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dhooL.com

Topic started by bb (@ 24.4.254.104) on Tue Feb 20 03:21:22 EST 2001.
All times in EST +10:30 for IST.

Hi! We've made a major addition to newtfmpage, and that is a big song bank. Dhool features thousands of songs for your listening pleasure. This site is a part of the newtfmpage.com - swara.com group. Together with newtfmpage, we wish to make this the best place to listen to tamil film songs online and know about tamil film music. Our collection includes old, new, famous, rare and unheard of songs. We are still fine tuning and fixing the database errors, so please bear with us. We value your feedback, and this will help us build the site better. Please post your comments below or mail to comments@newtfmpage.com.
This work was done by us (bb and RR) with MS and swara.com ravi.

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Responses:

• Old responses
  
• From: bb (@ 12.234.176.52) on: Fri Aug 8 01:18:35 EDT 2003
  
  and I second SK's request, it will be great to have your view of aathaadi paavaadai.
  
  
• From: Raj (@ 206.97.63.112) on: Fri Aug 8 01:43:49 EDT 2003
  
  bb,saravanan : Great selection. Vanaratham and Avan(Aah) made me aware of Lata in my undergraduate years. I used to sing all Avan songs. I am still looking for my Lata Tamil LP. Thanks!
  
  
• From: raj (@ 202.54.137.100) on: Fri Aug 8 03:55:25 EDT 2003
  
  bb & Saravanan thanks a lot
  
  Vaanaratham could have been VanaRathnam
  
  All the songs are "Rathnangal"....
  
  but I'm Personally Not Satisfied with LM's tamil Pronounciation @ any Period..
  
  Thanks For taking us back to 1940's
  
  
• From: narayan (@ 216.251.50.73) on: Fri Aug 8 07:04:27 EDT 2003
  
  dayavu seidu thappa nenakadeenga. Yaar intha paataugala recommen pandrangalO avangaluku romba punniyam. oru request: dayavu senchu indha madiri paata unga vootile keLunga. one will enjoy songs if we get the words clearly & the meaning. here it is fully absent in these songs. tune is good but not enjoyable at all. enakku 20 bucks waste achu.
  
  
• From: raja m (@ 67.87.16.7) on: Fri Aug 8 09:05:46 EDT 2003
  
  bb & Saravanan:
  
  Nostalgic amd melodious music - thanks - amazing to hear Lata's sweet voice - what a giant contribution to IFM.
  Saravanan - you are amazing and a real gem of a contributor to newtfmpage - keep it up - you have many silent admirers :-) have you published books on films and music?
  
  
  
• From: senty (@ 167.213.190.133) on: Fri Aug 8 09:27:00 EDT 2003
  
  bb & saravanan ,
  great stuff guys....
  
  Rjay please re type your posting.we are eagerly waiting to read ur comments.
  
  
• From: vardhini (@ 203.145.175.133) on: Fri Aug 8 10:16:23 EDT 2003
  
  rjay, Iam waiting for your review of 'Athaadi' with bated breath.
  
  
• From: Da Vinci (@ 128.113.109.168) on: Fri Aug 8 10:42:54 EDT 2003
  
  Saravanan,
  
  Thanks for pointing me to this page. One more song of Lata too, from the same film ! It was really a treat to listen, though it is true that one has to be constantly reminded that Lata is singing in 'Tamil' in both the songs !
  
  It was sad to know that Balasaraswathy got kicked out because of Lata's jealousy and arrogance. I have also heard Vani Jeyaram got kicked out of the Hindi field for the same reason.
  
  By the bye, is the film 'Vaanaratham' made in the 40's?
  
  
  
• From: rjay (@ 156.77.105.123) on: Fri Aug 8 11:05:29 EDT 2003
  
  Aththadi Pavadai kaathada - Listening Notes from RJay - Part 1: Analysis
  
  Here is my running commentary first:
  
  Intro:
  
  Santoor bells play a school bell pattern which is very effective in attracting our attention and establishing the root
  note.
  
  The Flute plays a morning call in the high range. Then it plays a theme and the santoor and a bass shift accordingly with it.
  
  Flute then rounds up the tune by coming down the scale.
  
  THe bells now plays a echoing lead-in.
  
  THis three part intro (intro to intro by Santoor, Intro by flute, Transition by Bells) is very powerful Ilayaraja technique. Most of the interludes also have three-sections! A start, a middle and an end. In this case, for example, the start is very busy and high pitch, then there is a mid range movement and then a slow recap.
  
  Pallavi:
  
  We hear the boatsman folk beat (explained later) as the basic nadai of the song.
  
  We hear the simple nine note pallavi whose skeleton is Sa Pa Saa. Saa Saa Saa Paa Paa Paa Saa sari nisa. Makes it very catchy.
  
  It is followed by a simple transition (Kathada adhu koothada) into
  the more catchy "Kulikkudhu rosa naathu".
  
  See that this is a descending hook (from Pa to lower Nee) as contrast to the ascending Athadi Paavada Kaththada.
  
  At the end of Naathu- the santoor and bells play a tung-tung ... tung-tung. Technically, this is a fill or a response. This makes the melody even more catchy. You cannot sing the lines without actually singing the bell sound also!! Try listening to the song without this fill and see how abrupt the melody is.
  
  Vibraphones play chord punches throughout the pallavi.
  
  First Interlude:
  
  Three sections again: Shanai Flute call response, Shanai solo followed by Flute solo. Let us take each one in turn.
  
  Shanai plays a three-note call to which the flute responds. Even though I say three notes, remember they are played by a live Shanai player, it is so evocative, almost voice like. Such calls from instruments, presented in silence and responded to by other solo instruments, are trademark Raja (of course inspired by WCM). They showcase the emotive ness of the instruments and the melodies and provide breaks and reliefs from the busy sections.
  
  The shanai-flute conversation is followed by a folk shanai solo against a busy folk dafli rhythm and gumuk.
  
  Then comes a surprise, a flute section a more sophisticated theme against a flowing tabla section, richly harmonized and counterpointed by bells and santoor.
  
  See how the two major solos contrast and balance each other. THe shanai solo is high and fast and busy and raw and is immediately balanced by the soft, rich, tabla-flute section.
  
  
• From: rjay (@ 156.77.105.123) on: Fri Aug 8 11:06:21 EDT 2003
  
  Athadi Listening notes continued - Part 2
  
  Charanam:
  
  What strikes me is that the entire charanam structure is constructed using the same phrase as Athadi Pavadai Kathada with small variations.
  
  Try singing the charanam tune as follows:
  
  1. ada Athaadi Pavadai kathada (Ilai moodum nilai konjam ...)
  Athaadi Pavadai kathada
  
  2. Athaadi Kathada
  Athadai Kathada
  
  3. Athaadi Pavadai kathadath than (Podathae pennae pagal veshamthan)
  Athaadi Pavadai kathadath than
  
  4. Athaadiyoo (Pooncholaiyae)
  
  5.Athaadi Paavadai Kathada Koothada
  Athaadi Paavadai Kathada than.
  
  See how the master varies only the three note motive and creates new new varied patterns out of it. Some short some long. THis motivic variation is an idea very prevalent in WCM and might have made the jobs of tamil lyric writers a big headache. Vairamuthu writes his frustration - something like 'kizhikkappatta saththangalukku vaarthaigalai otti thaikka vendi-irundadhu' in the preface to his lyric collection. Interesting perspective!
  
  We see few more interesting musical devices.
  
  The flute keeps playing a o-ho-ho runs (consecutive notes) as a response to almost every sentence he sings, and serves to make the flute a symphathetic listener interacting with the singer! Also, see how each o-ho-ho is different ! Master of the folk flute!
  
  Vibraphone chord punches every line too. In line 4, there is an improvisation, alaapanai or izhuppu. Line 5 has a totally new key, mood, movement and rounds off the tune very differently.
  
  Second Interlude:
  Flute runs wild in its solo against a gleeful folk Dafli. Then it hesitates slows down and mellows a bit into a new key.
  
  Shanai takes over now and plays a more thoughtful solo against the ghatasingari, which is responded by the santoor. See the so many powerful variations of the rhythm. Arrangement resembles Cholam vidhaikkaiyile interludes.
  
  One more thing to notice is that the roles of flute and shanai are reversed now. In this interlude, flute plays solo 1 and shanai does the recap section.
  
  
• From: rjay (@ 156.77.105.123) on: Fri Aug 8 11:06:57 EDT 2003
  
  Athadi Pavadai - Summary and Evaluation
  
  Ragam: seems like Brindavani Saranga (Muthukkalo kangal, Naalu pakkam vedarundu, Singara Kannae un thaenoorum sollalae). This is
  very similar to Madyamavathi (a pentatonic) except that in
  downward phrases it uses the flat Nee. I observed that Madyamavati has a perfectly symmetrically placed notes and may be the reason why it has the cooling effect on the mind. Kutcheri-s use this ragam to end the session. Though the resting at Ri and Pa suggest this Raga,
  charanam has a Mozart like key modulation into sudden surprising places.
  
  Rhythm: Folk beat, actually prominently used in Bhatiyaar songs of Bengali fishermen and boatmen. Has two parts - I call the first part
  the bassbeat section Dhum Dhutak as pull-the-oar, and the second part ta-ta-ta ta Ta as release-it-and-take-rest. Chandra Bose Maampoovae siru mainavae and MSV's Kalayana valaiyosai and many other KVM hits use this beat. SDBurmans 'Dheere se Jaana' from 1973 Dev Anand Starrer Chupa Rustum uses this beat. (While we are at it, its melody line has definitely inspired MSV's Gangaiyilae odam illaiyo).
  
  Instrumentation: Tamil Folk. Which is IR brand folk flute and
  the evocative Shanai as the main soloing instruments. THe folk touch is emphasized by the Ghata Singari (Gumukku), Dafli and Chalangai in the rhythm section to add the versatile Tabla. Another Folk addition is the Thundana (beggars drone). Harmony and counterpoint is provided by a vibraphone and a santoor. I hear a distinct bassline and keyboard bells. Notice the total absence of String Section or
  Guitars - at least in the real audio ;)
  
  Lyrics and song concept evaluation:
  Without the music, if you read the lyrics, especially the first few lines, it is seems shockingly soft porn! Paavadai, Kaththada, Kulikuthu, thanni oothu. My god! This offense is what appeals to the teen mind and make the song stand out. See how the pallavi lyrics are more punch in the face than the charanam lines. In other words, if the Pallavi started with 'Ilai moodum nilai konjam vilagatho' will the song be equally appealing? Catchiness of pallavi is created many a time by shock value. However, the melody and music soften the sexuality of the lyrics, making it sensual instead.
  
  Even though this song may not feature in Ilayaraja Top 100 songs, this is a definite show case of an era where people used to really play acoustic instruments live in front of studio microphones and create music, which has its own organic and holistic charm compared to the cut and paste of prefabricated loops.
  
  
• From: Raj (@ 206.97.63.112) on: Fri Aug 8 11:09:59 EDT 2003
  
  Da Vinci: I think Vanaratham was made in mid fifties- 55 or 56! Not 40s.
  
  

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