Home   Forum   Wiki   Notes   Register   FAQ   Sitemap   About Us   Contact Us  

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 .

---

Responses:

• Old responses
  
• From: Venkatesh (@ 212.72.11.68) on: Sat Nov 27 09:03:40 EST 2004
  
  Mani sir,
  In a concert, IR explained the counterpoint like this, in simple terms.
  He made a singer sing the lines 'pon thaan nee' in a particular tune.
  Another singer sang 'manjam arugil varuvayo'
  in another tune.
  Then, they combined the tune and the words alternately, which gives the lyrics 'pon manjam thaan arugil nee varuvayo'. IR said this is how he explained it to Vaali.
  
  
• From: Venkatesh (@ 212.72.11.68) on: Sat Nov 27 09:06:27 EST 2004
  
  typo..
  they combined the tune and words and sang alternately..
  
  
• From: senthilv.com (@ 68.88.76.69) on: Sat Nov 27 12:07:42 EST 2004
  
  T:
  
  "Raaja Raajathi Raajan Intha Raaja" -- I think, this is more of "polypony" rather than counterpoint. Raaja wanted to create the effect of a "group" singing the same lines. He has also used the same technique in the song "Das...Das... Chinnapa das das" from Kadalora Kavithaikal
  
  "Etho Moham" from Kozhi Koovudhu is another beautiful counter point example. The tune and chorus counterpoint runs throughout the song.
  
  
• From: venus (@ 4.8.201.59) on: Sun Nov 28 12:54:56 EST 2004
  
  If observe the lyrics it seems to be interesting
  
  SP B: En kanmani un kaadhali ila maangani
  unaip paarththadum sirikkinradhaen
  sirikkinradhaen
  naan sonna joakkaik kaettu naanamoa nee nagaichuvai Mannanillaiyo
  
  It can be split into
  
  1. En kanmani ila maangani sirikkinradhaen
  sirikkinradhaen (take the words 1,3,5 in from the song you will get this line)
  
  2. un kaadhali unaip paarththadum sirikkinradhaen
  sirikkinradhaen (take the words 2,4,6 from the song you will get this line)
  
  naan sonna joakkaik kaettu naanamoa nee nagaichuvai Mannanillaiyo
  
  The whole song expresses the meaning and if you take alternate words still they from a meaningful sentence. (this applies to PS section also)
  
  If you hear we have two melodies(3 words each)
  and main melody with 7 words in it.
  
  It seems that IR wanted lyrics to have the same behavior of Counterpoint as well. I guess this was what IR trying to express to Vali. Whatever effort went in, the result is really very good one.
  
  
• From: Manisekaran (@ 61.6.39.139) on: Sun Nov 28 19:26:37 EST 2004
  
  t,
  
  En Kanmani is certainly a counte4rpoint technique- as explained by Raja himself.
  
  Vengkatesh,
  
  Yes Raja explained this at a concert, using Surendran, and at another time gave an interview on this novelty.
  
  Senthilv.com
  
  Raaja Raajathi Rajanintha Raja is noether counterpoint not polypony. It is totally another technique. I shall come to it later.
  
  Mani
  
  
• From: Manisekaran (@ 61.6.39.139) on: Sun Nov 28 19:27:22 EST 2004
  
  t,
  
  En Kanmani is certainly a counte4rpoint technique- as explained by Raja himself.
  
  Vengkatesh,
  
  Yes Raja explained this at a concert, using Surendran, and at another time gave an interview on this novelty.
  
  Senthilv.com
  
  Raaja Raajathi Raajanintha Raaja is neither counterpoint nor polypony. It is totally another technique. I shall come to it later.
  
  Mani
  
  
• From: raj (@ 61.246.255.3) on: Sun Nov 28 22:54:31 EST 2004
  
  Mani sir
  
  the dialouge should be "NANNA SONNEL pongo!!
  
  
  En kanmani -- is my all time fav SPB-PS song !!
  
  Great lyrics by Vaali and picturisation too was good ( with min technology)
  
  Sivakumar -Meera travelling in a bus
  
  Song is like Sivakumar singing to sivakumar and
  Meera singing to Meera..
  
  A great Song in all aspects
  
  
• From: RR (@ 192.122.134.249) on: Mon Nov 29 05:01:25 EST 2004
  
  1. if you want to post comments on older songs, pls go to the archive (link on top of the page). There you'll find the previous 6 songs/episodes indexed as separate threads. Post your comments on the appropriate thread.
  2. Some have reported that the audios are interrupted/buffered a lot. If many feel so, I'll reduce the bit rate of the audios (lower quality). Let me know if you have any problems listening.
  Of course, other comments/suggestions are also welcome. Thx.
  
  
• From: eden (@ 136.1.1.154) on: Mon Nov 29 11:52:33 EST 2004
  
  IMHO, SJ would have made the song ('en kaNmaNi')much better as the SPB-SJ combo creates magic with such duets...Though I love this song, I think PS lacks that `extra something' to throw in for such songs...
  
  
• From: Bala (@ 68.38.80.142) on: Mon Nov 29 21:33:39 EST 2004
  
  Eden Sir
  
  IMHO, Janaki would have been a great choice had there been no hearty laugh that is required from a female singer. Susheela does a much better job doing the laugh. S Janaki does not come out well (either she would sound too young like 'Kanna Nee Enge' or sound too old )
  
  Bala
  
  
  
• From: G.Ragavan (@ 61.16.168.141) on: Tue Nov 30 03:27:30 EST 2004
  
  >>From: eden (@ 136.1.1.154) on: Mon Nov 29 11:52:33 EST 2004
  >>IMHO, SJ would have made the song ('en kaNmaNi')much better as the SPB-SJ combo creates magic with such duets...Though I love this song, I think PS lacks that `extra something' to throw in for such songs...
  
  Hi Eden, I dont think there was something missing in PS's voice (particularly that song). SJ is a good singer. PS is also a good singer and she had done a justice to that song.
  
  
• From: raj (@ 61.246.255.3) on: Tue Nov 30 04:21:49 EST 2004
  
  Bala had rightly mentioned the laugh .. which PS had done brilliantly
  
  
• From: YAY (@ 61.1.201.133) on: Tue Nov 30 07:44:52 EST 2004
  
  (Msg deleted by RR. Pls post in 'BGM' or other appropriate topic.)
  
  
• From: Manisekaran (@ 61.6.39.139) on: Tue Nov 30 19:10:42 EST 2004
  
  
  13. ORAMPO RUKKUMANI VANDI VARUTHU
  (I have revised the numbering)
  I had said that Kettele Angey from Badrakali was the first Raja song to meet opposition. Now we come to a song that was not only openly opposed, but also banned and ultimately called for a procession to lift the ban. This song, to my mind has to be remembered as a landmark song.
  
  This is a song that was openly attacked, and banned .by All India Radio. This, along with “Unakenathaane Innerama”, as well as “Thennamarathila Thendraladikkuthu” from Lechumy, written by Gangai Amaran were banned in All India Radio. Gangai Amaran had to write in to AIR station to get them to lift the ban.
  
  The Orambo song from Ponnu Oorukku Puthusu became an instant hit and drew much criticism and opposition as well.
  
  There is a clear message hidden in this song. When Ilayaraja came to Madras for cine chances he was rebuked, teased and stepped aside. It was only through the grace of the Almighty, with the instrumentality of Panchu Arunasalam that Raja made it into the field. Even after entering the cine field, for the first few years he continued to meet with untold sufferings, criticism and opposition- some open, and others very subtle. Many of the MDs, Produces, Directors, Financiers and Lyricists too did not give open support to Ilayaraja. Most of them thought Raja was just one of those new comers who would not last too long. The common word they all collectively used then was that Ilayaraja would be side washed- “Oram Poividuvaan”
  
  Ilayaraja and Gangai Amaran took note of this state of affairs in the cine field, and were waiting for the opportune moment to rebut. Ilayaraja took a softer approach while Gangai Amaran was quite vocal.
  
  By the time SP.V.Films Ponnu Oorukku Puthusu came in 1979, Raja was already holding the fort and was reigning supreme. He was somewhat an uncrowned king in the cine music field. Other MDs were sliding into oblivion. When the movie Ponnu Ooorukku Puthusu was produced, Gangai Amaran wrote song in which he made Ilayaraja the subject matter. The lyrics had to be read in between the lines to grasp the intended message.
  
  Orambo Rukkumani Vandi varuthu
  
  (Give Way, Ilayaraja’s Paattu Vandi is coming)
  
  Vangada Vanthanam Pannungada
  (Come and pay respects to Ilayaraja)
  
  Vanthu Intha Vanidiya Thallungada
  (Come and push this song cart of Ilayaraja)
  
  Palaiyam Pannapiuram
  Chinnathaayi Petha Magan
  Pichaimuthu Eriye Varandoi
  
  (Pannapippuramm is Raja’s village. Chinnathayee is Raja’s mother)
  
  
  Then a line comes:
  
  Kizhakke Pora Rayilai Kooda Munthi varuven
  Ellaraiym Kootttiye Varuvendoi
  
  The film Kizhakke Pogum Rayil just completed its 52 weeks run in Tamilnadu. It implies Raja was ready to break even that record.
  
  While the cine field was asking Ilayaraja and his associates to give way and get out, this time around, it appeared that Raja was asking those critics to clear the field and get out!
  
  Those opponents who read in between the lines and got the message could not digest the pungent heat generated by this song. They could not openly band the song, but conveniently found other reasons to force the Tamilnadu government to ban the song.
  
  The quoted vulgar meanings, which I do not wish to state here. They also alleged that the song was an insult to the police force, and hence to the Government.
  
  In Tamilnadu the constables are called ETTAIYA. The constables used to swing their batons during heavy traffic congestion and shout “ORAMPO!” asking the crowd to give way to vehicles. In this song a line goes:
  
  Ettaiya Roattu Mele Nikkiraaru- Nikkiraaru
  Avarai Konjam Othungachollu- Othungikkanga! Othungikkanga!
  
  They alleged that the song was hitting at the constables. It is quite true that when the song was out the ordinary by passers were singing this song in the presence of police constables, with intention of irritating them.
  
  To counter the ban by All India Radio, a group of Ilayaraja supporters went on a procession along Mount Road in support of the song. By this time MGR was already the Chief Minister. He was very sympathetic towards Ilayaraja. In fact MGR had wanted to act in a movie called UNNAI VIDA MATTEN. Ilayaraja was booked as MD. Pooja was also performed. But MGR stayed with politics and the movie never was produced.
  
  With all the sensations, controversies and opposition, the song became more popular. Those were the days when songs mixed with dialogues were seldom written. But here came a song of that nature- this time with dialogues spoken along the the village roads- close to the heart of the village folks. Ironically the song was well accepted in both urban and rural areas.
  
  The band members said they were surprised to see Raja using western musical instruments in village folk tunes. They were ale to identify electrical guitar playing a prominent role in this song. True enough, Raja experimented fusion of western and folk tunes in this song.
  Click here to listen
  

• From: kiru (@ 192.138.150.175) on: Tue Nov 30 20:46:36 EST 2004
  
  There are different kinds of counterpoints and it gets very difficult to understand this completely as it becomes too technical. But I do think En Kanmani can be considered a counterpoint some way or other. Actually, the song starts with a counterpoint. But I think more than this the song became famous because it was the same voice that got repeated or started before one ended. In sound engineering terms, this was called 'seconds'. I think IR was the first to use this technique at that point of time.
  The song was a novelty at that time and surely can be considered a landmark.
  As Mani mentions, poomalaiyE is a much better example of counterpoint.
  The term polyphony is a much more general term than counterpoint. It just means multiple (poly) sounds (phony). Indian music is considered monophonic (only one voice), whereas western classical is polyphonic (multiple voices, voice does not necessarily mean human voice, but any instrument).
  
  
  
  

---

List all pages of this thread

Post comments