’m writing this moments after watching ARR bag the GG for Slumdog. It was awesome and a very special moment!!
BR: ” I was reminded of Azhaikkiraan Madhavan (from Sri Raghavendra)” – I was actually reminded of Partha Vizhi Parthapadi from Guna. And Yes, Madhu’s rendition adds so much of value to the song – I liked Vaali comparing the human body to a Pichai Pathiram.
Shankar: “The enormity of what he has accomplished musically is probably still not fully understood…” Well said!
MumbaiRamki: “With nandalala to come , i would be happy to have 2 great albums in a yeaar ” – Dont forget Pa in Hindi.
paadhi: “The same hope and prayer, though his name is not Ilayaraja.” – Isn’t it irony that when I read your comment, ARR had just won the golden globe!
Hi BR – Did you get a chance to listen to the songs of Dev D ?
BR,
Why this starkly negative tone and mood inspite of the album being, in your own words, magnificent? I mean the first two paragraphs do capture exactly what a typical die hard Raaja fan feels but haven’t the fans prayers been answered by Raaja through Naan Kadavul? Take away the tin synth sounds in “Amma un pillai” and isn’t there redemption at last?
Prakash: I have listened to UO. I loved the way the tunes were structured, but as overall songs (arrangements and all) the album didn’t do much for me.
Vijay: I don’t much care for Mehbooba and stuff. But a lot of his tunes for little films (say Neend churaake from Shareef Badmash) have a very distinctive stamp in the scale/melody that only a genuine composer can come up with. Of course, I wish he hadn’t filched so much
Shankar: Oh wow. That was a great moment — for ARR and for Indian film music. I am almost sure he’ll bag the OScar too, what with the momentum Slumdog has got going. Truly amazing moment, this! I’m ecstatic, except for one small thing — the paper wants me to do a longish story on this ASAP
Vishnu: Yes. Excellent album. May be too early to say, but in terms of range and colour, this may be the year’s album to beat. I’m in love with Paayaliya.
Bala (Karthik): Negative tone? Hmmm… I thought I did end with a very positive tone. And I think I’ve said something almost exactly along the lines of what you’ve said.
Vijay – 30yrs+ and RDB is still a huge draw. His contemporaries like LaxmiPyare, Kalyanji,Anandji have long been forgotten. Get back to me the day Deva and Anu Mallik’s songs have the same appeal after decades. Forget about them, I doubt even ARR’s songs will have that appeal after 30 yrs. Of course Ilayaraja is in different class.
Tambi dude, you mistook my point to mean that I compared RDB’s composing abilities with Deva or Anu Malik. Obviously RDB is in a different class. But his lifting habits were comparable to that of Anu Malik’s/Deva’s and that brings him down a notch in my books.
Tambidude, you mistook my point to mean that I was comparing RDB’s abilities with that of a Deva or Anu Malik which was not the case. RDB is obviously in a different class. However his lifting habits were certainly comparable to that of those two and that brings him down a notch in my books. And there have been other composers before him in Hindi film music, including his illustrious father, who have easily contributed as much if not more than RDB to my playlists.
Mr.B, I understand perfectly your motivations behind editing my comments….your wide and varied readership practically demands that on occasion:-)
As for your statement above:
“Raja and RDB are possibly two composers who were spurred by the possibility of creating classics for crap films”
ARR is no slouch in that dept as well. Evidence:
The gorgeously melodic soundtrack for En Swaasa Kaatre (now picture it’s lilting title track against Aravind Swamy’s attempt to dance)
The lovely numbers for Kadhalar Dhinam(and then picturing all of them on Kunal)
INHO his best folk soundtrack for Sangamam ( and then see actor Rahman passing off a back kick as a legitimate dance movement)
Kangalal Kaidhu Sei (am desperately trying to do a Mind Wipe with regards to how the amazing “Theekuruvil” song was picturised)
Azhagiya Tamizh Magan (A.Vijay.Movie. Enough said)
Although given the sheer volume of Raja’s output, his Great Tune to Crap Film ratio is probably way higher!
Anand,
The lyrics of Pitchai Pathiram are by Illayaraja himself. All other songs by Vaali.
S.Suresh
So the IR-ARR fight comes to this blog too!!
I felt the sound of the album was simply in tune with what we saw in the trailer and what is going to be in the movie. It takes sheer lots of guts to have full pathos and one devotional song in a movie in a time when ‘variety’ and ‘packaging’ take precedence over ‘relevance’ and ’simplicity’. I will raise my toast to that guts and wonderful lyrics and needless to say the mood and feel the album creates
“However his lifting habits were certainly comparable to that of those two and that brings him down a notch in my books.”
that’s fine. Even I used that to irritate RDB fanatics. But I somehow dont mix lifting to judge the overall quality of a MD. Lifting tunes is like a batsman failing. You remember a batsman by his good ininngs, not the ones he failed.
I also agree that quite a few MDs in Hindi were better than him, like his father himself.
Beautifully written,in particular first two paras. But I don’t feel the album is so bad to deserve those 2 paras. This album may not be his best but bete than his several works and may be it will fit perfect in the context of movie. If you had written a review on bommallattam surely the first two paras can be used for the man who did sigappu rojakkal, his recent works ….:(
But NK is little better to get that first two pars.
sakthi: Those two paras weren’t about *this* album. They were a general statement of a fan’s frustrations about the twilight of an artist’s career.
“Lifting tunes is like a batsman failing”
Tambidude, I am not sure I agree with this analogy. A bad album is probably more like a batsman failing. Lifting is more akin to something like say, match-fixing
(but for the magnitude). It is a question of integrity. And in RDB’s case quite a few of those lifts turned out to be hits which are listed in every article that pays tribute to him. He is still a pretty good composer in my books, but I perhaps wouldnt place him on the highest pedestal.
BR: Out with that longish story on Rahman! Please. We are all waiting! Especially after reading maami’s piece just now.
OK admitted that lifting a tune without giving credit is a question of integrity. But why should his lifting be a factor while judging his original good songs. I see no relation in that. Judge RDB by his good original songs. I think this is what BR also wanted to say in message
#23.
My trouble with Deva, Anu Mallik, or Nadeev Shravan is not about copying. That I don’t have a single song of them in my collection is a problem for me.
There is no need to put him on the highest pedestal because he wasn’t the best. What I am trying to argue is that he need not be rated lower than what he deserves because of his lifting.
Among post 1970 composers, he is second best for me. The best of course is IR and there is a daylight difference between them.
Adithya: It’ll be up this weekend, though, by mistake, I almost published it yesterday
Adithya, why does she call Rahman prolific? Genius, yes but polific?Just peter england-ah? Use some nice sounding word and wow her unfortunately vocabulary-challenged fans?
tambidude, appo Rahman? Golden Globe-lam varudhuppa? Oscar kooda varum pola irukku? oru second best after IR-nu kooda solla koodadha?
polific illai prolific. ada che, indha typo thollai thanga mudiyalaipa
Just heard Nandalala..Liked it to some extent. One song by Raja is fantastic. But overall, I would call it disappointing.
Why does “adada” sound like someone we know by another name?
Oh – enakku writing style, signature ellam vera irukka?
*pats self on the back*
adada: I don’t think it’s the style so much as the angst-y, rant-y content
BR, but this is not the usual angst
adada: anga keka vendiya kelvi, inga keta epdi pa!
aditya, oru fanboy maadhiri andha link-ai inge pottadhala, I asked you. I assumed you had gone through it and enjoyed and understood it.
I actually liked couple of songs from Nandalala, the Raja song that Anand mentioned and “Kai Veesi”…the stanza beginnings have the unmistakable Raja stamp.
Also checked out “Dilli 6″…it is awesome, ARR seems to be on a roll lately.
Shankar: I did hear D6 songs today. The songs just didn’t appeal to me. ARR is trying too much these days and has forgotten basic melody. The songs are just not sticking in my mind. Some of his songs 10 or 10+ yrs ago are still hummable.
I hated Ghajni songs too and got bored with JTYNJ songs within few listenings.
Amen to that Tambi Dude. ‘Masakalli’ is nice and I am sure it will be a big hit. The other songs have lot of ’sounds’ but nothing too great in terms of melody. In terms of experimentation, I would rate DevD as a better album for the unity that Amit Trivedi brings to the songs.
Still hooked to Naan Kadavul songs, especially ‘Kannil Paarvai’. What a tune and what a beat. In spite of all the experimentations going around, you cannot brush aside Raja. And this song is a reason why.
S.Suresh
Heard Naan Kadavul.
Maadha Un kovilil is a waste of time because it doesnt update anything but lyrics and replacing S Janaki with Sadhana, and ofcourse tinny synth to replace the beautiful original ludes. Disappointing. Why couldnt they spend on an orchestra? Bala, where did you spend the bloody 14 crores?
I would agree with Vijay on this one though I went in determined to contradict him. Only Kannil Paarvai is attractive.
Bikshai Paathiram by Madhu is so expressionless. Pleasant and smooth may be. But IR oozed the feeling in Ramana Maalai. Nowhere near it. Despite the bad recording, Ramana Maalai was more evocative. Sorry.
I dont know why expressionles pleasantness is considered better than soulful if sometimes offkey singing of IR – especialyl in the context of such songs
Oru Kaatril exposes IR’s limitations as a singer. Wish he had avoided it. Just when I am making a case for his singing, he comes and sings this…
We are left with Kannil paarvai which is new in every sense. I havent noticed the synth on this yet which may be a good thing. I wish we could have an album full of such songs from Him – in the sense of whatever combination of genres but this level of nous and freshness. Agree with Vijay – would have not preferred Shreya on this one though I fairly have loved her effort in all her previous collaboration with IR. This one was crying out for Chitra or Sujatha. Even Mahathi would have done fine thank you. Or Madhumitha.
raj: reg. “Maadha Un kovilil is a waste of time,” I don’t quite agree. The voice is the prime conveyor of a song’s mood, and when the timbres differ as much as Sadhana and Janaki, it practically becomes a different song (emotion-wise), despite the same tune and so on. (Check out, for instance, Raja’s version of “Idhayam oru koyil” versus SPB’s. Same tune, same ludes, yet one is night and the other is day.)
That’s why I feel there’s a very valid beauty to Madhu’s rendition of the song, and IMO it’s the last thing from “expressionless.” (It reminded me of the exquisite Yedhilum ingu iruppaan…) Don’t want to get all classical here, but “sowkhyam” is a very valid form of musical expression, and it may not be the expression you are looking for (especially when compared to Raja’s original), but it works very well for me. There are some semi-classical zones where Raja works for me. For instance, in the sandpaper serrations of the brief alapanai for ‘Naan thedum sevvandhi poovidhu’ or the entire stretch of ‘Dharisanam kidaikkaadha’. (You could make a case, in the latter, that the unpolished-ness of the voice was absolutely necessary to convey the feeling of not-yet-fully-formed love of an adolescent.)
Also songs like Oru ganam… (not really semi-classical, I know) where Raja lifts the song to a whole new level when he sneaks in with “Vaanamum poonthendralum…” But in this semi-claasical tune, I liked Madhu’s silken supplication as much as I liked the earlier version. There’s a world of difference between the two modes, and I feel there’s a lot more “bhavam” in Madhu’s singing, and as I said, they’re practically two different songs. And I guess the one thing I do agree with your comment is that IR should have avoided singing Oru kaatril.
BR, fair enough. I wasnt really seeing from that perspective. Now you pointed out, if I can calibrate my approach to the song, I do agree with your Sowkyam observation.
I think my problem was while I perceived Edhilum Ingu as silken while somehow, Bikshai Paathiram merely seems placid. The lyrics do have some value and he doesnt seem to recognise it all – Oru Muraiya, Iru muraiya, pala murai pala pirappedukak vaithai – you cannot simply reduce the feeling in those lines to placid silkenness, which is what Madhu does but those lines should not simply be translated into any other emotion than waht IR had originally visioned and given in Ramana Malai. Thats where I come from. Of course, if you ignore those lyrics, this song brings its own sense of emotion. I am not dissing Madhu’s singing at all. Maybe expressionless was the wrong word. More like wrong expression.
Also, the glaring miss in my last comment is the Rudra thandavam song. There’s a phase in this where a simple combination of tabla and bells create an enchanting mode only to be crashed down by a thambalam-dropped-on-floor role used in SV Shekar stage dramas. It sums it up for me. This is indeed a fine album(not among the top 100 of Raja still a fine one) marred by some cheap synth sounds. Bala, I repeat, where did you spend the 14+ crores?
Kannil paarvai is growing in stature every time I hear it.
I wouldnt have celebrated this one 10 years ago but yes, your last line does resonate.
Now you reminded me of some gems – Oru Kanam where Raja used his voice so effectively. Let me go back to those. And Oru Kanam was the song conveniently left unpicturised by BR.
brangan & Raj: “IR should have avoided singing Oru kaatril” – really? Interesting. I think the melancholy suits rAjA’s voice. I enjoyed IR’s singing. But then, I am also the one who prefers IR’s stanza to S.P.B’s stanza in “Vazhi vidu Vazhi vidu, en dEvi varugirAL”!
Deepauk, I am also one “who prefers IR’s stanza to S.P.B’s stanza in “Vazhi vidu Vazhi vidu, en dEvi varugirAL”! (Now, what an album that was and how wasted it was on that pathetic movie – Nil Nil Nil was a satellite channel hit, though!)
I speak as an equal fanatic – but this one was embarassing.
Deepauk, melancholy has always suited Raja’s voice. Enge Sellum despite its complete ordinariness carries through on his voice alone. But somehow I felt this one was too much of a strain especially near “Oh deivame idhu sammadhamo”.
Deeapauk,
Add one more to that list. I too prefer IR’s stanza in that song. Similarly there is a song in the unreleased ‘Poonjolai’ sung in IR’s voice and then as a duet with SPB and Chitra(?). There too I find IR’s rendition better.
S.Suresh
Suresh, pooncholai may be released now I believe now that Venkat Prabhu is hot property!
Also, if you compare Adi Aathadi with Are Emaindi, you would see the necessity of IR as a singer in Tamil.
Suresh S: me too buddy…I remember buying the audio casette of Pooncholai way back in the 90s(I think 94 or 95) and listened to the songs, and the first thing that struck all of us friends who were listeneing(we used to listen to Raja’s songs as a group – those great days!) felt that Raja’s rendition was better.
“vEliyillA sOlaikkAga, vanthathOr kAval” – I am not quite sure I would have enjoyed these lines as much had anyone else sung them.
The timbre of rAjA’s voice eliminates a lot of the saccharine feel that the silken voices engender. Which is why when S.P.B sings “Devi” it seems he is referring to the protagonist’s love interest, while if rAjA sings “Devi” it seems like he is referring to “AbhirAmi”.
deepauk, with due respect to his 90’s songs, you must remember his 70’s songs – during those times, he used to reserve the upbeat folksy ones for himself – think amman kovil kezhakkale, solam vedhakkiyile, oru manjakuruvi, samakozhi etc – and the odd unakkena thaane innerama and vaadai vaattudhu. The last two transport you to a gramthu thinnai and kayithu kattil with only the nilavu staring at you from the top, and a gentle breeze flowing through. I swear, if you have never been to a village, but have listened to these songs, and if you later visit a village and are in the scenario I mentioned, you will feel deja vu – thats how authentic they are. To me, that is Raja. It is not that his music can evoke an ethos and place I knew before, it is like hearing his music even if alien to me creates that atmosphere so much so that when I later visit such a milieu, I feel deja vu even though I have no other reason except that Raja has evoked that mood in me.
I had this experience with Godavari theeram – Raja’s music was the last thing on my mind when I visited west godavari district for a few days but it was his vayyari godaramma, vennello godaari, kinnera sani and the second interlude of suvvi suvvi that kept looping through my mind involuntarily, automatically. Now that is some art for you…
raj: Absolutely — and AFAIR, I haven’t even been in the vicinity of a village. And as a corollary, you cannot fathom why he chose Jayachandran, of all people, to sing a song like Oodha kaathu veesyila… That was a rustic duet made for Raja.
It must have helped that I had this experience in a village by Madurai, probably only a few kilometres from Pannaipuram
oodha kaathu veessaiyila – is that from Gramathu Adhyayam?
Even Rahman used Jayachandran for Kathazhangattu Vazhi. Incidentally, the second interlude of Unakkena thane starts with a charming diversion – “kallipatti rottu vazhi”, in whose rustic tune one can identify the genesis of kathazhangaattu vazhi.
raj, completely agree, to me pesonally, no other composer has been able to evoke the mood and feelings as IR, ever. I enjoy the music of others but that joy is still fleeting and I then move on.
Raja also has sung some memorable love duets…”Kathal Oviyam”, “Adi Aathadi”, “Poomalaiyae” etc. When I listen to “Kathal Oviyam”, somehow I always feel that this is a textbook example of a song that depicts young, fresh love…which is exactly what BR delivers on screen with Karthik and Radha. The song is so apt that it boggles my mind…and it is still so fresh after 28 years!!
raj: Yes, GA – where Chandrahasan played one of the leads
And to add to your point about Raja and the rustic mood, there’s a feeling of “authenticity” I get from these songs (even though, as I said, I have little first-hand experience of village life) that I don’t get from even earlier songs like, say, “thaazhayaam poo mudichu” or “aarodum mannil” or “kattodu kuzhalaada” – even though I love those songs. I think you get what I mean.
Shankar: Speaking of love duets, how can you miss “ponnoviyam”? What a kick-ass song, so fast paced and fresh and all. There was that mid-80s phase that Raja, even for his standards, peaked amazingly. After that burst, his subsequent work, though very good and all, never came quite close. Those four-five years were just wowza!
Raj,
What you say about IR getting the nativity right is something I fully agree with. Not only does he get the West Godavari feel in the songs you mentioned, he also gets the Rayalaseema feel in ‘Sye Chindey’ song from Anthapuram. I had the same feeling when I heard the song. Of Rayalaseema and all though I had not seen the picturization.
Same thing happens in his Malayalam songs. ‘Mellaonnu’ and ‘Marakudayal’ from ‘Manasinnakare’ are so very authentic Kerala stuff and it evokes the greenery of Kerala. All this without having seen the picturization. ‘Bhoomi Geethe’ songs have the rustic Karnataka flavor. Wonder how he does that !!
S.Suresh
“Shankar: Speaking of love duets, how can you miss “ponnoviyam”? What a kick-ass song, so fast paced and fresh and all.”
which film song is this?
Raj: I wasnt alive in the 70’s so it would be quite impossible to “remember” those songs
. The rustic imagery that he evokes is of course non-pareil.
Thanks to Shankar, brangan and raj it has become painfully obvious that I havent spent half the time coolgoose that I should. Where is ponnOviyam from? Kazhugu (if google is to be believed)?
Tambi Dude: try this link – not a great recording, but the song is there. How could a man who could use the synth like *this* do this to us now?
Now, this is the sort of discussion I was always trying to provoke
. Nevertheless, I can understand why mid 80-s. Nenjathai Killadhae and Paruvamae, RaajaPaarvai, these are worth killing for.
One by one:
1. Suresh, yes, I was thinking of following up another comment with Marakudayal and Melle onnu paadi – people will find it difficult to believe that it is the same man who did the rustic tamil folk songs I was discussing earlier in this thread. It simply evokes that backwaters – I had that experience too in Alappuzha. My mind automatically played marakkudayal and melle onnu paadi even though I never cared for these songs earlier. Part of it must be my raja devotion but part of it is surely his genius to evoke any mannin manam.
2. Ponnoviyam while outstanding use of synth isnt really rustic – it is so sophisticated perhaps to sync with that ’sophisticated’(or so intended) modern amenities-filed caravan bus owning character of Rajni
3. Baradwaj, mid 80-s-a?. We swear by the late 70’s
4. I dont quite agree about Thaazhaiyam Poo mudichu. As I am sure Vijay wouldnt. MSV was genius in his own way and I hold aarodum mannil as the textbook gramiya paadal. It evokes a nice pleasant winter evening in a thanjavur gramam with the farmers hopefully singing of the upcoming thai harvest. Yeah, PBS just doenst fit in and TMS is all-so-classical but Tiruchi Loganathan and Seerkazhi make up efffectively. There is a travelling in the mattu vandi feeling to that one. Thaazhaiyam Poo mudichu is a victory for TMS, MSV and only the female singer is disappointing and non-rustic. Kattodu Kuzhal aada is quite generic I agree.
Well, thats a bit like Manadhil Enna ninavugalo vs Fanaa. As great a kickass song as the former is, it cant match the authenticity of the former as a pub song. The parameters given to the MDs were so different. Not sure if IR can do a fanaa but if he cares to visit a night club a couple of times, even now, I believe he can easily deliver. He simply would probably be looking down upon it though. Comparisions dont do justice to the MD of earleir era.
4. Suresh, yes the very Karnatakan imagery in BhoomiGeethe and much earlier even in Jotheyalli. Partly I might be biased by Shankar Nag’s picturisation but that one goes so authentically with the western ghats – and that might not be surprising because Pannaipuram is in the shadow of western ghats I guess. Shankar Nag should have lived longer than he did – that was one man who could bring the absolute best out of Raja consistently.
raj: Shankar was just talking about “memorable love duets,” not necessarily rustic duets, hence Ponnoviyam. And my point wasn’t that MSV isn’t a genius but what I mentioned earlier about the voice being the prime conveyor of a song’s emotion. When it comes to rustic songs, I’d take IR or Malaysia Vasudevan (or even MSV himself) any day over Seergazhi and PBS. (Though this is only with the case of male voices. With female voices, somehow, I don’t sense this — for instance, S Janaki works as well for me in an urban song as she does in Yeriyila yelandha maram.)
This isn’t about the tunes or the construction or the genius behind the songs – but simply about the “feel” I get. This is why I hate getting into these discussions about music directors. You say something about one and someone inevitably thinks you’re running down another.
BR: “How could a man who could use the synth like *this* do this to us now” – By this, I think you only mean Naan Kadavul. Even in this decade there are many times where Raja has used synth beautifully. Some examples – Cheeni Kum, Roja Poonthottam from Kannukul Nilavu, Kai veesi from Nandhalala, Ilangathu veesudhe from Pithamagan, Manjal Poosum from Friends, Khajuraho from Oru Naal Oru Kanavu.
BR, no, I wasnt accusing you of insulting MSV. Just putting a POV that those songs were authentic gramiyam in their own way. Yes, I see the point about the voice of the singer, the choice of words and his diction(or enunciation, there once was a war in a tamil music forum on which is the correct word for this) – TMS had problems saying “annakili onna theduthe, aaru maasam oru varusam” instead of “…unnai theduthe, aaru maadham oru varudam..”. It seems IR wanted it adamantly the former way but TMS had his way and the song was recorded as TMS wanted it. It does seem like TMS et al looked down upon the gramiya way of singing.
I would agree with BR regarding the voice enhancing or lowering the effect of a folk song. I had once bought a double cassette of folks songs in Telugu films. I found that most of these were sung by Gantasala. While I would take Gantasala over any other singer, the fact remained that his perfection and smoothness made the folk songs sound less ‘folkish’. Guess in those days the ’standard’ singers sung all kind of songs !!!
S.Suresh
I was only referring to the appropriate feel that Raja brings in his songs, not just the rustic ones. I do agree with all of you with the various languages and appropriateness that Raja conveys in each. It is nonpareil.
With regard to the singing enhancing the song, going back to my earlier reference to “Kathal Oviyam’, I do feel Jency really enriches the feel with her voice. I’ve always felt that she was very appropriate for such love songs.
Another song that I’ve always liked (from the later stages) is “Nilave Mugam Kaatu”. If I remember correctly, Rajni and Meena have just lost a child and the song tries to convey their underlying sadness as well as Rajni comforting Meena. I do think the actors especially Rajni did this song superbly but Raja with the melancholy tune and pace really drives it home. That song as a whole worked for me.
Another song that I love is “Oru Kiliyin Thanimayile”…with all it’s counterpoints and vocal choruses. Even here, I always feel an underlying sadness in the song.
Baddy, “Ponnoviyam” is awesome and you are so right about the synth. I also miss the distinct bass tracks that have enriched even later stages songs like “Vaan Megam” (with it’s textbook orchestration)
And specifically with usage of synth, “Thamarai Kodi” really blows my mind. That one is a synth zing fest!!
Shankar: Oh, what a song — one of SPB’s best (you can’t imagine anyone else singing it). And that extraordinary prelude is the musical equivalent of a fountain of joy — bubbling over and erupting with a crash of cymbals. I could never figure out why ‘Oru kili’ and ‘O vennilaave’ got more air time than this, which IIRC went practically unheard. Speaking of this song, trumpets are another aspect of Raja’s arrangments that I miss.
I wouldnt grudge Oru Kili urugudhu its popularity. To my little brain untrained in musical intricacies, the percussion and rhythm of this song were quite special. ( I know Vijay is going to come and say that oh comeon, it was already done by so and so in such and such).
The tune and the rhyhtm sit even more comfortably on the telugu version Jili Bili Palukula from Sitara.
BTW, Anandha Kummi had an incestuous story line, did it? I vaguely remember IR was credited for the story of this movie – just the one instance where you could peel behind his ultra-religious, traditional, conservative image I guess. I may be entirely wrong, mind.
raj, I’m not sure if Anandha Kummi story was by IR…I do know that the film was produced by him (Pavalar Creations) and it ran for exactly 5 days in Madras (back then)!!
Wow, I am thoroughly enjoying this discussion of Raja’s music of yore! I am hooked onto Pichaipathiram, as BR said, Madhu Balakrishnan has sung it with amazing grace & feeling.
Prakash, all the same Madhu B hasnt done justice to the lyrics of the song. I can understand and pardon this if the character on-screen is someone who is just taught the song and doenst have the situation or the mindset that the lyrics portray