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dhooL.com

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: sriram (@ 163.181.251.10) on: Fri Aug 8 13:53:48 EDT 2003
  
  ..more or less - except narayan..
  
  ROTFL!! someone give the poor guy his Rs.20's worth.
  
  
• From: Da Vinci (@ 128.113.109.168) on: Fri Aug 8 14:12:30 EDT 2003
  
  Naaz,
  
  I dont know why a simple issue is blown up here. Balasaraswathy's song, is equally welcome, if it were available. (Should we harp on personal enmity between two artists to decide what songs need to be uploaded here?) I remember I made the request for this song in another thread. I never knew that there was a Hindi version of this song, nor did I even know that Lata had one more score in the same film. Yes, Lata seems to have no clue as to how to pronounce in Tamil and the recording that was available that time only adds more misery to it. But what seems to be impressive about this song is that it has stayed in memory of many of the music lovers (unlike Balasaraswathy's other songs; that she would have done it even better or not is a different issue). I broadcast the song in a local radio station here (in US) and most of the old-timers were delighted. If I remember it right, Tamil Sevai (Sri Lankan Radio) used to repeatedly broadcast this song for the very sweetness of it. Only a few songs have such charm of everlasting impression, and let us be thankful to Saravanan for possessing this song and also sharing it with us.
  
  
• From: AV (@ 132.206.73.158) on: Fri Aug 8 15:31:05 EDT 2003
  
  BB and Saravanan et al:
  
  Thanks for these two beautiful songs! Thanks a million times. I had been waiting and waiting to hear these songs and Lata's voice in these songs sounds so pure and divine. I do feel there is no other voice in this whole world till date that comes even remotely close to the divinity and melody (and by that I refer to "shruti-badhhataa") of Lata's voice of the 40s, 50s and 60s. And this I feel after having listened to and admired many singers in several regional languages of India. For me it is Lata and Lata alone who can give me the feeling that I am in a temple in front of God.
  And she didn't need a very complex tune or even a very attractive classical piece to prove that she was chanteuse non-pareil. She makes the simplest tune seem vibrant, radiant.
  
  Listening to Lata's voice of those days is such a joy...mellifluous, crystal-clear, divine, brilliant and perfect in all respects are too small as adjectives to describe the quality of Lata's old voice. If an MD has not used her abilities to the fullest, I consider it basically to be that MD's loss. Classical musician after classical musician, music director after music director have literally craved to get a chance to work with her. Veteran MD Anil Biswas (who passed away early in June this year) had gone on record to say how much Lata revolutionized Hindi film music and how much more freedom an MD got when he was composing for her. For she had literally no vocal limitations (according to him). It was of no surprise that she stunned Ustaad Bade Ghulam Ali Khan with her rendition of the Jaijaiwanti-based classical song "Baandh Preeti Ph*ul Dor" (composed by Sudhir Phadke) way back in 1951 at a classical concert in Calcutta. So much so that even the mighty Ustaad's classical renditions in that same concert could not make the "pint-sized lady's" performance look feeble!
  
  And to add to all this, she didnt even receive many years of training - it was just a few lessons from her father and a few lessons from Amir Khan Bhendibazaarwaale. Taking all that into account and also the fact that she faced so much of struggle in her early days, I do feel that her pickup and her memory and overall appreciation of music are superhuman. God blessed her not only with an impeccable voice but also with a very rare kind of intelligence and grasp. Who else, at the age of less than 18, have adorned the wonderful song "paaon laagoon kar jora-jori shyaam mose sang na khelo re hori"? And that too it was her debut song in Hindi films! I have heard another rare ghazal "sabze ki durfishaani" that she rendered around 1948-49. Her understanding of the lyrics and her expressive abilities are something so profound that no praise can ever be sufficient to effectively describe all that.
  
  I often wonder how Lata's voice acquired these till date unparalleled qualities. It wasn't rigorous training or repetitive practice (I think she didn't need it!). Was it heredity? No...for Lata's voice doesn't resemble her father Dinanath's voice at all. [It is Asha's voice that resembles Dinanath's. While Lata (for me) is the greatest embodiment of melody, Asha is the greatet embodiment of "phirat" in voice. Asha's layakaari as displayed in her Marathi natyasangeet is a sheer miracle. Even the professional singers of Marathi natysangeet haven't been able to rival this phirat in Asha's voice. I have never heard such quick transitions between notes of extreme octaves by any other singer!]. I guess she was just blessed, that's all. I had once come across a site on Indian classical music, which while talking about Raaga KalyaaN, said this: "Lata is KalyaaN and KalyaaN is Lata. Even a classical musician cannot hold a candle to her mastery in many such raagas".
  
  Da Vinci,
  
  Thanks for making a request for this song!
  
  
  
  
  
  
  
• From: vijay (@ 68.16.25.50) on: Fri Aug 8 15:47:49 EDT 2003
  
  "I am aware that the SOTD mandate is to excavate rare, lost, and overlooked compositions from tamizh cinema"
  
  Naaz I dont think the SOTD was started with any fixed mandate in mind. It started off being bb's own personal choices with relevant writeups. In fact some of the earlier selections were the most popular ones:-) And its still that way except for occasions when DFers like Udhaya/Saravanan etc. happen to excavate a rare song or two and request bb to feature it. Of late there has been a little more contribution from some DFers here towards SOTD, thats it. Otherwise you could expect to hear anything from "kaatrinile varum geetham" to "Boom boom shakalaka" :-)
  
  
• From: Naaz (@ 24.87.30.219) on: Fri Aug 8 16:29:39 EDT 2003
  
  rjay -
  
  Not that I am given to looking a gift horse in its mouth, but I'd like to believe that I know the difference between being grateful and being ingratiating. My comment was not about Saravanan's largesse or industry (that's legendary in these parts) but rather one of logic - or the leap I couldn't make.
  
  About the "simple issue being blown-up" - I was only adhereing to context. If it was indeed a such a negligible thing, perhaps the quote from BS could have been dropped (although I fully commend its inclusion and relevance.) So the "harping" you allege was not mine - it came from BS.
  
  For the LM-BS episode to be termed "enmity" (your diction) it would need the requisite mutuality or equality - to call somebody an adversary, you also have see yourself as such. I believe it was BS's tenure / potential that was nipped and not the other way around.
  
  The "sweetnness" bit is also somewhat of a lame justification. When one can dismiss LMs tamizh as "clueless" and say that the song was an replayed again and again on SLBC - one is implying that it had a following not for its rendition in tamizh but for the tune (which later had an add-on nostalgia quotient) Which beggars the question: Why not listen to the Hindi versions (which were just as popular around the same time)? This shouldn't have been such a shift for the tamizh listener, as we seem to agree that the tamizh version is garbled, but its the "sweetness" that's appealing - and not the language?
  So - my summation - that these songs have made SOTD only because they are rare (old film) novel (sung by LM in tamizh) and are not easily identifiable as tamizh (the flavour thing).
  
  
  
  
  
• From: Naaz (@ 24.87.30.219) on: Fri Aug 8 16:36:28 EDT 2003
  
  vijay -
  
  The "mandate" of SOTD was gleaned from the varied postings on the function/priorities/and purpose of this thread - as voiced by others. I was only paraphrasing what I've heard "people in the know" say regarding this thread. Hence, the "slotting" adjectives (to both defy and define categorisation.)
  I don't believe I was off the mark in enlisting the criteria, even if that seems to have evolved / broadened with time.
  
  
• From: Naaz (@ 24.87.30.219) on: Fri Aug 8 16:43:41 EDT 2003
  
  My apologies - the above post (part one) should have been addressed to Da Vinci and not rjay. I regret the mix-up.
  
  
• From: irfn (@ 210.214.132.51) on: Sat Aug 9 05:46:43 EDT 2003
  
  'Aththadi paavadai' by IR
  
  Read that IR is the MD for Adoor Gopalakrishnan's next movie 'Nizhal kooththu'
  
  
  
• From: OISG (@ 217.165.117.233) on: Sat Aug 9 06:28:13 EDT 2003
  
  Athadi pavadai
  
  the Rout was complete!Started with Mohan,then came Arjun and Murali was the final straw.1980s TF stage was particularly responsible for nurturing incompetance.then we had our homegrown incompetance like Ramarajan...
  
  Why i suddenly started hating IR? I did an analysis and arrived at the conclusion.MOHAN and then MURALI.(arjun went the chandrabose way till Shankar thrust an actor in him!).Someone can do a research "how to kill good songs on-screen?".Ameerjan would be one of the anwers.While Murali s career blossomed Kuili was left to give the censors some re-runs!!
  
  Kannil etho and potene poovilangu did not reach the top of the charts those days.It was padvadi all the way.rjay that was a fantastic writeup.
  
  Vanaratham
  
  Saravanan,another stupendous attempt to revive nostalgia of Ilankai vanoli.I remember this song along with the MSV-TKR s "chandi Rani" Hindi number(Ramki informed the films name) in pair.
  (1.30 PM to 2.00 PM on Mondays???)
  
  If we talk about history not everything would be pleasant....Gandhi has to share the limelight with Hitler.LM s Tamil pronouciation would remind of ethinic cleansing!!(BS s incident might actually fall under the REAL ethinic cleansing as well!!).Sathiyama oru varthai puriyalai.Tamizh ini mella chagum!
  
  But thanks for unearthing such songs and the related incidents.....a great chance for the current gen.What next?A MS Subbalaksmi-GNB duet composed by Veenai Dhanam?Naryana!Narayana!
  
  
  Manivannan,sirumugai ravi incident was on all the mags and that made Manivannan a star overnight after the release of Ilamai Kalangal.That piece should give BB the lead to feature "Isai medayil" as the next SOTD.It was scintillating stuff by IR .
  
  
  
• From: Sriram Lakshman (@ 172.187.106.168) on: Sat Aug 9 09:31:30 EDT 2003
  
  bb, thanks for the rare numbers. Lata of the 40s, 50s,60s and early 70s is what singing is all about. Numbers sung in hushed tone with immense feelings and control like 'dil kA diyA', 'kuchh dil nE kahA', classical numbers, duets she had 'em all covered and how !!!
  Now that OISG has stated it, 'manamOhana', 'prEmayil' by GNB and MS in Shakuntala (composed by SV Venkataraman) should be featured some time here. And thanks for reminding me of 'chandA talE' from chani rani by MSV. THe official MD for the movie was CR Subburaman, but MSV composed the song with TKR as the lead violinist. THe tamil version, 'vAn meethilE' is another request from your's truly.
  
  

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