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Malaysian Deepavali Show - RAJANNA RAJA THAAN - From Annakkili to Azhagi

Topic started by Manisekaran (@ 202.156.2.8) on Sun Nov 7 05:23:27 EST 2004.
All times in EST +10:30 for IST.

Last year I did a show on Ilayaraja for Deepavali. IT was so great a hit that the ASTRO Private TV Station is repeating on 9 NOvember at 4.00 pm Malaysian time. This is called RAJANNA RAJATHAAN- covering 25 years of Raja's music contribution. From Annakkili to Azhagi. A great hit. If you can, pls do catch it. You can post your comments on the show here, and I'll respond to them.
Thanks.

Archive of the older songs: http://forumhub.lunarpages.com/hub/f13.html .
If you want to post comments on older songs, pls go to this archive. There you'll find the previous songs/episodes indexed as separate threads. Post your comments on the appropriate thread.

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Responses:

• Old responses
  
• From: eden (@ 136.1.1.154) on: Thu Dec 9 08:28:50 EST 2004
  
  I used to have (still have) this doubt:
  Is it real veeNai used in `thamthana namdhana' or guitar masquerading like veeNai? I think long back it was published in kumudam that veeNai Gayathri used to play for Raja and it probably quoted this song too...however, for some reason I find the use of veeNai sound very novel in this song (ofcourse Raja repeated that sound in many songs later on, e.g. poongathavE of nizhalgaL where it sounds like a `synth-veeNai')...
  
  Whatever may be the case, I love that sound...nam narambukaLai varuduvadhu pOndRa uNarvu andha saptham kEtkumpothu...
  
  
• From: CSR (@ 202.131.115.148) on: Thu Dec 9 10:30:42 EST 2004
  
  I feel "Thamthananam" is also the usual Pallavi-Charanam format only. In traditional Anupallavi format, anu pallavi is of two lines and is echoing or exactly repeating the last two lines of Charanam (and is like a sample of charanam). Experts can correct me. In tham thana nam the tune of Pallavi and charanam are different.
  
  If repetition of same tune in pallavi and charanam is considered one can give example of IR song in film Vazhakkai "Mella Mella" or other song sung by IR "Netru vandha Kattru" (film name forgotten) which was repeated in Hindi film Grahan also by Karthik Raja.
  
  Tham thananam is a trend setter for songs of "sandham" with long, extended, un-ending lines and similar one such song is "Mazhai varuvadhu mayilukku theriyum (Rishi moolam ?)
  
  
• From: kiru (@ 192.138.150.249) on: Thu Dec 9 14:56:20 EST 2004
  
  eden, I suspect it is a synthesizer too.
  Most times, the synths play along with the real instruments to add 'more body' to the sound. So it is difficult to tell in IR's songs.
  The song has good use of reverb to fade in and fade out the chorus. Notice, also, the humming in the 'charanams'. Usually this is done with strings but in this song with human voices. IR uses human voices for rustic/indian feel instead of strings in normal songs. The interludes have good amount of counterpoints too.
  
  
• From: SN (@ 220.227.179.5) on: Fri Dec 10 00:07:54 EST 2004
  
  Mani, I read in some article that SJanaki was supposed to sing along with Jency. But she was not available for the recording on time and it had to be given to another singer. How Vasnatha was selected (she had sung only this song under IR's music direction)? Any idea? Was that Vasantha had some resemblence of voice of S janaki?
  
  Later IR used SJ in Vasantha's part and PS for Jency part in telungu version.
  
  Humming by the Chrous was very effective in IR's 70-80's songs. The humming along with the interlude after 1st sharanam is really fantastic. Mani, can you throw some light on this effectiveness of humming (that too by Chorus), as used by IR?
  
  
• From: M Madhanraj (@ 82.194.62.9) on: Fri Dec 10 02:00:53 EST 2004
  
  When we are discussing about HUMMING & Chorus. Immediately songs like
  1. MALARGALAE NATHASWARANGAL (laaliiila laali laaliiila laali ...) - KIZHAKKAE POGUM RAYIL
  2. MOUNA RAGAM - CHINNA CHINNA VANNAKKUYIL - Just fantastic.
  KAALAM THORUM - HMMMMM HMMMMM
  KETKA VENDUM - HMMMMM HMMMMM
  
  There are lot more to the above topic. I am really thankful to MR MANISEKARAN doing a VERY GOOD JOB on IR's MUSIC. I am really enjoying each and every songs explanation and the way it is done.
  
  Thank You Very Much. Sorry for the digression. Mr Manisekaran , you can continue.
  
  Regards
  
  Madhanraj
  
  
• From: Manisekaran (@ 61.6.39.139) on: Fri Dec 10 02:20:04 EST 2004
  
  Dear
  CSR,
  
  This song does not have Charanam. It is pallavi and anupallavi.
  
  Pallavi and Anupallavi could be sung in the same tune. Anupallavi is one scale higher.
  
  SN,
  My own observation shows that Ilayaraja used to meditate deeply before composing any song. He used to think of the scene, situation, moood, raaga, interludes and most importantly the choice of the most appropriate singers.
  
  On a number of occassions, Ilayaraja had used other singers whenever they were not available or could not arrive on time. When I met him in his resting room in Prasad Studio, I remember how immersed he was in trying to conceptualise the song. The song was PAADU NILAAVEE from UDHAYAGEETHAM. What a song!Later I came to know that he took a long time to compose and recompose teh song in order to make it the best. In my non professional view, I dont think the cong could have been improved any further. He had already reached the very parameters in the song.
  
  I know for a fact that hummings created by Raja's songs do have effect on me. The effectiveness is the listener getting carried away. On the technical side of the effectiveness, I hope experts could throw some light.
  
  
  MMadhanraj, this is not a team effort. You may not know how much I enjoy postings from Raja's fans. I too have learnt much from all of you.
  
  Thanks
  
  Mani
  
  
  
  
  
  
• From: Manisekaran (@ 61.6.39.139) on: Fri Dec 10 02:22:13 EST 2004
  
  MMadhanraj,
  
  please read it as THIS IS A TEAM EFFORT. Sorry.
  
  
• From: Madhu (@ 202.54.137.87) on: Fri Dec 10 03:25:43 EST 2004
  
  All:
  
  I have heard IR mentioning this song as one of his favourite compositions just for the reason ... pallavi and anupallavi are too long such that you won't be able to take a breath in between. IR himself sang this song to demonstrate it!
  
  the singer takes the first breath and sings the the following phrase (pallavi + anupallavi)
  
  THAMDHANA THAMDHANA THAALAM VARUM PUDHU RAAGAM VARUM
  ADHIL SANDHANA MALLIGAI VAASAM VARUM
  MANAMAALAI VARUM SUBHAVAELAI VARUM
  MANANAAL THIRUNAAL PUDHUNAAL UNAI AZHAITHTHADHU
  
  and then only the singer takes the second breath! Let me know your views!
  
  
• From: Jaiganesh (@ 203.101.103.2) on: Fri Dec 10 03:38:11 EST 2004
  
  hi!
  Digression **
  SPB had remarked in another program that the song from "aarilirundhu arubadhu varai", "kanmaniye kaadhal enbadhu karpanayo.." also had a lot of time b4 taking breath.
  ** end digression
  Thanks,
  Jaiganesh
  ps: Mani Sir , if time permits I would like to hear Mahendran - IR combination songs also to be taken up for discussion.Please don't forget.
  
  
• From: Manisekaran (@ 61.6.39.139) on: Fri Dec 10 03:45:24 EST 2004
  
  jaiganesh,
  
  Kindly go to the introduction. This is a thread where I am discussing what I consider are landmark songs of Ilayaraja. I am sorry your request is beyond the scope of our discussions.
  Kanmaniye Kaathal Enbathu has been tocuhed in brief.
  
  Thank you.
  Mani
  
  
• From: eden (@ 136.2.1.101) on: Fri Dec 10 08:52:28 EST 2004
  
  "THAMDHANA THAMDHANA THAALAM VARUM PUDHU RAAGAM VARUM
  ADHIL SANDHANA MALLIGAI VAASAM VARUM "...`pala bhAvam varum' is missed (before sandhana malligai vAsam):-))
  
  This will read as :
  'thamthana thamdhana (or is the second one namdhana?) thALam varum-
  pudhu rAgam varum-
  pala bhAvam varum-
  adhil sandhana malligai vAsam varum'
  ...
  
  
  
• From: enabler (@ 68.75.178.174) on: Fri Dec 10 22:16:48 EST 2004
  
  Hello Manisekaran Sir: Your revelation below is what i call drama, emotion, suspense, thriller and everything about your recount of the TFM thriller post MSV, but also one more thing I strongly feel about,(at the end of your statement)
  
  
  ".........We had seen that Raja had all along wanted to use stereo in his songs. He started to build up the equipments in stages. When Jesudass came to Malaysia for the first time in 1977, we met him at TV Malaysia, where he talked great of the YAMAHA amplifiers from Japan. He had just purchased it from Singapore. Raja must have heard of that. When Raja came to Malaysia in 1977, he stayed with my friend Ganapathi. His arrival and departure was not made public as he had come to purchase some electronic equipment for his recording studio. He wished not to meet anyone. From Malaysia he went over to Singapore to buy computer equipments in order to be ahead of others in music. All these were used full in SIGAPPU ROJAKKAL......"
  
  One thing Yesudas can be seen to be instrumental is some ways to get IR moving ahead in "style."
  
  But, the main thing I found is, has anyone used Electronica the way IR has fluently and thrillingly employed in music? (the last I heard was Kraftwerk, but IR came a couple of years ahead with a Rajni film, I think Naan Potta Savaal. Perhaps the only musician to fully expose Electronica in music and also to fully exploit it. I haven't really heard substantial usage by another band or musician.
  
  Your story about Indha Minminikki is mesmerizing me as I read it a few times now.
  
  
• From: manisekaran (@ 61.6.39.139) on: Fri Dec 10 22:28:24 EST 2004
  
  Dear enabler,
  
  Thank you for your input.IR has been a pioneer and trend setter in many ways.
  
  Even before he used stereo, he was already mastering in the treatment and presentation of music, especially orchestration. I am still ubable to come out of the magical spell he cast upon me in the orchestration of the song ORU NAAL UNNODU ORU NAAL. Simply superb!
  
  Yes, he started to use computer music in Vikram. By the time Punnagai mannan came he was already a master at that - Enna Satham Intha Neram.
  
  It is quite unfortunate that I am not able to go into every aspect of his songs. I would be stopping after a few more postings. I am sure others can contiune.
  
  Please do continue contributing.
  
  Anbudan
  
  Manisekaran
  
  
  
  
  
• From: Manisekaran (@ 61.6.39.139) on: Fri Dec 10 23:45:13 EST 2004
  
  17. KANNE KALAIMAANE
  
  The one song that would go down in history is Kanne Kalaimaane in MOONDRAAM PIRAI. That was the last song that Kannadasan wrote for us.
  
  When Ilayaraja started to sing in his childhood days, he went for the songs written by Kannadasan and sung by P. Suseela. His all-time favourite song was MAALAI POZHUTHIN MAYAKKATHILE in the film BAGYALECHUMY. Ilayaraja had sung this song and won awards in his school in Devaram.
  
  It is this song that has made Ilayaraja what he is today, according to his own admission. There is a line in this song, which goes:
  
  Ilamai Ellam Verum Kanavu Mayam- Ithil
  MarainthathuSila Kaalam
  Thelivum ariyaathu Mudiuvum theriyaathu
  Mayanguthu Ethirkaalam
  Mayanguthu Ethirkaalam
  
  Youthful days have been spent as a dream. However, the future is till obscure. Therefore Ilayaraja used to meditate on the meaning. He felt that the song emphasised on the need to make a decision for the future. There and then he decided to shape his future and so decided to take up music for his career. He always felt that this song of Kannadasan would be relevant and meaningful for all years to come.
  
  So he is today an MD in a way, owing to this song that triggered off his determination to shape a clear cut future for himself. There is an impact of Kannadasan in his life.
  
  When Raja was assisting other MDs, especially GK Vengakatesh, he had contributed in the composing of the tune for the songs of Kannadasan. One such song was of course THEN SINTHUTHE VAANAM in PONNUKKU THANGA MANSU. But Raja had no opportunity to consort and associate with the great poet. It was only during his second film PAALOOTTI VALARTHA KILI that Ilayaraja had an opportunity to work with Kannadasan directly. When Ilayaraja was introduced to Kannadasan, the poet commented, “I guessed this must be Ilayaraja.” In the song Kannodu Kannu from PAALOOTTI VALARTHA KILI, Kannadasan added a line “VAA RAAJA VAA”. Ilayaraja felt that it was a welcome signal from Kannadasan. Raja considered that a great blessing. After that they worked together in many other movies, and all the songs of Kannadasan still occupy a special place in the musical career of the Maestro.
  
  
  Meanwhile, when Ilayaraja picked up misunderstanding with some who were very close to Kannadasan, Kannadasan too jumped into the bandwagon and made a very strong statements hitting hard at Ilayaraja. (Details censured) Ilayaraja was naturally sad. Owing to this sad state of affairs Ilayaraja did not use Kannadasan for some time. But deep inside, Ilayaraja felt a great vacuum in the songs that he composed. Later, at a marriage function held at the Rajeswary Marriage hall, Kannadasan was seated in the front row. Ilayaraja who happened to pass Kannadasan enquired “How are you poet? Are you fine?” Kannadasan immediately responded, “When had the poets ever been fine without the support of the Rajas?” Ilayaraja took note of the wittiness of Kannadasan.
  
  CONTINUES...
  
  
• From: Manisekaran (@ 61.6.39.139) on: Fri Dec 10 23:46:09 EST 2004
  
  Soon old wounds were healed. On another occasion, Ilayaraja wanted to compose music, and wanted quality lyrics. So he sent his assistant “ Please bring our poet.” The assistant asked Ilayaraja “Which poet?” Ilayaraja angrily remarked, “What do you mean which poet? As if you do not know that poet in the cine industry refers to only one person, and that is Kannadasan?” Thereafter they started to work together and produce further gems.
  
  
  In 1980, Kannadasan was not feeling well and was getting prepared to leave for Chicago for medical treatment. It was at this time that the film MONRAAM PIRAI was in the making. Ilayaraja sent for a song, and Kannadasan gave the song. That was the last song of the greatest poet the cine field had ever seen. As soon as Ilayaraja received the lyrics, he was overcome with untold sorrow. Ilayaraja himself is a writer of lyrics. He read and re- read the lyrics and sought to grasp the hidden meaning. Ilayaraja somehow had a premonition that this song would be the very last song from Kannadasan. He felt that Kannadasan had a message that he was leaving the Tamil people, the Tamil language and Tamilnaadu forever. That song was needed for a moving situation in the movie. In a very moving mood, Ilayaraja composed music for that song. And true enough Kannadasan never came back..
  
  The poet’s first song is
  Kalangathiru Maname.
  
  His last song is
  Kanne Kalaimaane
  
  He hailed from Chiru Koodal Patti
  He passed away in Chicago.
  
  That last song of the poet brought crowning fame to Ilayaraja as the MD, Jesudass as the most appropriate singer, and by extension to Kamal Hasan as the one who provided lip movements. Jesudass had a great liking for this song.
  
  I personally would like to trademark this song as a land mark song as Raja was the only privileged MD to have been bestowed this high honour of composing the last song of one whom I consider the greatest poet Tamilnadu has seen in recent days Kannadasan.
  
  That was not the end of the story. Ilayaraja who was so sad following the passing of Kannadasan, continued to compose for his songs. This time he used a poem that Kannadasan had composed much earlier. That is “Devan Thantha Veenai” from the film Unnai Naan Chanthithen.
  
  In my opinion this ranks top among the landmark songs of Ilayaraja. Just look at the lyrics:
  
  
  Kannae kalaimaanae kanni mayilenak
  kandaen unai naanaeandhip pagal unai naan paarkkiraen
  aandavanai idhaiththaan kaetkiraen
  raariraaroa oaraariroa
  raariraaroa oaraariroa
  
  (kannae)
  
  oomai enraal oru vagai amaidhi
  aezhai enraal adhil oru amaidhi
  neeyoa kilippaedu pan paadum aanandak kuyil paedu
  aeno dheyvam sadhi seydhadhu paedhai poala vidhi seydhadhu
  
  (kannae)
  
  kaadhal kondaen kanavinai valarththaen
  kanmani unai naan karuththinnil niraiththaen
  unakkae uyiraanaen ennaalum enai nee maravaadhae
  neeyillaamal edhu nimmadhi needhaanae en sannidhi
  
  (kannae)
  
  Listen to 'kanne kalaimaane'
  
  HAPPY WEEKEND!
  
  

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