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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: Manisekaran (@ 61.6.39.139) on: Mon Dec 6 20:35:41 EST 2004
  
  I did not use the above song in the show. Instead I opted for POTHUVAGA EN MANASU THANGAM for the sake of the fans of the superstar, and with another message from Raja.
  
  
• From: Manisekaran (@ 61.6.39.139) on: Mon Dec 6 22:47:30 EST 2004
  
  The full lyrics:
  MV:Indha minminikku kannil oru minnal vandhadhu
  adi kanne azhagu penne
  kaadhal raajaanga paravai
  thaedum anandha uravai
  sorgam un kanniley
  
  
  SJ:Indha minminikku kannil oru minnal vandhadhu
  en Manna Azhagu manna
  kaadhal raajaanga paravai
  thaedum anandha uravai
  sorgam en kayile
  Indha minminikku kannil oru minnal vandhadhu
  
  SJ: Intha Mangai Ival Inba Gangai
  Enthan Mannan Enai Serkum Kadai
  MV: Inthak Kadal Pala Gangai Nathi
  Vanthu Sontham Kondadum Idam
  SJ: En Udal Unakkendurm Samparpanam
  MV: na na na na na na Adi Ennadi Unakkindru Avasaram?
  SJ: na na na na na na na
  MV:Indha minminikku kannil oru minnal vandhadhu
  adi kanne azhagu penne
  SJ: Kaadhal raajaanga paravai
  thaedum anandha uravai
  sorgam en kayile
  
  MV: Intha Minminikku Kannil Oru Minnal Vanthathu
  
  MS:Thoattathiley pala pookkal undu
  nee thaanae en Sigappu Rojaa
  SJ:Indrum Enrum Ennai unnudane Naan thanthen En Aasai Raja
  
  MV: Malarunnai pariththida thudikkiraen
  la la...
  SJ : na na Na na Na na Ini thadaiyenna aruginil irukkiraen?
  MV: nana nana Na naa
  
  SJ Indha minminikku kannil oru minnal vandhadhu
  en Manna azhagu kanna
  MV:Kaadhal raajaanga paravai
  thaedum anandha uravai
  sorgam en kayile
  SJ:Intha Minminikku Kannil Oru Minnal vanthathu
  nanna Nanna Nanna Nanna Nanna Nanna(laughter)
  
  
• From: SN (@ 220.227.179.5) on: Tue Dec 7 01:41:04 EST 2004
  
  Going back to sevvandhi poo mudicha. After reading the great analysis of senthil, i just recollect how it was filmed. Great show and great composition and great song. After the slap/clap (only one clap), then PS starts with ascending heiiiiiiiii... (Mani, pls confirm it was PS). It goes like a gaint wheel, max ascend and comes down slowly. End of heiiii, another CLAP. Then immediately dhandhana dhandhana stars with that unique Hoi in between. This fantastci number was burried in the glory of sendhura poove, i guess. Mani it brought it from the burrough. Senthil, great analysis is yours!!
  
  
• From: Sharath (@ 203.190.152.34) on: Tue Dec 7 02:13:00 EST 2004
  
  SN,
  
  I agree with your words, "This fantastic number was burried in the glory of sendhura poove"
  
  I like Sevvanthi Poo more than Sendhoora Poove. I guess that has been the case with most of Ilayaraja's scores where some great numbers go unnoticed from glory due to the shadowing effect of another song in the same movie, though this is really a healthy competition as it benefits listeners like us.
  
  Few songs which come to my mind as examples with other song in the same movie that became more popular in brackets:
  
  Muthamizh Kaviye (Thenmadurai Vaigai Nadhi) from Dharmathin Thalaivan
  
  Uravenum Pudhiya Vaanil (Paruvamey Pudhiya Paadal) from Nenjatthai Killathey
  
  Enna thaan sugamo nenjiley (Maanin Iru Kannam) from Maappillai
  
  Kannan Vandhu Paadigiraan (Raja Raja Chozhan) from Rettai Vaal Kuruvi.
  
  
• From: Manisekaran (@ 61.6.39.139) on: Tue Dec 7 02:29:47 EST 2004
  
  SN:I liked the picturisation and the song itself. It is P Suseela.
  
  Did you see this part:
  
  AATHULA KAATHADCHA ALAI MODTHUM, "KENDAI VILAYADUM"
  
  When kamal sings "Kendai Vilayaadum" Sri Devi blinks her eyes- in the style of Saroja Devi.
  
  Kendai here referes to Kendai meen. In Tamil poems, we also use Kendai (fish) to mean the eyes of the female: Kayal Vizhi - Kayal is fish.
  
  That is what we call carefully thought of Direction which is lacking these days.
  
  
  
  
• From: Manisekaran (@ 61.6.39.139) on: Tue Dec 7 04:48:36 EST 2004
  
  AN ADDITIONAL INFORMATION
  
  Raja had mentioned that he had used the hummng tune in this tune, that can be used to creat both happy and sand moods. When sung in a fast tempo, the humming creates a happy mood, and when sung in a slow tempo, it creates a sad mood. Here raja had used the fast tempo.
  
  Please add this infromation to the song.
  mani
  
  
• From: Manisekaran (@ 61.6.39.139) on: Tue Dec 7 04:50:14 EST 2004
  
  Read as sad not "sand" moods. Naan oru "Mannu" making typo errors.
  Mani
  
  
• From: raj (@ 61.246.255.3) on: Tue Dec 7 05:08:19 EST 2004
  
  Ninaivo oru paravai from Sigappu rojakkal is my choice than Indha..
  
  the beat and Lyrical beauty is awesome
  
  
• From: Nevis (@ 62.215.3.51) on: Tue Dec 7 09:08:56 EST 2004
  
  I thought Alaigall Oyvathillai was the first stereo record from BR-IR combination. Maybe I missed hearing the stereo effect in Sigappu Rojaakkall.
  
  
• From: G.Ragavan (@ 61.16.168.141) on: Tue Dec 7 09:59:01 EST 2004
  
  Priya : one of my favorite albums of IR. "Yennuir neethane" song is my all time favourite, and ofcourse the other songs too. But Yennuir neethaane is unique and mind blowing.
  
  Chigappu Rojakal - Another tantilizing album. SJanki had done a great work and justice to the exteamly pleasing tunes of IR. Malaysia Vasudevan's voice had shown a different dimension in this film, apparantly IR had brought out the talent.
  
  Thanks for remainding both the albums.
  
  
• From: eden (@ 136.1.1.101) on: Tue Dec 7 10:34:03 EST 2004
  
  The only eye sore in sigappu rOjakkaL is the flashback (unavoidable to the storyline but could have been handled in a much more artistic way IMO) and the BGM for that part was irritating too...If only the both Raja's worked on that part also to be classy, it would have been one all-time great film...
  
  Similar is the case of moondRam piRai, another great movie with some irritating scenes / BGM. While the silk smitha portions had excellent, classy music it had horrible visuals. OTOH, Raja made loud noise as BGM for the Natraj scenes...If only BM had acted a bit more carefully, it would have been another all-time classic (which you can watch with grand parents and children)...
  
  Two Kamal films where he had really performed well and most other elements (ofcourse including Sridevi) were great as well ...Brilliant performances by the directors and Raja (with minor irritations)...
  
  
• From: vijay (@ 68.16.25.50) on: Tue Dec 7 13:41:51 EST 2004
  
  "Raja had mentioned that he had used the hummng tune in this tune, that can be used to creat both happy and sand moods. When sung in a fast tempo, the humming creates a happy mood, and when sung in a slow tempo, it creates a sad mood. Here raja had used the fast tempo.
  
  Please add this infromation to the song.
  mani"
  
  Manisekaran, which song are you referring to? The humming before indha minminnikku? I have observed that the humming before Indha minminikku had the potential to be a pathos piece if just the tempo is slowed down. I remember mentioning it in DF long back. Thats why was a little excited if IR has thought the same way :-) If its the 16 vayadhinile song you are referring to, then my bad.
  
  Sigappu rojakkaL was definitely a landmark film/album, two graamarajas joining hands to make a sophisticated urban thriller the likes of which tamil movies wont see for a looooong time. Even Tik Tik Tik was surprising in that aspect although it was a less serious and more commercial flick. And the score for Tik Tik Tik is hip to listen to, even today.
  
  Unfortunately Malaysia Vasudevan is one singer who I felt should have been put to rest right in the early 80s. Thanks to IR's eccentricity in choosing/promoting singers he became a "playback" singer when he wouldnt have been a track singer in the 60s. Most of the folk/dappanguthu songs he sang anyone could have sung them, IR could have probably sung them better himself. MV would later go on to sing hundreds of junk songs for IR in the late 80s for the likes of Ramarajan/Prabhu/Vijaykanth etc.
  
  
• From: vijay (@ 68.16.25.50) on: Tue Dec 7 13:48:00 EST 2004
  
  Manisekaran, I am requesting this again, but if you have any info on the rationale which IR adopted in choosing singers like Jency, Deepan, S.N. Surendar, MV etc please let me know. Also as to why Uma R always got the choicest of tunes despite being no more than a decent light music troupe singer. These are some things that have baffled me.Was it because he just wanted to introduce fresh voices?( just like how we had a spate of fresh voices in the mid-90s when a new trend set in)
  
  
• From: kiru (@ 192.138.150.249) on: Tue Dec 7 14:26:51 EST 2004
  
  Mani sir,
  Sridevi's laughter at the end , I think, is not 'ecstatic' it is 'eerie'. Atleast, that is how I felt with the sound effect added to a lone laughter.
  BTW, I have never watched 16 vayadhinilE, until Senthil explained the reasoning behind the slaps/claps I never knew why they were there. (Senthil, you quit software architecting ? I envy you :-), just kidding, I still seem to enjoy software).
  
  
• From: Manisekaran (@ 61.6.39.139) on: Tue Dec 7 19:24:18 EST 2004
  
  Vijay,
  
  I am rferrring to the Intha Minminikku song.
  
  As for the choice of different users, I do not want to go into details in the forum.
  I had met up with Uma Ramanan and spoke of Raja's music. Please email me if you are so enthusiastic to know the reasons
  Thank you.
  Mani
  
  
• From: senthilv.com (@ 69.148.80.184) on: Tue Dec 7 19:27:43 EST 2004
  
  Vijay:
  
  you're being unfair with Malaysia Vasudevan :)
  
  Thanks SN.
  
  Kiru:
  
  In real world, I'm still in software business and enjoy it but in imaginary world I'm in filmmaking. You'll understand this cryptic comment as you read further.
  I encourage you and everyone to listen to Raaja's song with film situation in mind. If not, you're missing a lot of JOY.
  
  Manisekaran:
  
  We need POTHUVAGA EN MANASU THANGAM info too!
  
  Although, I like "Indha Minminiku" song I personally prefer "Ninavoo Oru Paaravai". Obvisouly because it is more filmic :)
  
  Here's commentary of it (RR, is it possible to provide a link for it?)
  
  NINAIVOO ORU PAARAVAI (Memories are birds?) - Listen to the song
  
  SONG SITUATION: After the marriage with Kamal character, Sridevi character *cherishes*, *dreams*, takes a *blissful journeys* back in time about kamal and their love. She is unaware till this point that Kamal is actually a psychopath. In the film, following this song, I think she runs into mysterious things, incidents and eventually she realizes Kamal is a psychopathic killer. This song should set-up her love feeling to it’s *height* from where she’s going to have a free fall. Just like she dreams, her love and her lover is JUST A DREAM and not real.
  
  Raaja’s composing choice:
  
  THEME: Blissful journey back in time (with the help of *flying* memories/thought :) )
  Sub theme: Flying & sensual love.
  
  Raaja’s takes inspiration from the idea of flying *Paravai*(Bird) from NINAIVO ORU PARAVAI (Memories are birds?) and marries it with the *imaginary* Kamal character that Sridevi has built in her mind and let’s that thought *fly* separately! The manifestation of this idea is the counterpoint melody.
  
  Basically, Sridevi is living in two different worlds—the actual reality (Where she might get killed!) and imaginary blissful realm. (All Lovey dovey) Raaja beautifully separates (and intermingles) these two realities by playing the Kamal’s counterpoint melody over the main melody. He maintains this idea and juxtaposes the real world and imaginary world throughout the song. Also, the counterpoint melody comes in and goes out just like sridevi’s dreamy thoughts of her lover. These all are very expressionistic in idea.
  
  STATING (interlude): Raaja makes Sridevi character just hum (cherish the thought) then create an abstract tune (thinking about it) and slowly *journey* into the realm of dream. (where it is all bliss) The visual analogy is a slow motion take-off of a bird to the heights of the sky. Here, he exactly achieves this analogy musically. It needs couple listening to get a feel for it.
  
  THE BASS GUITAR: This guitar piece gives a trance like feel and embellishes the main melody and sometimes the counterpoint melody. So, this piece may serve as a connection between the dream world and real world for sridevi because the guitar instrument is again used for transitioning from interlude (dream world) back to stanzas (real world)
  
  MAIN MELODY: The tune makes you really feel like it is coming from the real depths of Sridevi’s feeling and makes it just fly on it own! I don’t have musical acumen to go into this area and explain. So I won’t even try.
  
  COUNTERPOINT MELODY: Notice, how the Kamal’s counterpoint melody *takes off* exactly at the word *paravai* :) If listened separately, it also literally FLIES like a bird! Also notice how kamal’s melody emerges as if it coming from *oblivion* (unconscious?) exactly how sridevi feels about bygone Kamal. Wonderful!
  
  INTERLUDE 1:
  
  DRUM PERCUSSION: The interlude starts with the dramatic drumming percussion. It is the only stark/dark element in the song but it is definitely not a foreshadowing element of lurking tragedy that will befall on Sridevi. It used as a dramatic transition from the elevated dream world back to the real world. It is probably just a hint :) If you stretch it, may be you can call it as a subtle musical motif to sridevi’s transition from blissful happiness to doldrums later in the movie.
  
  VIOLIN: Then the violin interlude slowly leads into the physical journey of the sridevi with Kamal in a horse carriage ride (as it is pictured in the film). If you listen carefully you can catch the metronomic musical horse ride accompanied by horn and bell sound. If you did catch this and feel like déjà vu, you’ve the right to feel so because this is probably a diluted version of the famous “Rajavin paarvai” horse run percussion meets the Hugo Montenegro’s theme from “A Fistful of Dollars”. Probably the horse carriage description by Bharathiraaja(Director) triggered both these ideas for Raaja. Anyway, the horse journey here is very symbolic of sridevi’s imagined journey into the dream rather than a real ride. Surreal is the word.
  
  Then the interlude slowly leads us back to the main song.
  
  Both the interludes and stanzas juxtapose the real world and the imaginary world very well.
  
  Raaja took me into his world and now back to real world.
  
  
• From: Jaiganesh (@ 203.101.103.2) on: Tue Dec 7 21:57:03 EST 2004
  
  HI Senthil,
  Nice analysis!! There are two points that come to my mind whenever i hear/see the song.
  1. As u said the Drums percussion is a masterpiece. It has been used as a nice tool of story telling. It was as if to say "Just in case if anybody in the audience thought of leaving the seat thinking that there is a standard duet, please think again!!" I was kind of glued when i heard that drums!!! I dont know if this is the first song sung by Kamal haasan? The picturisation was clever too. As the humming of Kamal haasan becomes louder, he comes more into focus and closer. A technique which MTV videos employ till date.
  2. Lyrics!! they have two layers of meanings. The heroine's verses are straight and simple. Whereas, Kamal's verses are loaded!! Lyrical analysis of the song will be interesting too.
  
  Thanks,
  Jaiganesh
  
  
  
  
  

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