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Vani Jayaram's songs

Topic started by avvaiyar (@ 203.116.61.132) on Wed Jan 27 02:29:28 EST 1999.
All times in EST +10:30 for IST.

I'm a new visitor to this website. I couldn't see anyone discussing about Vani Jayaram's songs.
Let me start this one.(It had been there previously pls. forgive me!)

"Ezhu swarangalukkul ethanai paadal..
Ithaya surangathul ethanai kelvi...
Vaazhum manitharukkul ethanai salanam.."

Wow! Beautiful voice!

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VaniJayaram.com - A site that has lots of info and songs of VJ.

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Responses:

• Old responses
  
• From: Saravanan (@ 213.42.2.15) on: Mon Jun 2 14:15:58 EDT 2003
  
  Kaumudi- Thanks for that wonderful translation. (And, sorry, I have not started on the next episode of the chronology yet :-( Will write it soon, though)
  
  The Tamil version is by BS Sashirekha, and the lyrics (if I remember right) are:
  
  Vizhiyil vizhundhu idhayam nuzhaindhu uyiril kalandha uravae
  Iravum pagalum urasikkollum andhi pozhudhil vandhu vidu
  Alaigal urasum karaiyil iruppen uyirai thiruppi thanduvidu
  
  Un vellikkolusoli veedhiyil kettaal athanai jannalum thirakkum
  Nee sirikkum pothu pournami nilavu athanai dhisayum udhikkum
  Nee malligai poovai soodikkondaal rojavukku kaaichal varum
  Nee pattupudavai kattikkondaal pattu poochigal moksham perum
  
  Vizhiyil vizhundhu idhayam nuzhaindhu uyiril kalandha uravae
  Kalvi karkka naalai sella aanna aanai ittaan
  Kaadhal meengal rendil ondrai karayil thooki pottaan
  Vizhiyil vizhundhu idhayam nuzhaindhu uyiril kalandha uravae
  Iravum pagalum urasikkollum andhi pozhudhin pothu
  Alaiyin karaiyil iruppen azhutha vizhigalodu
  Enakku mattum sondham unathuidhazh kodukkum mutham
  Unakku mattum ketkkum enathu uyir urugum saththam
  
  You'll notice that the Telugu lyricist has sought inspiration from Vairamuthu's lines:
  
  Some instances:
  
  Iravum pagalum urasikkollum andhi pozhudhil vandhu vidu- Come at twilight, when the day touches the night--
  
  Un vellikkolusoli veedhiyil kettaal athanai jannalum thirakkum- When the sound of your silver anklets is heard in the street, all the windows fly open--
  
  Nee sirikkum pothu pournami nilavu athanai dhisayum udhikkum- When you smile, the full moon rises from all directions--
  
  Nee pattupudavai kattikkondaal pattu poochigal moksham perum- When you wear a silk saree, the silk worms attain moksha—
  
  And so on—
  
  Kaumudi, the next part is the sad one, when the brother (Thyagarajan) coming to know of the affair, has made arrangements to send her from the village the next day. What are the Telugu lines for this?
  
  
• From: Saravanan (@ 213.42.2.15) on: Mon Jun 2 14:30:31 EDT 2003
  
  Sorry- it should be 'Alaiyin karaiyil kaathiruppen azhutha vizhigalodu'
  
  
• From: Kaumudi (@ 136.142.153.250) on: Mon Jun 2 16:16:59 EDT 2003
  
  Saravanan
  I almost would have forgotten but for your reminder. Thanks. Yeah, the second stanza is the pathos version. Here is the translation alongwith the lyrics.
  
  Charanam:
  Veeche gaali naalo jaali thelipaena neeku
  Manasu manasu manuvai poyae guruthaenaa neeku
  
  Did the blowing wind tell you my sad and pitiful tale? Do you even remember the marriage of our hearts?
  
  Gadiyae yugamai bathuke sagamai
  Gadichenu innaallu
  
  Each minute I had spent waiting for you was like a “yugam”.
  
  Valapae vagapai thaane varadai
  Kurise kanneellu
  Kurise kanneellu
  
  All my love and happiness is now gone and all I have is grief, my tears flowing endlessly like a flood.
  
  Listen to how VJ shows the pain that comes with the grief in the second line of this charanam "manasu manasu...".
  
  
  
  
• From: Naaz (@ 24.87.30.219) on: Mon Jun 2 16:43:59 EDT 2003
  
  Kaumudi -
  
  Thank you for your equally "expressive" translation. It serves as a pertinent point of comparison, and Saravanan has been quick on the take.
  When I read your piece it struck me that the "lyricists" (in both languages) had consulted each other, or had been briefed with the same "situation" notes. Their allusions and imagery are in sync, and the effect of the song is awesome in both languages.
  
  IR-VJ as a "singing" duo is also a rarity. There must be around 2.5 songs (including Alalu) in total by this "team." I have come across only ONE tamizh duet which features them together, and I don't know the title of the film!
  
  Vizhiyil Vizhundhu is a fine showcase for BS Sasirekha's talent. She was chillingly plaintive in "Vazhve Mayamam" from Gayatri. I also found her solo from Lakshmi "Melam Kotta Neram Varum Poongkuyile..." to be poignant. It is regretful that she did not to sing many songs in Tamizh.
  You have to sample her duet with KJY (Bharati's verses) in Kanne Kaniamudhe "Ninnaiye Rathi Endru Ninaikiraenadi..." to realise her potential which was neglected by many MDs.
  
  Thank you for keeping these translated trances rolling...I can only ask for more! :-)
  
  
• From: Kaumudi (@ 136.142.153.250) on: Mon Jun 2 18:28:34 EDT 2003
  
  Thanks guys. The Telugu lyricist (was it Veturi?) was probably given the lines that Vairamuthu wrote and was requested/demanded in a friendly way that they wanted "similar" kind of lyrics - you know it probably makes it easier for them to picturize the scene/dance sequence in the exact same way as that of the original. Hence the "inspirational" nature of the lyrics. Almost like a dubbed movie but not quite. I wish the lyricist were given more freedom.
  
  
• From: Saravanan (@ 213.42.2.7) on: Tue Jun 3 17:23:23 EDT 2003
  
  “Ah, happy, happy boughs, that cannot shed
  your leaves, nor ever bid the Spring adieu;
  And, happy melodist, unwearied,
  For ever piping songs forever new”
  
  The Maestro completed 60 yesterday, and let us from the VJ thread, greet him, and wish him many more years of music –may he give us many albums that will bring back the magic of those wonderful years!
  
  This time, we will be dwelling on the other 4 songs that VJ sang for IR in 1978- Again each song is a memorable gem--
  
  
  159. Nitham nitham nellu choru- Mullum Malarum- IR
  
  Anandi Films’ Mullum Malarum starred Rajnikant, Saratbabu, Shobha, Fadafat Jayalakshmi, VA Moorthi and Samikannu. It was produced by Venu Chettiayar and his son V. Mohan. It had innovative camerawork by Balumahendra. Based on a story by Uma Chandran (brother of Poornam Viswanathan), it was scripted and directed by Mahendran. Mullum Malarum (released on 15th August, 1978) remains a landmark in the annals of Tamil Film History. It won critical acclaim (TN. Government Award for First Best Film-1978-79, and TN Govt.’s Special Jury Award for Best Actor to Rajnikant) and was a runaway commercial success to boot.
  
  Flashback 1:
  
  The Date: 13th October 2002—The Venue: Government Guest House, Chepauk—The Event: Rajni’s controversial fast, seeking Cauvery water for Tamil Nadu.
  
  The thousands of fans who thronged the venue to express their solidarity with their Hero, cheered with loud cries as he climbed onto the stage- but not even a handful recognized the nondescript looking man whose hands Rajni clasped emotionally, as he acknowledged his fans’ greetings—
  
  Flasback 2:
  
  The Date: 12th January 2001—The Venue: Valluvar Kottam- The Event: Tamil Nadu Govt. Film Awards for 1999.
  
  Superstar’s name was called out, and he was invited to receive the Best Actor Award for his performance in Padayappa from the hands of Kalignar Karunanidhi. The enthusiastic crowds craned their necks to see to whom Rajnikant gave a deep bow before going to receive the award—they could not make out who that person was—they were to find out soon enough—when the Arignar Anna Award for Lifetime Achievement was announced, that nondescript person walked up to receive it, and Rajini’s claps were the loudest and longest—
  
  J Mahendran (real name: Alexander) whose friendship Rajini cherishes to this day, came up from very humble beginnings in Ilayankudi. His thoughts and ideas were far ahead of their time, and found few takers in the stereotyped corridors of the Kodambakkam Studios. He had to swim with the tide for survival and found himself writing the script for
  films like Naam Moovar, Panakkara Pillai and Sabash Thambi. The success of these films made him more dejected, and he felt ashamed that he was churning out hackneyed plots that he despised with all his heart. His stories like Niraikudam and Thanga Pathakkam were well received. He continued writing for films like Vaazhndhu Kaatugiraen, Vaazhvu En Pakkam, Moham Muppadhu Varusham (based on Manian’s story) and Aadu Puli Aattam.
  
  It was while Aadu Puli Aattam was being made that their common addiction to nicotine brought Rajini and Mahendran close. Mahendran would discuss for hours the sort of films that he would make when his time came, and Rajni would listen to him with fascinated attention.
  
  When Venu Chettiar offered a chance to him to make a film, Mahendran chose Uma Chandran’s moving tale of a winch-operator ruffian, Kaali and the special bond that exists between him and his sister Valli. He chose Rajni and Shobha for these memorable roles, and they both gave brilliant performances. Saratbabu, as the engineer who falls for Valli, and Fadafat Jayalakshmi as Manga, the village belle who loves Kaali, completed the excellent cast.
  
  Balumahendra came, with Kamal’s recommendation, to handle the camera. IR’s score was a masterpiece- ‘Senthaazhampoovil vandhaadum thendral’-KJY, ‘Adi pennae ponoonjalaadum ilamai’-Jency,‘Raman aandaalum Ravanan aandaalum’- SPB, LR Anjali & chorus, and ‘Maan inamae chinna poo vanamae’-IR are all spellbinding songs.
  
  When Venu Chettiar showed the ‘Double Positive’ to the distributors while a major chunk of the re-recording was yet to be done, the response was very cold. But when IR’s RR was added on, the film was elevated to unforeseen heights.
  
  Mahendran shared a very special relationship with IR, and all his films would have awesome songs- Uthiri Pookal-1979, Johnny, Nenjathai Killathae, Poothatha Poottukkal-all 1980, Nandu-1981, Metti, Azhagiya Kannae-both 1982, Kai Kodukkum Kai- 1984 and Kannukku Mai Ezhuthu-1986—all had exquisite numbers by IR. After many years, Mahendran made Saasanam (music by Balabharathi) for NFDC, but the film is yet to come out. Mahendran is now busy with his latest film- Uthiratha Pookkal, with music by his favourite IR. Mahendran’ son, John Roshan is making a name for himself in Telugu.
  
  This song features the late Fadafat Jayalakshmi. She was introduced by KB in ‘Aval Oru Thodarkathai’ in the role of a bindaas modern girl whose constant refrain ‘fadafat’ stuck to her name. She was immensely talented, but not many meaty roles came her way. Though she played the second heroine in many films, she stands out in memory in a few films like Annakkili, Avar Ennakae Sondham, Kavikkuyil, Naam Pirandha Man, Perumaikkuriyaval, Punniam Seithaval, Swargam Naragam, Aarilirundhu Arubathu Varai and Ivargal Vidhyasamaanavargal. She fell in love with her co-star of Kungumam Kathai Sollugirathu (1978)- MGR’s nephew MGC Sukumar, and the stiff opposition from Sukumar’s family led her to commit suicide by consuming an overdose of sleeping pills.
  Her death was a great loss to Tamil Cinema. Ironically, the other star of Mullum Malarum, Shobha was another promising actress who chose to end her life too.
  
  This song has Fadafat Jayalakshmi, who comes as a glutton, savoring the thought of various delicacies that make her mouth water, and singing to her husband, who has not paid any attention to her since their marriage--
  
  Nitham nitham nellu choru
  nei manakkum kathirikka
  nethu vecha meen kozhambu ennae izhukkuthayya,
  nenjukkulae andha nenappu vandhu mayakkudhaya!
  
  Pacharasi choru
  uppu karuvaadu
  Chinamanooru vaaikka
  selu kanda menu
  Kuruthaana molakkeera
  vaadaatha sirukkeerae
  Nenaikkayilae enakku ippo echi ooruthu--
  Alli thinna aasai vandhu enna meeruthu!
  
  Paavakka koottu
  paruppoda serthu
  pakkuvatha paarthu
  aakki mudichaachu
  sirugaalaam varuthaachu
  patham paarthu eduthaachu
  kezh varagu koozhukkadhu romba poruthamaya
  dhenam kudicha udambu ithu romba perukkamaya
  
  Pazhayadhukku thodha
  pulichirukkum moru
  Pottukadalai thengai
  pottaracha thovayalu
  Saambaru vengayam salikkathu thinnalum
  adhukku enai ulagathilae illave illae
  Aalli thinna enakku innum alukkavae illae--
  Ithanaikkum melirukku
  nenjukkulae aasai onnu--
  Soosagamaa solla poraen pombala thaanga
  soodaaga irukkarappo saapuda vaanga!
  
  Verily, IR performed a casting coup by making Vani sing this song—such a song had never come her way before- but Vani gives it her best and more—
  
  IR uses only the Ghatam and the Morsing as accompaniments for this remarkable song, and Vani simply scintillates in the casual folksy way in which she has sung it. The unrefined rural song was supposedly SJ’s stronghold at the time, but VJ shows that nothing is beyond her infinite grasp. (IR is supposed to have described VJ as a "computer"!) The laidback first lines of the charanams, with the quaint roll of the tongue, are thoroughly enjoyable. Hark at that slurping sound right after ‘Echi ooruthu’!Gangaiamaran’s lyrics are simple and soaked in rural gastronomical marvels.
  
  The surprise is at the end- just when you thought she is going back to the pallavi, she sings ‘Ithanaikkum melirukku nenjukkulae aasai onnu--soosagamaa solla poraen pombala thaanga- soodaaga irukkarappo saapuda vaanga’ – a hidden message of despair over her unconsummated marriage- and an oblique invitation to her husband—how bashful Vani sounds in the last line!
  
  Digression:
  
  While at an audit in Madurai some years back, the client took us to Thekkadi in the weekend. (The few luxuries of CA Articleship!)- the way was filled with picturesque beauty- the sunflower fields, grape orchards- Towns/ Villages like Veerapandi, Uthamapalayam, Theni, Cumbum, Bodi and Kumuli remain fleeting images in memory- but in between I glimpsed a signpost bearing the legend ‘Chinnamanoor’- I called the driver to stop the car, and stepped out- I saw a small roadside brook- I glanced with pleasure to see if I could spot any fish- much to the bewilderment of my friends who were looking askance at me—I didn’t bother to explain- they wouldn’t have understood anyway—We got inside again and the car sped on its way to Thekkadi- but my day was already made!
  
  -Digression ends-
  
  
  160. Kannan arugae paada vendum- Kannan Oru Kaikkuzhandhai-IR
  
  Vivekananda Pictures’ Kannan Oru Kaikkuzhandhai starred Sivakumar, Sumitra, Jaiganesh, Satyapriya, Sowcar Janaki & others. Addendum- it was the second film of Satyaraj (he played the miniscule role of Jaiganesh’s henchman), Sattam En Kaiyi (also 1978), being his first.
  
  The film marked the beginning of Vani’s long and memorable association with the films produced by Thirupoor Mani under the banner of his Vivekananda Pictures. She would be a regular feature in his films, irrespective of whether the MD was IR (Rosapoo Ravikkaikkaari), S-G (Aanivaer) or ARR (Vandicholai Sinraasu)
  
  Kannan Oru Kaikkuzhandhai had some alluring songs- While ‘Moha sangeetham, nilavae—nilavae—adhai ketkka vandhaayo’ was caressing PS winner; ‘Meghamae thoodhaaga vaa’ was a heartening SPB-PS duet. Another short song was Bharathidasan’s ‘Kaalai ilam parithiyilae avalai kandaen-kadarpparappil-olippunalil kandaen’, rendered soulfully by SPB.
  
  Kannan arugae paada vendum
  Kaathal kili naan aada vendum
  Itho ingae----
  Azhagiya vizhigalil ezhuthiya kavithaigal unakkenna puriyalaya
  
  Oru moham mandhiram paada vandhavan paarvai verengae
  Pudhu ragamaaligai pola vandhaval ennai paar ingae
  Ilam paavai en manam unnidam
  Ini thevai mannavan sammatham
  Penmeniyo ponveenaiyo
  Ennennedhaan sangeethamo
  Anandha ragam indru paadakkoodaatho
  
  Oru aanukkennadi naanam ippadi paarthu chollayo
  Ithil anjum mamanai innum yenadi kettu chollayo
  Siru aadai thottathu mellana
  perum aasai thottathu nillana
  soodamani nee soodalaam
  themangani nee thedalaam
  ammadi innum enna mounam ennodu
  
  Iru kaiyil aadavum maiyal thedavum thoodhu vandhenae
  malar kannil anjanam sollil anjugam yaendhi nindrenae
  oru kaaval veliyai thaandalam
  pudhu naaval meniyai theendalaam
  thullum vizhi sendhamarai
  killai manam venthamarai
  samandhippoovum poovai aaga koodaatho
  
  The song seems to be a seductive number- I cannot imagine Sumitra dancing for this one- So I presume it must have been Satyapriya, who played the gangsters’ doll. Satyapriya specilised in these types of roles in the late 70s(Manitharil Ithanai Nirangala was an exception, wherein she played Kamal’s pair). After long years of hibernation, she resurfaced as Arvind Swami’s mother in Roja, and is a busy TV actress today.
  
  VJ carries off this fast-paced song of enticement with blasé grace. If the opening humming is inviting enough, the ‘Itho ingae--’ scorches with sultry incitement.
  
  The second interlude consists almost entirely of a passionate humming, and the charanams are breezy with just a slightest hint of debauchery. The last line of each charanam is especially of an irresistible appeal.
  
  
  161. Yaengum deivam angae- Sonnathu Nee Thaana- IR
  
  Vijaya Raja Pictures’ Sonnathu Nee Thaana starred Vijayakumar with Sumitra. Jaiganesh too perhaps formed part of the cast. No clue about the storyline.
  
  The other two songs were immensely popular in their time- ‘Velli nilavinilae thamizh veenai vandhadhu’ by JC and ‘Alankara ponoonjalae, azhagaadum pooncholaiyae’ by MV (the latter embellished with a memorable humming by Jency), are classic creations that IR connoisseurs will always swear by with alacrity.
  
  Yaegum deivam angae-
  thoongum selvam ingae;
  Oru niyayam-
  Oru dharmam-
  idaiyil naan engae--?
  
  Thoondilo irandu pakkam-
  thudikkavo meenai vaithaan?
  Pasamo irandu pakkam-
  padhaikkavo nenjai vaithaan?
  Kennerin vellam--
  oru ullam--
  adhaiye sollum;
  Engae payanam--
  engae mudiyum--
  angae thunai thaan yaaro--?
  
  Thaaliyum nilaikka vendum-
  thaaimaiyum vaazha vendum;
  Vendidum irandil ondru--
  vilaginaal enna undu?
  Thalaattum pillai--
  manam vellai--
  adhuvaa thollai?
  Kattil perithaa--
  Thottil perithaa--
  endraal bathil thaan enna--?
  
  This song by VJ was seldom heard on radio, even in those days. The other two songs from the film had a fair share of airtime. I wonder at this discrimination, for this song is structurally mellow and lyrically moving. But, as Keats says- ‘Heard melodies are sweet, but those unheard are sweeter---’
  
  Though the song seems, on a superfluous listen, a mundane nocturnal situation where a woman is torn between the husband and the child, both who simultaneously crave her attention, (though for satisfying different needs!), there seems to be more to it than what meets the ear- the lyrics are many shades forlorn to be just ‘Enakkaga iru nenjam thudikkindrathu’ type of state of affairs. Perhaps he is her second husband, while the child is from her first marriage? Such a surmise explains the lyrics, and his displeasure at her preoccupation with her child.
  
  The song is replete with the hallmarks of vintage IR. The opening guitar heralds the turmoil-torn state of her mind, while the succeeding veenai portrays the depth of her misery. The interludes are filled with soft and lilting music, that adds to the angst-filled ambiance of the song.
  
  Vani’s song, as always, is in perfect harmony with the mood- her felicity of expression allows her to take on with ease the plethora of emotions that alternate in the heart of the heroine-- the helplessness of being caught in between two demanding forces is so tellingly heard in ‘Paasamo irandu pakkam, padhaikkavo nenjai vaithaan’, the fear of the uncertain end to the riddle unobtrusively peeps out in her ‘Engae payanam, engae mudiyum, angae thunai thaan yaaro?’, a glimmer of hope radiates in the line ‘Thaaliyum nilaikka vendum, thaaimaiyum vaazha vendum’, and the incredulity in her husband’s dislike to the child gets touchingly reflected in ‘Thalaattum pillai- manam vellai-adhuvaa thollai?’- her quandary is succinctly summarized in the last line- ‘Kattil perithaa, thottil perithaa’- lingering moments of poetic poignancy--
  
  A song of enduring enchantment.
  
  
  162. Kandaen engum- Kaatrinilae Varum Geetham- IR
  
  Vijayabhaskar Films’ Kaatrinilae Varum Geetham starred Muthuraman and Kavitha. It was directed by SP Muthuraman. Lyrics were by Panju Arunachalam.
  
  I have seen it on TV long back, and have a dim recollection of Muthuraman being baffled by encountering different women having the same appearance (Kavitha), in places as far flung as Ooty, Cochin and even aboard a flight. All the while, he’s searching for the tribal girl he fell in love with--
  
  The camera work in vibrant colour was enchanting, and won Cameraman Babu the TN State Government’s Award for 1977-78.
  
  Kavitha was introduced by Sridhar in Oh, Manju- 1976. She failed to make it big, and acted in a few films like Rowdy Raakamma, Aalukkoru Aasai, Aatukkara Alamelu, General Chakravarthi, Andaman Kaadhali, Neeya and Engal Vaathiyaar.
  She appeared in a dance sequence with Kamal (Onnum onnum rendu thaanae) in Ellam Inba Mayam. For many years, nothing was heard about her, till Bharathiraja brought her back, this time to act as Karthik’s mother and Napolean’s wife in Nadodi Thendral-1992. Since then, she has been acting in small roles in films and TV serials.
  
  It was Ilayaraja who bestowed immortality upon this otherwise commonplace film- the songs are priceless treasures that are cherished to this day.
  IR brought JC to the forefront in this film. ‘Oru vaanavil polae en vaazhvilae vandhaai’ is such a dreamy exquisite JC-SJ duet. ‘Chithira chevvanam sirikka kandaen’ is a fantastic folksy number by JC and chorus. ‘Kandaen yengum’ came in two flavours- and each one was equally delicious! The other version by Janaki is another song of eternal enticement.
  
  
  Kanden engum--
  poomagal--
  naatiyam--
  Kaanbathaalaamae--
  Adhisayam--
  anandam--
  kaatrinilae varum geetham--
  
  Thottu thottu pesum thendral,
  thottil katti aadum ullam---
  Kaadhalinaalae thullugindra pennmai ingae-
  allikkolla mannan engae?
  Ninaithaene—azhaithaene--
  varuvaai --anbe endru ingae nindru--
  
  Vanakkiliyae—yekkam eno,
  Karunkuyilae—moham thaano!
  Thookkamumillai,
  thuvaluthu mullai--
  Thazhuvida thane,
  thavikkuthu pillai--
  Panivaadai vilagaatho--
  ninaithaal sorgam ingae kannil undu---
  
  I suppose I know more today than what I knew in 1978, and hence can at least pretend to talk knowledgeably about ‘super-imposing’ technique etc, but when this song hogged air time day and night in 78-79, I remember wondering with awe, how VJ (or for that matter SJ) could start another line, when she was still singing the previous one (the repeated Kaatrinilae varum geetham) :-) We cousins used to attempt it bravely and end up breathless and panting- the only way out was another cousin would start with ‘Kaatrinilae’ while one was still singing ‘varum geetham’! Ah, those naïve times!
  ( Kannmaniyae kaathal enbathu- Aarilirundhu Arubathu Varai & En Kannmani un Kaathali- Chittukkuruvi were other songs which had such super-imposed voices)
  
  SJ’s version has a third charanam – ‘Kallamillai kabadamillai kaavalukku yarumillai’ which is conspicuous by its absence in the VJ version. And while the SJ song is a placidly bubbling brook in serene sylvan surroundings, the VJ version takes on the patina of a torrential cascade, swollen with the monsoons, with thunder and lightning adding to the fury—
  While the SJ song is the engaging call of a lass who is throbbing with the cravings of youth and aching for love, the VJ version is the plaintive wail of a bewitching banshee who bemoans her lovesick wretchedness—
  
  The wonderful thing is that there is no change in the lyrics in the two versions- what sets them apart are the two great singers, and the that magician called Ilayaraja who, with a nonchalant wave of his enchanted baton, ensured that each version became a distinctly unique and remarkable creation—
  
  Accompanied with the sound-effects of an Ongole-destined cyclone, Vani casts a spell with the opening haunting humming—IR’s violins work overtime and the sound of jingling anklets add to the sepulchral eerie effect—Vani sounds so fetchingly forlorn- that tantalizingly prolonged last syllable in ‘Thottil katti aadum ullam’ even as the gale regales itself with a windswept downpour—the hypnotising humming that makes the second interlude so special—the depth of gloom that is so evocatively conveyed in ‘Thookkamum illai, thuvaluthu mullai’—the dual Vanis heard simultaneously as the song nears its enthralling end—
  
  --Adhisayam—Anandam—Kaatrinalae Varum Geetham--
  
  That completes the count of Vani’s songs for IR in 1978- each of the 8 is a hallowed memory of the resultant magic whenever she worked with IR—
  
  IR composes music for films even today- and VJ retains to a great extent the voice that has held thousands in her sway- Wish the Maestro starts looking nearer home for a singer who would do ample justice to his compositions---Panivaadai vilagaatho-- Ninaithaal sorgam ingae kannil undu--
  
  The 1978 travelogue will continue visiting Vani’s works with some other MDs--
  
  
• From: Naaz (@ 24.87.30.219) on: Tue Jun 3 22:23:41 EDT 2003
  
  Saravanan -
  
  OK. Gush-time :-)
  I am running out of words (imagine!!) to describe your prose and presentation in this VJ chronology. If this is Raga is your Saga, then each written moment buzzes with the gamakam of a pristine note.
  And how it washes over us, sweeping us up in these waves of memory and longing for another day, another time. The past is your present to us.
  And I am euphoric and grateful for this benevolence.
  I am.
  Luxurious.
  
  (Once I surface, I will get my thoughts together in a congent manner and write a "propah" rejoinder to your paen . For now, let me swim :-)
  
  

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