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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: Wed Mar 26 23:18:28 EST 2003
  
  Song of the Day: andhi mazhai pozhigiradhu from raja paarvai.
  
  http://www.newtfmpage.com/cgi-bin/stream.pl?url=http://www.dhool.com/sotd/andhi.rm
  
  Lakshminarayan Srirangam Ramakrishnan writes in the "Classical Ilayaraja" article:
  
  Vasantha is a fantastic ragam. It is a popular janyam of the unpopular melam Suryakaantham (17th). Its arohanam and avarohanam are Sa Ma1 Ga3 Ma1 Da2 Ni3 Sa; Sa Ni3 Da2 Ma1 Ga3 Ri1 Sa. While traditionally it is believed that Boopalam is the ragam suitable for the dawn, Vasantha is the ragam suitable for the dusk. So, no wonder Illayaraja used this ragam for a duet which talks about the rain pouring during the dusk! "Andhi mazhai pozhigi- radhu" is a great song in the movie rajapaarvai. Kamalhasan sings this song with Madhavi. It is one of those early songs that showed the full fervency of Illayaraja's mind for creativity. The classical orchestral grandeur of this song was unbelievable at that time. I distinctly remember hearing this song for the first time in "Oliyum Oliyum" in Madras Doordarshan. Those days we were living in the Telephone quarters in Kilpauk, Madras. Since we did not have a TV, we used to go to our neighbour's house. They had a merciless "hundiyal" right at the door, which demanded 25 paise for each program! Well, getting to see songs like "andhi mazhai" for just 25 paise was definitely worth the money!
  
  
  Illayaraja starts the song with a prelude of "pop pop pop poboppo" by the chorus. The sudhdha madhyamam in Vasantha has served as the starting point for many classical krithis. Illayaraja too starts his "pop pop" in the madyamam like "Ma Ma Ma Ma Ga Ma Da". Classically, the transition from Ma to Da is not a straight one. There is a subtle Ni in between. That is, when the musicians say Da they go all the way to Ni and then drop down to the daivatham. Illayaraja starts the pallavi "andhi mazhai" like Ma Ma Ma, Ga Ma Da Ma Ga, Ga Ma Da Ma Ga Ma Ga Ri, Ma Ga Ga Ri Ri Sa. It is a beautiful start. All the hidden melody in the swaras of Vasantha are extracted in the pallavi itself. Even in the charanam his mind seems to be bent upon extracting all the melody in the Ga Ma Da transition. He starts the charanam like Ga Ma Da Ma, Ga Ma Da Ma, and the tune lingers there for a while!
  
  
  This song also marked the early classics of Vairamuthu. His lyrics became a controversy too, in this song. He writes:
  
  
  Andhi mazhai pozhigiradhu
  Ovvoru thuliyilum un mugam therigiradhu...
  Indhiran thottathu mundhiriyae
  Ragasiya rathiri puththagamae....
  
  
  Look, the hero who sings this song is a blind man in the movie! How can he see the heroine's face in each of those beautiful rain drops?! Perhaps that is what defines a poet's world. Physical defects get nullified in their world of fantasy! But, surely Vairamuthu got into trouble when he called the heroine as "the cashew nut of Lord Indira's garden"! Basically he means to say that the heroine is like a kind of sex bomb to the hero! She is the bible that the hero reads in the night! That is understandable. But what does this cashewnut stuff mean? Lord Indira is not known for romantic deeds like Manmadhan! Just for matching the alliteration of the words he made a senseless statement. (Recently Vaali got into trouble when he said "inji iduppazhaga" in thevar magan. Sure that ginger has got all degrees of sharp bends in its structure, but what has it got to do with the hero's hip!) In Demolition Man, Sandra Bullock may feel very much disgust- ed about what she calls as "biological transfer of fluids". But look how Vairamuthu characterises the feelings love creates during the youthful period of fantasy. He says "dreams torture", "eyelids weigh heavily", "it is like suturing a thorn inside the eye" and so on....
  
  
  Illayaraja made T.V.Gopalakrishnan sing in the second interlude of this song. A short piece of Vasantha. (Earlier he had made him sing a short piece of Keeravani in "idhu oru nila kaalam" in Tick Tick Tick). There are few classical people who have tried the orchestral expedition of carnatic music. I remember the recordings of Y.M.Kamasastri often played in the radio long time ago. Invariably he would pick up a rare vivadhi ragam for his explorat- ion and have his orchestra play it. Albeit high technical quality, those recordings were not very much enjoyable. I would dare say that Illayaraja was the first guy who could appropriately use the orchestral music in a very "enjoyable" way. Later he got so much used to composing a tune for his orchestra that he started doing everything in his mind. That is an unbelei- vable state of knowledge. When the song goes like Ma Ma Ma Ga Ma Da Ma Ga, the background violin may be going like Da Ni Sa Ga Ri Sa in the upper octave. The chorus might be traversing in the Da Ni of the lower octave. The guitar chords might be vibrating in the F major area! If you could figure out that all these individual musical events would unify in a perfect harmony to give a superb Vasantha melody, just by imagining in your mind, then is it not a great task?! Where the heaven is this enigmatic MIND?
  
  - The classical Ilayaraja articles are here: http://newtfmpage.com/ci/
  
  
• From: GCT_Kuil (@ 128.107.253.38) on: Wed Mar 26 23:20:55 EST 2003
  
  SK,
  
  Isnt Thirukkoyil thedi Rathi Devi Vathaal from Deivam Thantha Veedu?? And isnt that by PS? Is it Swarna?
  
  BTW, "Mittai Mummynu" oru padamaa??
  
  
• From: R (@ 128.119.234.227) on: Wed Mar 26 23:56:41 EST 2003
  
  This was the first ever song we featured on the Song of the Month feature.. that is now defunct.. I am reproducing the song discussion:
  The Artists:
  
  Singeetham Sreenivaasa Rao has directed this offbeat love
  story. In the course of writing an article about a blind musician, a
  young girl falls in love with him. Kamal plays the blind musician and
  Madhavai the chronicler. The movie very sensitively portrays their love
  and their eventual triumph against great odds. This is the first movie
  produced by Haasan Brothers, the precursor to RaajKamal international,
  Kamal's own production company. This is also Kamalhaasan's 100th movie.
  
  
  The Situation:
  
  Madhavi expresses a desire to witness a song recording in
  which Kamal plays the violin. The song starts out as being recorded in
  the studio with SPB actually appearing on the screen playing himself and
  Gangai Amaran conducting the recording. Then the visuals branch out to
  portray the growing intimacy between Kamal and Madhavi.
  
  
  Discussion:
  
  (We urge the reader to read the discussion parallely while listening
  to the song.)
  
  
  The raagam Vasantha brings out the feeling of spring - the time of the year
  when rain cloaks the earth with blossoming flowers; the time when
  rainbows in the horizon rival those colorful flowers; the time when
  the lovelorn heart sees the beloved in every drop of rain.
  
  This song overall has shades of vasantha and indicates the feeling of spring.
  Rich in orchestration and variety while being strange in harmony is the
  essence of this song. This is one of the early songs in which the Mridangam
  was used very aesthetically along with western classical intruments.
  Eventhough the indian scale and melody has been fused with the
  western classical orchestration seamlessly, the song doesn't sound sober
  but maintains a youthful and lilting feeling throughout.
  
  The very beginning of the song is spontaneous and untraditional
  with a metronome kind of beat. The song is set in the E flat
  key. Three mrindangams tuned to Sa, M2 and D2 then unfold both the scale
  and time simultaneously. The female chorus now restarts the metronome again.
  They repeat the same phrase when the Mridangam joins. The mridangam has been
  interleaved beautifully with the drums and chorus.
  
  The song again builds up slowly but again slowed down by a strange sliding
  sound (a`ooiinng' voice).
  But this time the
  Piano takes over and builds the scale of Vasantha upto D2, i.e. Sa G2 M2 D2.
  
  Two group violins set the stage for the Pallavi, stressing on M2 first
  and G3 next. Then the pallavi starts accompanied mainly by Mridangam.
  
  The first interlude starts with a simple but disciplined violin phrase.
  The transition from a well orchestrated group violins to a hindustani
  vilambit style alap is smooth. The strings, just before handing over to
  the alap, fade away while oscillating between M2 and G3 thru M1. This
  wonderfully depicts the sunset of the spring with the piano setting the
  background with the sparkles of the evening sun rays.
  
  The alap - accompanied by Tabla - outlines the essense of vasantha but in
  hindustani style. This is renderd by T. V. Gopalakrishnan. (The alap is clearly
  different from Basanth, the closest
  hindustani raag to Vasantha.) The same piano and strings bring the interlude
  to stanza.
  
  The stanza is mostly in vasantha scale except in the last line. The
  last line aesthetically follows a pentatonic scale by omitting Sa and
  changing from M1 to M2. So when the pallavi comes back again to M1, it
  gives a feeling of dramatic return after many accidentals, even though
  there was only one accidental note. The last line of the stanza also
  is very long and, after seemingly exhausting the singer's breath out,
  it ends by touching R1 beautifully.
  
  Imagine a tree full of flowers showering some flowers down as though
  something has disturbed it. This is what one feels when the piano
  bursts out with notes, as the second interlude begins. The female chorus
  now starts like a gentle breeze carring the haunting fragrance along
  with the flowers. The piano phrase suddenly bursts into a duet with
  the mridangam. The strings now join piano as though the gentle
  breeze is carrying the flowers around. The piano stressing initially
  on M2 and D1 shifts later to G3 and N3. The strings then take a lead and
  the piano supports by stressing Sa, D2 and G3 ( C minor ) first and N3,
  G3 and D2 ( G11-th suspended 3rd ) later. The Piano brings the interlude
  to the second stanza.
  
  The lyrical part of the song has been penned wonderfully to reflect the
  "viragadhaaba" feeling of the lovers.
  Especially the lines imaigalum sumayadi ilamayile, thanneeril
  nirkkum pothe vErkkindrathu and the female lover's response dhaavani
  visirigal veesugiren are notable. The intermittent alap also nicely
  conveys the "pain" of love. The orchestration (which is quite extraordinary
  for a film song) sets up an excellent background for the scene bringing out
  the romantic feeling of the song to its full effect.
  
  
  
  
  
• From: Subbu (@ 216.52.49.5) on: Thu Mar 27 00:03:32 EST 2003
  
  Mittai mammy was *ed by KRV and Ravichandran. It was in the tail of KRV dominated films of 70's. Excellent song is "thiru theril eri radhi devi vandhaal". PS goes touches the himalayan's and TMS did an excellent support. I remember that film was screened in the old Wellington theatre and ran for only one week :-((
  
  SK, did you hear about this film "Gas-light mangamma"...? Another KRV dominated film with Jai/Muthuraman. But am not sure whether it ran even for one week?
  
  

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