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!
Neel's VJ Songs
Responses:
- Old responses
- From: Jeyaram (@ 203.197.134.88)
on: Fri Oct 25 13:08:35 EDT 2002
Saravanan/ Others,
I agree with the apprehensions raised by CV and Kaumadi. I have started listening to VJ's Telegu songs also. As i wrote earlier, i am just bowled by "vidhi Cheyu" these days. Vani has lot more to be written and discussed. Pl continue your story.
- From: Jeyaram (@ 203.197.134.3)
on: Sun Oct 27 12:05:54 EST 2002
No additions to this forum!! Saravanan and other friends, pl help!
- From: Cinema Virumbi (@ 203.197.220.219)
on: Mon Oct 28 07:51:51 EST 2002
Friends,
Some months back, 'Idhuthaan mudhal raaththiri' (KJY-VJ ,Naa. Kaamaraasan-MSV)from 'oorukku uzhaippavan' was discussed threadbare by many people ( including me!). Still, one important aspect got left out! i.e., the hidden and sophisticated form of double entendre used in the following lines:
'manmathan sEnai mun varum vELai neethaanE enaik kaakkum manthiri'
As this forum is extremely dignified, I am not elaborating any further!
- From: Saravanan (@ 213.42.1.174)
on: Mon Oct 28 08:22:45 EST 2002
-Back to 1977 with VJ:
This week, let us recollect Vani’s songs for Vijayabhaskar in 1977. VB had 3 films in 1977 and his ‘Aasthana Paadagi’ was there in all three films.
102.Poonkuyil koovithu- Aadu Puli Aattam- VB
‘Wake from thy nest, robin-red-breast,
Sing, birds, in every furrow;
And from each hill, let music shrill
Give my fair Love good-morrow!
Blackbird and thrush in every bush,
Stare, linnet, and cock-sparrow!
You pretty elves, amongst yourselves
Sing my fair Love good-morrow;
To give my Love good-morrow
Sing, birds, in every furrow!’
Aadu Puli Aattam starred Kamal,Rajini,Sripriya and Sangeetha. I think it was directed by SP Muthuraman. Rajini had already made a mark as a villain of style and substance. His signature gimmicks with his cigarette and his glasses and his fast walk and faster talk –all earned him many admiring fans. For the first time, people adored a villain- Satyaraj and Saratkumar would later traverse this trail to stardom. I have seen this film as a child, but don’t remember much, except that Rajini’s name was Rajini in the film too, while Kamal’s name was Madan. Rajini proclaimed throught the film ‘Idhaan Rajini Style’. However in the end, Kamal manages to bring him to justice, proclaiming ‘Idhaan Madan Style’!
The other songs in the film were ‘Vaanukku thandhai evano’-SPB(with LR Anjali chipping in with ‘Lahilaha illallahi’—) and ‘Uravo pudhumai, ninaivo inimai’-SPB.
Poonkuyil koovuthu-
kathal ragam paaduthu
Poovaiyin nenjile-
aasai vandhu modhuthu
Vaazhvil kaigal inaiyume, vaazhkai angey thodangume
Ennippaarkindren-
ennam mayanguthe
Maavilai thoranam manakkolam kaana
Mangaiyin-
ullame-
ponguthe-
indha naale----
Kattil araiyin pudhu sugam, katti thazhuvum thani sugam
Yengum vayathiniley-
thondrum ninaivugale-
Aadhiyil Evaalum Aadaamum thodanga-
Aasaigal-
aayiram-
thondruthe-
indha naale-----
This song is perhaps the predecessor of the ‘Koo-koo kuyil’ songs, which flooded tfm in the 80s! (Of course, SJ’s enchanting ‘Kuyile kavikkuyile’ was also heard in 1977) The song begins with a cooing of a poonkuyil, and then our Penn kuyil starts off in a breezy, light and lively mien. Romance is in the air, and VJ –VB magic is at work again! The ending lines of each charanam are an aural treat.
103.Maname solayaam-Aadu Puli Aattam-VB
‘Will no one tell me what she sings?—
Perhaps the plaintive numbers flow
For old, unhappy, far-off things,
And battles long ago:
Or is it some more humble lay,
familiar matter of today?
Some natural sorrow, loss, or pain,
that has been, and may be again?’
I don’t remember the situation of the song, but there is an air of poignant disillusionment in the song-
Maname solaiyaam-
solaiyaam
Ninaivugal-
malargalaam
Kovilil serumo-
theruvile pogumo?
Netru nadandhadhellaam karpanai,
indru kanbathellaam en vinai!
Uruvu yen?
Pirivu yen?
Varavu yen? Selavu yen? Kalakkam yen?
Odum nadhigallellaam kadalile-
uravil seruvathe sangamam
Engu naam-
Pogirom?
Paathaigal oridam seruma?
Pooththa malargallellaam kaikkuma?
Kaaiththa kaaigallellaam kaniyuma?
Inikkuma?
Pulikkuma?
Unakkathu theriyuma? Puriyuma?
A slow and melancholic melody. VJ brings out the sorrow and the uncertainity of the morrow- with subtle finesse she mirrors the agony of a soul athirst and forbidden to drink, a heart famished and never to be fed—hark at that plaintive variation in the ‘Maname’ after the first charanam- the soul of the song is just there!
‘I listen'd, motionless and still;
And, as I mounted up the hill,
The music in my heart I bore,
Long after it was heard no more--’
104.Enakkoru udhavi sei- Kaalamadi kaalam- SPB-VB
I know that this song is frequently referred to as being from ‘Aayirathil Oruthi’, but I have recorded this song from the record of ‘Kaalamadi Kaalam’, so I am listing it as from KK. KK starred Jaishankar and Jayachitra. The record had, on one side ‘Enakkoru udhavi sei’ and on the other side- ‘Thodangalaam thodaralaam’-SPB, and ‘Kaalamadi Kaalam’-SPB & chorus.
SPB:Enakkoru udhavi sei
Madiyinil idam kodu kanne kanne
VJ: Thirumanam padhivu sei
Adhu varai poruthiru kanna kanna
SPB:Udhattai paadhiyil madippathenna
nagathai aasayil kadippathenna
VJ: Idaiyai kaigalil pidippathenna
Irandu kanngalum thudippadhenna
SPB:Oru tharam siruviral pattaal paavamo?
VJ: Unakulla mayakkangal thottaal theerumo?
VJ: Paruva raajiyam iruvar kaiyil
Padhavi erppathu Iraivan kaiyil
SPB:Thalli poduthal edhu varaiyil-
thaanga koodumo adhu varaiyil?
VJ: Varum, varum, samayangal-Anbe kaathuru
SPB:Adharkkenna, inai karam, indre serthiru!
Again the age-old argument- the hero is unable to arrest his physical cravings and the heroine is firm that the marriage has to be solemnised first- literally-for she insists ‘Thirumanam pathivu sei’ ! Vijayabhaskar’s favourite pair SPB and VJ are at their playful, romantic best here- if Vani’s konjal in each ‘Kanna’ is endearing, SPB’s ‘shabadaba’ yodelling and his lusty longing in ‘Thalli poduthal edhu varaiyil’ are equally enticing.
105.Maamadurai naattinil- Olimayamaana Ethirkaalam- SPB- VB
OE starred Vijayakumar and Sripriya. No clue as to the story etc. If at all the film is remembered today, it is because of the wonderful songs of Vijayabhasker. How many such uninspiring, eminently forgettable films has Vijayabhasker immortalised by the touch of his magic baton!
SPB:Maamadurai naattinil Vaigaikkarai kaatrinil
kaathal paatrondru ketten
kanngal kooduvathai paarthen, aah-
kanngal kooduvathai paarthen
VJ: Thotram-ponnoonjalaattam
Thogai kondaadum thottam
Aadai- mel naattu jaadai
Aasai-theeradha bodhai
SPB:Maandhalir manjal pallaakku
mayangithu nenjil ennodu
Mai vizhi thaan sollum thoodhu-aah-
mai vizhi thaan sollum thoodhu
SPB:Kovil sirppangal ellaam-
neril nindraada kanden
Aadum panpaadu kanden-
Naanum pann paadugindren
VJ: Ponniyin vellam kandaayo
poovayin ullam kandaayo-
Yaarukku yaar solla vendum-
Yaarukku yaar solla vendum
SPB:Yedho naan solla vandhen
Ennam mullaaga nindren
VJ: Naanum ododi vandhen-
naanam thallaada nindren
SPB:Achchathil vaarthai varaathu-
VJ: ayinum aasai vidaadhu
Both:Naam ini namakkaaga vaazhvom
VJ: Naam ini namakkaaga vaazhvom
A simple, enchanting duet. SPB and VJ again, and both bestow upon the song an aura of youthful romance. SPB gives a short ‘Aah’ in between the two ‘Kanngal kooduvathai paarthen’, while the only time VJ sings these lines, she just prolongs the last syllable of ‘paarthen’, leading to the second ‘Kanngal kooduvathai paarthen’ in style. Again the ‘hmm’ she asks just after ‘Yaarukku yaar solla vendum’ is full of mischief! Just listen to her ‘Aasai theeradha bodhai’ – intoxicating!
Of special mention is the surprise element in this song- the classical bit in the second interlude- VB catches you off-guard with his dance music, the flute, miruthangam and the sound of anklets all adding to the allure.
I am sure Sripriya must have acquitted herself well in this part- mind you, not the ‘Chinna papa’ of these days, (Oh, the ravages of time!) but the Sripriya of 1977. We musn’t forget that she was a trained dancer, her father Pakkiriswami Pillai was said to be a Dance master, while her sister Vyjayanthi was also a reputed dancer.
106: Kudumbathin thalaivi kulavilakku- Olimayamaana Ethirkaalam-VB
A lovely song!
Kudumbathin thalaivi kulavilakku
Kondavan manathil saravilakku
Olimayamaanathu illarame-
Kaalaiyil ezhunthathum manjalil kulithu-
Kanavanin nalangalai panivudan mudithu
Nalla pennmaniyaaga-
kudumbam nadathida vendum-
Uyarndha panbugalai endrum madhithu varum sirandha penngalidam Deivam vaazhaatho--
Kuzhandhaigal peruvathum maarbudan valarppathum
kothaiyin kulathukku Kadavulin parisu
Thaaimai karunaiyin vadivam-
Ulagam muzhuvathum vanangum
Kallangkapadamindri pillaichelvangalai konji valarthuvidu, Deivam paaraattum!
We have had many songs advising how a good housewife ought to behave. TA Mathuram’s ‘Nalla Pennmani’ –Manamagal (which also had an amusing parody ‘Ketta pennmani’ –TV Rathnam & co-Mangaiyar Thilagam), Tiruchi Loaganathan’s ‘Purushan veetil poga pgum penne’- Paanai Pidithaval Bhaagiyasali and TMS’s ‘Thuyil neengi’-Nalla Thangal(thangai?), just to name a few.
This song too sermonises on the traits of a good housewife. I have seen the record of the film- the cover shows a hirsute Vijayakumar sitting with a towel draped around his waist and Sripriya mudhugu theichufying with devotion. One of the kadamais of the kulavikku, I gather!
However, this song is a treasured classic! Vijayabhaskar is more often labelled as a genius in melodies with western leanings (he himself was a brilliant pianist). Here he shows that he was a past master in Indian classical music as well. The song seems like a mini-cutcheri, and offers vast scope to a singer with artistic and technical excellence, a trained voice and commendable manodharma- all of which our Vani is gifted with in abundant measure. How aesthetically does she cover the entire gamut of the creation in a step-by-step treatment, most unhurriedly, with brigas and gamakas being more a decorative aid than a piece of showmanship!
106.Vaishnava janatho- Olimayamaana Ethirkaalam- VB
I was amazed that this hymn finds palce in full in this film. I wonder at its relevance in the story line.
This was the favourite hymn of the Father of the Nation. It celebrates the equality amongst men. It became popular even in the South- DK Pattammal had sung the song in Sindhu Bhairavi Ragam and made it immensely appealing. Of course the first verse is heard in ‘Hey Ram’ too, sung by Vibha Sharma, before ‘Vaaranam aayiram’ follows. (I have heard that originally DK Pattammaal did sing ‘Vaishnava Janatho’ for ‘Hey Ram’ under the baton of L Subramaniam, who was later replaced by Ilayaraja).
Vijayabhaskar restricts the instrumental music to a bare minimum-the tampoora and tabla -, a little bit of flute in the interlude. Vani is simply spellbinding and sings the lines with remarkable understanding and fervour.
The hymn is in Gujarati and was written by Baghat Narsingh Mehta. Here are those famous lines, with a translation:
Vaishnov Jan to taynay kahyeeje
Jay peerh paraaye janneyray
Par dukkhey upkar karey koyey,
man abhiman na anney ray
(A godlike man is one,
Who feels another’s pain
Who shares another’s sorrow,
And pride does disdain)
Sakal lokma Sahuney bandhey,
Ninda Na karye kainee ray
Baach kaachh, Man nischal Raakhey,
dhan-dhan jananee tainee ray
(Who regards himself as the lowliest of the low,
Speaks not a word of evil against any one
One who keeps himself steadfast in words, body and mind,
Blessed is the mother who gives birth to such a son)
Samdrishi nay trishna tyagee,
par-stree jaynay mat ray
Vivihva thaki asatya na bolay,
par-dhan nav jhaley haath ray
(Who looks upon everyone as his equal and has renounced lust,
And who honours women like he honours his mother
Whose tongue knows not the taste of falsehood till his last breath,
Nor covets another’s worldly goods)
Moh maaya vyaayey nahin Jeynay,
dridth vairagya jana manma ray
Ram-nam-shoom taalee laagee,
Sakal teerth seyna tanma ray
(He does not desire worldly things,
For he treads the path of renunciation
Ever on his lips is Rama’s holy name,
All places of pilgrimage are within him)
Vanloohee nay kapat rahit chhay,
Kaam, Krodh nivarya ray
Bhane Narsinhyo tainoo darshan karta
kul ekotair taarya re.
(One who is not greedy and deceitful,
And has conquered lust and anger
Through such a man Saint Narsaiyon has a godly vision,
Generations to come, of such a man, will attain salvation)
What wonderful lines! And how relevant it is even today! Especially in the present times, when the happenings in Gujarat make us hang our heads in shame. Let us remember the great Mahatma –all that he lived for and the cause he died for. In a touching tribute to Gandhiji, Pandit Nehru said ‘In ages to come, centuries and many millenniums after us, people will think of this generation when this man of God trod the earth and will think of is who, however small, could also follow his path and probably tread on that holy ground where his feet had been. Let us be worthy of him. Let us always be so.’
Let us at least try.
- 1977 to be continued with other MDs-
Back to 1977. with VJ:
This week, let us recollect Vani’s songs for Vijayabhaskar in 1977. VB had 3 films in 1977 and his ‘Aasthana Paadagi’ was there in all three films.
102. Poonkuyil koovithu- Aadu Puli Aattam- VB
‘Wake from thy nest, robin-red-breast,
Sing, birds, in every furrow;
And from each hill, let music shrill
Give my fair Love good-morrow!
Blackbird and thrush in every bush,
Stare, linnet, and cock-sparrow!
You pretty elves, amongst yourselves
Sing my fair Love good-morrow;
To give my Love good-morrow
Sing, birds, in every furrow!’
Aadu Puli Aattam starred Kamal, Rajini, Sripriya and Sangeetha. I think it was directed by SP Muthuraman. Rajini had already made a mark as a villain of style and substance. His signature gimmicks with his cigarette and his glasses and his fast walk and faster talk –all earned him many admiring fans. For the first time, people adored a villain- Satyaraj and Saratkumar would later traverse this trail to stardom. I have seen this film as a child, but don’t remember much, except that Rajini’s name was Rajini in the film too, while Kamal’s name was Madan. Rajini proclaimed throught the film ‘Idhaan Rajini Style’. However in the end, Kamal manages to bring him to justice, proclaiming ‘Idhaan Madan Style’ !
The other songs in the film were ‘Vaanukku thandhai evano’-SPB(with LR Anjali chipping in with ‘Lahilaha illallahi’—) and ‘Uravo pudhumai, ninaivo inimai’-SPB.
Poonkuyil koovuthu-
kathal ragam paaduthu
Poovaiyin nenjile-
aasai vandhu modhuthu
Vaazhvil kaigal inaiyume, vaazhkai angey thodangume
Ennippaarkindren-
ennam mayanguthe
Maavilai thoranam manakkolam kaana
Mangaiyin-
ullame-
ponguthe-
indha naale----
Kattil araiyin pudhu sugam, katti thazhuvum thani sugam
Yengum vayathiniley-
thondrum ninaivugale-
Aadhiyil Evaalum Aadaamum thodanga-
Aasaigal-
aayiram-
thondruthe-
indha naale-----
This song is perhaps the predecessor of the ‘Koo-koo kuyil’ songs, which flooded tfm in the 80s! (Of course, SJ’s enchanting ‘Kuyile kavikkuyile’ was also heard in 1977) The song begins with a cooing of a poonkuyil, and then our Penn kuyil starts off in a breezy, light and lively mien. Romance is in the air, and VJ –VB magic is at work again! The ending lines of each charanam are an aural treat.
103. Maname solayaam- Aadu Puli Aattam
‘Will no one tell me what she sings?—
Perhaps the plaintive numbers flow
For old, unhappy, far-off things,
And battles long ago:
Or is it some more humble lay,
familiar matter of today?
Some natural sorrow, loss, or pain,
that has been, and may be again?’
I don’t remember the situation of the song, but there is an air of poignant disillusionment in the song-
Maname solaiyaam-
solaiyaam
Ninaivugal-
malargalaam
Kovilil serumo-
theruvile pogumo?
Netru nadandhadhellaam karpanai,
indru kanbathellaam en vinai!
Uruvu yen?
Pirivu yen?
Varavu yen? Selavu yen? Kalakkam yen?
Odum nadhigallellaam kadalile-
uravil seruvathe sangamam
Engu naam-
Pogirom?
Paathaigal oridam seruma?
Pooththa malargallellaam kaikkuma?
Kaaiththa kaaigallellaam kaniyuma?
Inikkuma?
Pulikkuma?
Unakkathu theriyuma? Puriyuma?
A slow and melancholic melody. VJ brings out the sorrow and the uncertainity of the morrow- with subtle finesse she mirrors the agony of a soul athirst and forbidden to drink, a heart famished and never to be fed—hark at that plaintive variation in the ‘Maname’ after the first charanam- the soul of the song is just there!
‘I listen'd, motionless and still;
And, as I mounted up the hill,
The music in my heart I bore,
Long after it was heard no more--’
104. Enakkoru udhavi sei- Kaalamadi kaalam- SPB-VB
I know that this song is frequently referred to as being from ‘Aayirathil Oruthi’, but I have recorded this song from the record of ‘Kaalamadi Kaalam’, so I am listing it as from KK. KK starred Jaishankar and Jayachitra. The record had, on one side ‘Enakkoru udhavi sei’ and on the other side- ‘Thodangalaam thodaralaam’-SPB, and ‘Kaalamadi Kaalam’-SPB & chorus.
SPB: Enakkoru udhavi sei
Madiyinil idam kodu kanne kanne
VJ: Thirumanam padhivu sei
Adhu varai poruthiru kanna kanna
SPB: Udhattai paadhiyil madippathenna
Nagathai aasayil kadippathenna
VJ: Idaiyai kaigalil pidippathenna
Irandu kanngalum thudippadhenna
SPB: Oru tharam siruviral pattaal paavamo?
VJ: Unakulla mayakkangal thottaal theerumo?
VJ: Paruva raajiyam iruvar kaiyil
Padhavi erppathu Iraivan kaiyil
SPB: Thalli poduthal edhu varaiyil
Thaanga koodumo adhu varaiyil
VJ: Varum, varum, samayangal-Anbe kaathuru
SPB: Adharkkenna, inai karam, indre serthiru
Again the age-old argument- the hero is unable to arrest his physical cravings and the heroine is firm that the marriage has to be solemnised first- literally-for she insists ‘Thirumanam pathivu sei’ ! Vijayabhaskar’s favourite pair SPB and VJ are at their playful, romantic best here- if Vani’s konjal in each ‘Kanna’ is endearing, SPB’s ‘shabadaba’ yodelling and his lusty longing in ‘Thalli poduthal edhu varaiyil’ are equally enticing.
105. Maamadurai naattinil- Olimayamaana Ethirkaalam- SPB- VB
OE starred Vijayakumar and Sripriya. No clue as to the story etc. If at all the film is remembered today, it is because of the wonderful songs of Vijayabhasker. How many such uninspiring, eminently forgettable films has Vijayabhasker immortalised by the touch of his magic baton!
SPB: Maamadurai naattinil Vaigaikkarai kaatrinil
kaathal paatrondru ketten
kanngal kooduvathai paarthen, aah-
kanngal kooduvathai paarthen
VJ: Thotram-ponnoonjalaattam
Thogai kondaadum thottam
Aadai- mel naattu jaadai
Aasai-theeradha bodhai
SPB: Maandhalir manjal pallaakku
mayangithu nenjil ennodu
Mai vizhi thaan sollum thoodhu-aah-
mai vizhi thaan sollum thoodhu
SPB: Kovil sirppangal ellaam-
neril nindraada kanden
Aadum panpaadu kanden-
Naanum pann paadugindren
VJ: Ponniyin vellam kandaayo
poovayin ullam kandaayo-
Yaarukku yaar solla vendum-
Yaarukku yaar solla vendum
SPB: Yedho naan solla vandhen
Ennam mullaaga nindren
VJ: Naanum ododi vandhen-
naanam thallaada nindren
SPB: Achchathil vaarthai varaathu-
VJ: Aayinum aasai vidaadhu
Both: Naam ini namakkaaga vaazhvom
VJ: Naam ini namakkaaga vaazhvom
A simple, enchanting duet. SPB and VJ again, and both bestow upon the song an aura of youthful romance. SPB gives a short ‘Aah’ in between the two ‘Kanngal kooduvathai paarthen’, while the only time VJ sings these lines, she just prolongs the last syllable of ‘paarthen’, leading to the second ‘Kanngal kooduvathai paarthen’ in style. Again the ‘hmm’ she asks just after ‘Yaarukku yaar solla vendum’ is full of mischief! Just listen to her ‘Aasai theeradha bodhai’ – intoxicating!
Of special mention is the surprise element in this song- the classical bit in the second interlude- VB catches you off-guard with his dance music, the flute, miruthangam and the sound of anklets all adding to the allure.
I am sure Sripriya must have acquitted herself well in this part- mind you, not the ‘Chinna papa’ of these days, (Oh, the ravages of time!) but the Sripriya of 1977. We musn’t forget that she was a trained dancer, her father Pakkiriswami Pillai was said to be a Dance master, while her sister Vyjayanthi was also a reputed dancer.
106: Kudumbathin thalaivi kulavilakku- Olimayamaana Ethirkaalam-VB
A lovely song!
Kudumbathin thalaivi kulavilakku
Kondavan manathil saravilakku
Olimayamaanathu illarame-
Kaalaiyil ezhunthathum manjalil kulithu-
Kanavanin nalangalai panivudan mudithu
Nalla pennmaniyaaga-
kudumbam nadathida vendum-
Uyarndha panbugalai endrum madhithu varum sirandha penngalidam Deivam vaazhaatho--
Kuzhandhaigal peruvathum maarbudan valarppathum
kothaiyin kulathukku Kadavulin parisu
Thaaimai karunaiyin vadivam-
Ulagam muzhuvathum vanangum
Kallangkapadamindri pillaichelvangalai konji valarthuvidu, Deivam paaraattum!
We have had many songs advising how a good housewife ought to behave. TA Mathuram’s ‘Nalla Pennmani’ –Manamagal (which also had an amusing parody ‘Ketta pennmani’ –TV Rathnam & co-Mangaiyar Thilagam), Tiruchi Loaganathan’s ‘Purushan veetil poga pgum penne’- Paanai Pidithaval Bhaagiyasali and TMS’s ‘Thuyil neengi’-Nalla Thangal(thangai?), just to name a few.
This song too sermonises on the traits of a good housewife. I have seen the record of the film- the cover shows a hirsute Vijayakumar sitting with a towel draped around his waist and Sripriya mudhugu theichufying with devotion. One of the kadamais of the kulavikku, I gather!
However, this song is a treasured classic! Vijayabhaskar is more often labelled as a genius in melodies with western leanings (he himself was a brilliant pianist). Here he shows that he was a past master in Indian classical music as well. The song seems like a mini-cutcheri, and offers vast scope to a singer with artistic and technical excellence, a trained voice and commendable manodharma- all of which our Vani is gifted with in abundant measure. How aesthetically does she cover the entire gamut of the creation in a step-by-step treatment, most unhurriedly, with brigas and gamakas being more a decorative aid than a piece of showmanship!
106. Vaishnava janatho- Olimayamaana Ethirkaalam- VB
I was amazed that this hymn finds palce in full in this film. I wonder at its relevance in the story line.
This was the favourite hymn of the Father of the Nation. It celebrates the equality amongst men. It became popular even in the South- DK Pattammal had sung the song in Sindhu Bhairavi Ragam and made it immensely appealing. Of course the first verse is heard in ‘Hey Ram’ too, sung by Vibha Sharma, before ‘Vaaranam aayiram’ follows. (I have heard that originally DK Pattammaal did sing ‘Vaishnava Janatho’ for ‘Hey Ram’ under the baton of L Subramaniam, who was later replaced by Ilayaraja).
Vijayabhaskar restricts the instrumental music to a bare minimum-the tampoora and tabla -, a little bit of flute in the interlude. Vani is simply spellbinding and sings the lines with remarkable understanding and fervour.
The hymn is in Gujrati and was written by Baghat Narsingh Mehta. Here are those famous lines, with a translation:
Vaishnov Jan to taynay kahyeeje
Jay peerh paraaye janneyray
Par dukkhey upkar karey koyey,
man abhiman na anney ray
(A godlike man is one,
Who feels another’s pain
Who shares another’s sorrow,
And pride does disdain)
Sakal lokma Sahuney bandhey,
Ninda Na karye kainee ray
Baach kaachh, Man nischal Raakhey,
dhan-dhan jananee tainee ray
(Who regards himself as the lowliest of the low,
Speaks not a word of evil against any one
One who keeps himself steadfast in words, body and mind,
Blessed is the mother who gives birth to such a son)
Samdrishi nay trishna tyagee,
par-stree jaynay mat ray
Vivihva thaki asatya na bolay,
par-dhan nav jhaley haath ray
(Who looks upon everyone as his equal and has renounced lust,
And who honours women like he honours his mother
Whose tongue knows not the taste of falsehood till his last breath,
Nor covets another’s worldly goods)
Moh maaya vyaayey nahin Jeynay,
dridth vairagya jana manma ray
Ram-nam-shoom taalee laagee,
Sakal teerth seyna tanma ray
(He does not desire worldly things,
For he treads the path of renunciation
Ever on his lips is Rama’s holy name,
All places of pilgrimage are within him)
Vanloohee nay kapat rahit chhay,
Kaam, Krodh nivarya ray
Bhane Narsinhyo tainoo darshan karta
kul ekotair taarya re.
(One who is not greedy and deceitful,
And has conquered lust and anger
Through such a man Saint Narsaiyon has a godly vision,
Generations to come, of such a man, will attain salvation)
What wonderful lines! And how relevant it is even today! Especially in the present times, when the happenings in Gujarat make us hang our heads in shame. Let us remember the great Mahatma –all that he lived for and the cause he died for. In a touching tribute to Gandhiji, Pandit Nehru said ‘In ages to come, centuries and many millenniums after us, people will think of this generation when this man of God trod the earth and will think of is who, however small, could also follow his path and probably tread on that holy ground where his feet had been. Let us be worthy of him. Let us always be so.’
Let us at least try.
- 1977 to be continued with other MDs-
Back to 1977. with VJ:
This week, let us recollect Vani’s songs for Vijayabhaskar in 1977. VB had 3 films in 1977 and his ‘Aasthana Paadagi’ was there in all three films.
102. Poonkuyil koovithu- Aadu Puli Aattam- VB
‘Wake from thy nest, robin-red-breast,
Sing, birds, in every furrow;
And from each hill, let music shrill
Give my fair Love good-morrow!
Blackbird and thrush in every bush,
Stare, linnet, and cock-sparrow!
You pretty elves, amongst yourselves
Sing my fair Love good-morrow;
To give my Love good-morrow
Sing, birds, in every furrow!’
Aadu Puli Aattam starred Kamal, Rajini, Sripriya and Sangeetha. I think it was directed by SP Muthuraman. Rajini had already made a mark as a villain of style and substance. His signature gimmicks with his cigarette and his glasses and his fast walk and faster talk –all earned him many admiring fans. For the first time, people adored a villain- Satyaraj and Saratkumar would later traverse this trail to stardom. I have seen this film as a child, but don’t remember much, except that Rajini’s name was Rajini in the film too, while Kamal’s name was Madan. Rajini proclaimed throught the film ‘Idhaan Rajini Style’. However in the end, Kamal manages to bring him to justice, proclaiming ‘Idhaan Madan Style’ !
The other songs in the film were ‘Vaanukku thandhai evano’-SPB(with LR Anjali chipping in with ‘Lahilaha illallahi’—) and ‘Uravo pudhumai, ninaivo inimai’-SPB.
Poonkuyil koovuthu-
kathal ragam paaduthu
Poovaiyin nenjile-
aasai vandhu modhuthu
Vaazhvil kaigal inaiyume, vaazhkai angey thodangume
Ennippaarkindren-
ennam mayanguthe
Maavilai thoranam manakkolam kaana
Mangaiyin-
ullame-
ponguthe-
indha naale----
Kattil araiyin pudhu sugam, katti thazhuvum thani sugam
Yengum vayathiniley-
thondrum ninaivugale-
Aadhiyil Evaalum Aadaamum thodanga-
Aasaigal-
aayiram-
thondruthe-
indha naale-----
This song is perhaps the predecessor of the ‘Koo-koo kuyil’ songs, which flooded tfm in the 80s! (Of course, SJ’s enchanting ‘Kuyile kavikkuyile’ was also heard in 1977) The song begins with a cooing of a poonkuyil, and then our Penn kuyil starts off in a breezy, light and lively mien. Romance is in the air, and VJ –VB magic is at work again! The ending lines of each charanam are an aural treat.
103. Maname solayaam- Aadu Puli Aattam
‘Will no one tell me what she sings?—
Perhaps the plaintive numbers flow
For old, unhappy, far-off things,
And battles long ago:
Or is it some more humble lay,
familiar matter of today?
Some natural sorrow, loss, or pain,
that has been, and may be again?’
I don’t remember the situation of the song, but there is an air of poignant disillusionment in the song-
Maname solaiyaam-
solaiyaam
Ninaivugal-
malargalaam
Kovilil serumo-
theruvile pogumo?
Netru nadandhadhellaam karpanai,
indru kanbathellaam en vinai!
Uruvu yen?
Pirivu yen?
Varavu yen? Selavu yen? Kalakkam yen?
Odum nadhigallellaam kadalile-
uravil seruvathe sangamam
Engu naam-
Pogirom?
Paathaigal oridam seruma?
Pooththa malargallellaam kaikkuma?
Kaaiththa kaaigallellaam kaniyuma?
Inikkuma?
Pulikkuma?
Unakkathu theriyuma? Puriyuma?
A slow and melancholic melody. VJ brings out the sorrow and the uncertainity of the morrow- with subtle finesse she mirrors the agony of a soul athirst and forbidden to drink, a heart famished and never to be fed—hark at that plaintive variation in the ‘Maname’ after the first charanam- the soul of the song is just there!
‘I listen'd, motionless and still;
And, as I mounted up the hill,
The music in my heart I bore,
Long after it was heard no more--’
104. Enakkoru udhavi sei- Kaalamadi kaalam- SPB-VB
I know that this song is frequently referred to as being from ‘Aayirathil Oruthi’, but I have recorded this song from the record of ‘Kaalamadi Kaalam’, so I am listing it as from KK. KK starred Jaishankar and Jayachitra. The record had, on one side ‘Enakkoru udhavi sei’ and on the other side- ‘Thodangalaam thodaralaam’-SPB, and ‘Kaalamadi Kaalam’-SPB & chorus.
SPB: Enakkoru udhavi sei
Madiyinil idam kodu kanne kanne
VJ: Thirumanam padhivu sei
Adhu varai poruthiru kanna kanna
SPB: Udhattai paadhiyil madippathenna
Nagathai aasayil kadippathenna
VJ: Idaiyai kaigalil pidippathenna
Irandu kanngalum thudippadhenna
SPB: Oru tharam siruviral pattaal paavamo?
VJ: Unakulla mayakkangal thottaal theerumo?
VJ: Paruva raajiyam iruvar kaiyil
Padhavi erppathu Iraivan kaiyil
SPB: Thalli poduthal edhu varaiyil
Thaanga koodumo adhu varaiyil
VJ: Varum, varum, samayangal-Anbe kaathuru
SPB: Adharkkenna, inai karam, indre serthiru
Again the age-old argument- the hero is unable to arrest his physical cravings and the heroine is firm that the marriage has to be solemnised first- literally-for she insists ‘Thirumanam pathivu sei’ ! Vijayabhaskar’s favourite pair SPB and VJ are at their playful, romantic best here- if Vani’s konjal in each ‘Kanna’ is endearing, SPB’s ‘shabadaba’ yodelling and his lusty longing in ‘Thalli poduthal edhu varaiyil’ are equally enticing.
105. Maamadurai naattinil- Olimayamaana Ethirkaalam- SPB- VB
OE starred Vijayakumar and Sripriya. No clue as to the story etc. If at all the film is remembered today, it is because of the wonderful songs of Vijayabhasker. How many such uninspiring, eminently forgettable films has Vijayabhasker immortalised by the touch of his magic baton!
SPB: Maamadurai naattinil Vaigaikkarai kaatrinil
kaathal paatrondru ketten
kanngal kooduvathai paarthen, aah-
kanngal kooduvathai paarthen
VJ: Thotram-ponnoonjalaattam
Thogai kondaadum thottam
Aadai- mel naattu jaadai
Aasai-theeradha bodhai
SPB: Maandhalir manjal pallaakku
mayangithu nenjil ennodu
Mai vizhi thaan sollum thoodhu-aah-
mai vizhi thaan sollum thoodhu
SPB: Kovil sirppangal ellaam-
neril nindraada kanden
Aadum panpaadu kanden-
Naanum pann paadugindren
VJ: Ponniyin vellam kandaayo
poovayin ullam kandaayo-
Yaarukku yaar solla vendum-
Yaarukku yaar solla vendum
SPB: Yedho naan solla vandhen
Ennam mullaaga nindren
VJ: Naanum ododi vandhen-
naanam thallaada nindren
SPB: Achchathil vaarthai varaathu-
VJ: Aayinum aasai vidaadhu
Both: Naam ini namakkaaga vaazhvom
VJ: Naam ini namakkaaga vaazhvom
A simple, enchanting duet. SPB and VJ again, and both bestow upon the song an aura of youthful romance. SPB gives a short ‘Aah’ in between the two ‘Kanngal kooduvathai paarthen’, while the only time VJ sings these lines, she just prolongs the last syllable of ‘paarthen’, leading to the second ‘Kanngal kooduvathai paarthen’ in style. Again the ‘hmm’ she asks just after ‘Yaarukku yaar solla vendum’ is full of mischief! Just listen to her ‘Aasai theeradha bodhai’ – intoxicating!
Of special mention is the surprise element in this song- the classical bit in the second interlude- VB catches you off-guard with his dance music, the flute, miruthangam and the sound of anklets all adding to the allure.
I am sure Sripriya must have acquitted herself well in this part- mind you, not the ‘Chinna papa’ of these days, (Oh, the ravages of time!) but the Sripriya of 1977. We musn’t forget that she was a trained dancer, her father Pakkiriswami Pillai was said to be a Dance master, while her sister Vyjayanthi was also a reputed dancer.
106: Kudumbathin thalaivi kulavilakku- Olimayamaana Ethirkaalam-VB
A lovely song!
Kudumbathin thalaivi kulavilakku
Kondavan manathil saravilakku
Olimayamaanathu illarame-
Kaalaiyil ezhunthathum manjalil kulithu-
Kanavanin nalangalai panivudan mudithu
Nalla pennmaniyaaga-
kudumbam nadathida vendum-
Uyarndha panbugalai endrum madhithu varum sirandha penngalidam Deivam vaazhaatho--
Kuzhandhaigal peruvathum maarbudan valarppathum
kothaiyin kulathukku Kadavulin parisu
Thaaimai karunaiyin vadivam-
Ulagam muzhuvathum vanangum
Kallangkapadamindri pillaichelvangalai konji valarthuvidu, Deivam paaraattum!
We have had many songs advising how a good housewife ought to behave. TA Mathuram’s ‘Nalla Pennmani’ –Manamagal (which also had an amusing parody ‘Ketta pennmani’ –TV Rathnam & co-Mangaiyar Thilagam), Tiruchi Loaganathan’s ‘Purushan veetil poga pgum penne’- Paanai Pidithaval Bhaagiyasali and TMS’s ‘Thuyil neengi’-Nalla Thangal(thangai?), just to name a few.
This song too sermonises on the traits of a good housewife. I have seen the record of the film- the cover shows a hirsute Vijayakumar sitting with a towel draped around his waist and Sripriya mudhugu theichufying with devotion. One of the kadamais of the kulavikku, I gather!
However, this song is a treasured classic! Vijayabhaskar is more often labelled as a genius in melodies with western leanings (he himself was a brilliant pianist). Here he shows that he was a past master in Indian classical music as well. The song seems like a mini-cutcheri, and offers vast scope to a singer with artistic and technical excellence, a trained voice and commendable manodharma- all of which our Vani is gifted with in abundant measure. How aesthetically does she cover the entire gamut of the creation in a step-by-step treatment, most unhurriedly, with brigas and gamakas being more a decorative aid than a piece of showmanship!
106. Vaishnava janatho- Olimayamaana Ethirkaalam- VB
I was amazed that this hymn finds palce in full in this film. I wonder at its relevance in the story line.
This was the favourite hymn of the Father of the Nation. It celebrates the equality amongst men. It became popular even in the South- DK Pattammal had sung the song in Sindhu Bhairavi Ragam and made it immensely appealing. Of course the first verse is heard in ‘Hey Ram’ too, sung by Vibha Sharma, before ‘Vaaranam aayiram’ follows. (I have heard that originally DK Pattammaal did sing ‘Vaishnava Janatho’ for ‘Hey Ram’ under the baton of L Subramaniam, who was later replaced by Ilayaraja).
Vijayabhaskar restricts the instrumental music to a bare minimum-the tampoora and tabla -, a little bit of flute in the interlude. Vani is simply spellbinding and sings the lines with remarkable understanding and fervour.
The hymn is in Gujrati and was written by Baghat Narsingh Mehta. Here are those famous lines, with a translation:
Vaishnov Jan to taynay kahyeeje
Jay peerh paraaye janneyray
Par dukkhey upkar karey koyey,
man abhiman na anney ray
(A godlike man is one,
Who feels another’s pain
Who shares another’s sorrow,
And pride does disdain)
Sakal lokma Sahuney bandhey,
Ninda Na karye kainee ray
Baach kaachh, Man nischal Raakhey,
dhan-dhan jananee tainee ray
(Who regards himself as the lowliest of the low,
Speaks not a word of evil against any one
One who keeps himself steadfast in words, body and mind,
Blessed is the mother who gives birth to such a son)
Samdrishi nay trishna tyagee,
par-stree jaynay mat ray
Vivihva thaki asatya na bolay,
par-dhan nav jhaley haath ray
(Who looks upon everyone as his equal and has renounced lust,
And who honours women like he honours his mother
Whose tongue knows not the taste of falsehood till his last breath,
Nor covets another’s worldly goods)
Moh maaya vyaayey nahin Jeynay,
dridth vairagya jana manma ray
Ram-nam-shoom taalee laagee,
Sakal teerth seyna tanma ray
(He does not desire worldly things,
For he treads the path of renunciation
Ever on his lips is Rama’s holy name,
All places of pilgrimage are within him)
Vanloohee nay kapat rahit chhay,
Kaam, Krodh nivarya ray
Bhane Narsinhyo tainoo darshan karta
kul ekotair taarya re.
(One who is not greedy and deceitful,
And has conquered lust and anger
Through such a man Saint Narsaiyon has a godly vision,
Generations to come, of such a man, will attain salvation)
What wonderful lines! And how relevant it is even today! Especially in the present times, when the happenings in Gujarat make us hang our heads in shame. Let us remember the great Mahatma –all that he lived for and the cause he died for. In a touching tribute to Gandhiji, Pandit Nehru said ‘In ages to come, centuries and many millenniums after us, people will think of this generation when this man of God trod the earth and will think of is who, however small, could also follow his path and probably tread on that holy ground where his feet had been. Let us be worthy of him. Let us always be so.’
Let us at least try.
- 1977 to be continued with other MDs-
- From: Saravanan (@ 213.42.1.174)
on: Mon Oct 28 08:44:19 EST 2002
Everyone,
Sorry for this belated posting of the next episode- pressure at work is the only reason.
I once again appeal to our friends to come back and participate in this thread. Neel and Naaz, we miss your presence.
- From: Cinema Virumbi (@ 203.197.220.219)
on: Mon Oct 28 08:52:01 EST 2002
Saravanan,
Those days, there were two promising Sangeethas, MGR Sangeetha and Sivaji Sangeetha, (perhaps named based on some films planned with MGR and Sivaji which never materialised!). 'aadu puli aattam ' had one of them, who acted in 'aaRilirunthu aRubadhu varai' as well.
In this film , 'ThEngaai' plays a rather peculiar Brahmin character, one Shastri with 'kudumi' but with a cigarette on his lips and a rifle in his hands! He gives some vague logic that his son was killed by some rogues which made him take to violence!
About LR Anjali, who sang' ‘Lahilaha illallahi’: Around 4 years back, LRE came on Sun TV and narrated that LRA had aspired to become like her more illustrious sister. This didn't materialise and LRA was upset. She got married, though LRE still remains single. ('naamE raja, naamE manthiri', as LRE said in the interview!). LRA paased away sometime in 1996. LRE says ' endha endha document-la ellaam kaiyezhuththu pOttirukkaaLO theriyala sir! naanthaan ellaaththayum resolve paNNaNum!'
The following lines disturbed me a lot:
'Dhayavu paNNi kuzhandhaigaLukku open-aaga chellam kodukkaadheenga! unga manasukkuLLEyE vachchukkunga'
Some more 'Kudumba ViLakku' type of songs:
'nal vaazhvu naam vaazha varam vENdum Sridevi ellOrkkum ellaamum vENdum, kaN pOnRa maNavaaLan kallaana maangalyam....' PS in some film
'viLakkERRi vaikkiREn vidiya vidiya eriyattum, nadakkappOgum naatkaLellaam nalladhaaga nadakkattum'-PS in Soodhaattam
- From: s0 (@ 163.181.250.2)
on: Mon Oct 28 09:38:05 EST 2002
Digression:
Naaz, if you are still around reading these pages:
Devdas has been selected as the official entry in the best foreign film category for Oscars.
end dig.
Saravanan, you are doing an awesome job. Though I haven't completed reading all that you have written, I should thank you immensely for your great job. thanks!
- From: Kaumudi (@ 136.142.153.250)
on: Mon Oct 28 10:29:49 EST 2002
s0
I heard about that too. Our people probably are thinking that this Devdas is in the same league as say, Moulin Rouge. I was very disappointed, to say the least, when I heard that Devdas is the official entry from india.
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