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Vani Jayaram's songs

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!

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VaniJairam.com - A site that has lots of info and songs of VJ.

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Responses:

• Old responses
  
• From: Naaz (@ 24.87.30.219) on: Sun Mar 28 13:08:01 EST 2004
  
  CV -
  
  Good translations distill the essence of the work (in the other language) and if to achieve that the translator has to take a few creative licences, so be it! Your translation was both "essential" and "interpretational" - just the way it ought to be!
  The line "Mu Se Bekaar Ki Baatein" - should be read in the context of "Mai Karoon Tum Se Mohabbat Ki Koi Baat Yaqeen Math Karna..." - and if the poet/character is so aware of the "bekaar" nature of the words, then it is both self-conscious and a ploy. I still direction (for the person who is listening to her to interpret) through as self-effacing statement of "direction"
  "Don't put too much faith in my pronouncements of love when we are together, there is nothing to those words." What could the motivation be for such a directive? Humility? Self Awareness? A lack of Seriousness? An advance alert to insincere verbosity? Or should that be Indiscriminate?
  
  That's why I don't trust the narrator/character who speaks these words in the song. It seems too strategised to just be simple. (IMR)
  
  Saravanan / Kaumudi -
  
  Negizhndhaen!!!!!!! (Kaumudi I counted 7...and every exclamation confirmed genuine appreciation...thanks!)
  
  
• From: Naaz (@ 24.87.30.219) on: Sun Mar 28 13:11:27 EST 2004
  
  I still (in the above) should read:
  "I still see "indirection"....through a self-effacing statement of "direction" "
  
  
  
• From: Saravanan (@ 213.42.2.28) on: Mon Mar 29 14:54:44 EST 2004
  
  1978- Part 14
  
  We now come to the last part of the 1978 chronology, and we are left with VJ’s songs in that year with two music directors: Ramesh Naidu & Shankar-Ganesh. Let us take them up one by one:
  
  174. Thalathalakkuthu minuminukkuthu- Mela Thaalangal- Ramesh Naidu
  
  Ashtalaksmi Pictures’ Mela Thaalangal starred Jaishankar & Sripriya. I don’t know much else about the film, though I recall listening to the songs on radio. There were 4 songs in all:
  
  Enadhu Vilaasam- SPB & SJ (Kannadasan)
  Thalathalakkuthu- VJ (Kannadasan)
  Sendhoorappottu- MV & SJ (Poovai Senguttuvan)
  Aananda veenai- SPB & SJ (Kannadasan)
  
  Of these, ‘Aananda veenai naan meettum pothu’ was the song that many may remember, as it was featured frequently on Radio Ceylon.
  
  Ramesh Naidu’s first film as MD in Telugu was Dhaampathyam (1957/ M.R.A Productions). Prior to that, he had composed music for some Hindi Films (original/ dubbed) like Hamlet- 1954, and later two films for R.R. Productions’: Piya Milan- 1958 (remake of Marma Veeran(?), songs like ‘yaad aake hardam sathaaye’- Lata) and Jaya Singh- 1959 (dubbed from Jayasimha, songs like ‘ye chand ye taare tu ho to lage pyare’ – Manna Dey & Lata). His famous albums in Telugu include Swayamprabha- 1957, Manorama-1959, Koothuru Kaapuram-1959, Amma Maata-1971, Thatha Manavudu- 1972, Jeevitham- 1973, Radhamma Pelli- 1974, Chandana-1974, Kavita-1975, Thurpu Padamara-1976, Chillarakkootu Chittamma-1977, Sivaranjini-1978, Anukkunadi Sadishta-1978, Kalyani-1979, Antuleni Vinthakatha-1979, Andala Rasi-1979, Hema Hemeelu-1979, Sangham Chekkina Silpalu-1980, Pasupu Paarini-1980, Sujatha-1980, Muddamandaaram-1981, Jayasudha-1982, Malle Pandiri-1982, Rendu Jella Seetha-1983, Srivariki Premalekha-1984, Ananda Bhairavi-1984, Sangeeta Samrat- 1984, Suvarna Sundari-1985.
  
  Ramesh Naidu won the National Award for Best Music Director in 1982 for his wonderful songs in Meghasandesam.
  
  Despite his immense talent, Ramesh Naidu didn’t get many openings in tfm. Besides Mela Thaalangal, I can remember only two Tamil films for which he composed music:
  Pennukku Yaar Kaaval (1980) and Devan Sedhukkiya Sirpangal (probably the dubbed version of Sangham Chekkina Silpalu-1980)
  
  Thalathalakkuthu minuminukkuthu samuthirakkara paravai
  adhu saayankaalam paarthirukkuthu aiyyavoda varavai
  
  Godavari nadhiya paartha manasilenna ninappu?
  Ada kulikkaththaane nadhiyai vechadhu Kadavuloda padaippu!
  Ayya paarthu sokki nippathu nuniyil ulla karumbu-
  innum adhigaama inikkum paaru adiyil ulla karumbu!
  
  Pambaratha suththi vidinga vizhura pothu vizhattum-
  oru payalai naanum thedi vaaren vararappothu varattum
  Vayasirukkuthu ponnukkitte kaalaiyayum virattum--
  summa vambu panninaakka rathiriyile mirattum
  
  Inbamaaga irukkalaame enga veetukkulla--
  ada indha naatil idhikku thaane velai nirutham illa!
  Aavaaniyil manamudicha aaniyile pulla--
  Ada adhukku neenga bayappattakka aambalayae illai!
  
  Seems like a song sung by a street dancer (Have never seen any such street dances in real life, I suppose they come alive only in reel life!) The flute, bolstered by spirited percussion support gives the song a jaunty opening.The lyrics suggest that this dancer, while merrily performing on the streets and trying to attract passers-by with her ill-concealed charms, is also hunting for a man who has perhaps wronged her. VJ fetchingly portrays this inner intention couched in the external titillations. The whisperingly rendered ‘adhigamaaga’ in ‘Innum adhigaama inikkum paaru adiyil ulla karumbu’ is charmingly suggestive of hidden delights. Ramesh Naidu appeals in his folksy percussions and breezy arrangements with seamless shifts in tempo.
  
  * * * *
  
  
• From: Saravanan (@ 213.42.2.28) on: Mon Mar 29 14:58:07 EST 2004
  
  Continued:
  
  As we had seen earlier, by the mid-70s, Shankar- Ganesh had consolidated their position as the second line MDs, and were thus flooded with opportunities to compose for many quick ‘cash- and carry ‘ ventures. Not surprisingly they churned out mostly mediocre fare. Yet they did strike the right note at times, and such occasions are worth celebrating. VJ was their favorite female singer, and they gave her many of their best compositions.
  
  175. Srirangano Srideviyo- Meenakshi Kungumam- JC - S-G
  
  Sri Devipriya Films’ Meenakshi Kungumam starred Vijayakumar, Sripriya, Jaiganesh, Surulirajan and others. It was written and co-produced by Rama Narayanan, while screenplay and direction were by Karaikkudi Narayanan.
  
  I remember watching the film on TV long back- it was crude and poorly crafted. Set in a rural milieu, it was a trite tale of Sripriya marrying Vijayakumar, and bringing to justice the scheming Jaiganesh. The film was an ominous indicator of the miseries that Ramanarayanan (who incidentally completed 100 films as a director recently!) was going on inflict on us in the coming years- Sripriya had a monkey as a pal!
  
  The film had 3 songs:
  
  Srirangano Srideviyo- JC & VJ (Kannadasan)
  Penn ninaithaal- SJ (Karaikkudi Narayanan)
  Muththamma chinna chittu- VJ (kannadasan)
  
  
  JC: Srirangano-- Srideviyo-
  Vadivelano-- Deivaanaiyo-
  yaar vandhu pirappaaro kannana en selvame
  
  VJ: Haa--
  ippothu neeye en pillai
  inimele appavai pol thondrum pillai
  Haa--haa--
  appappo nee seiyum thollai
  inimele avan seyya poraanae ennai
  mundhanai melaakil kai pottu
  amma paaramma paalamma enbaane--
  
  JC: Aan pillai theraadha thollai
  penn pillai peranbin ellai
  Sridevi vara vendum endru
  Thirumaalai varam kelu indru
  VJ: Magalakkatti koduppathum thaan selavayya
  maganappetha paerum panamum varavaiyya
  kannan thaan-- pillai mannan thaan
  
  JC: Adi endhan maharasi kannae
  adaindhaene thunaiyaaga unnai
  angeyor Madurai Meenaatchi
  ingey en manaiyaale saatchi
  VJ: Unnai vittu ulagam onnu ethayya
  oru pirappum maruppirappum neeyayya
  ennayya-- thunbam edhayya
  
  A joyous duet that vividly etches the bliss of expectant parenthood, with the man and wife (Vijayakumar & Sripriya) wondering if their little bundle of joy is going to be a boy or girl. As usual the man prays for a daughter, while his wife wishes for a son.
  
  S-G have nimbly blended melody and folksy themmaangu to give a song that appeals in its swift rhythmic shifts. JC starts off with his mellifluous pallavi, and VJ arrives with a bang with her breezy ‘Haa-- ippodhu neeye en pillai’. The charanams fall in line with the same pattern- JC treading the abstemious path, while VJ capers unrestrained in rustic exultation.
  
  (Duets 1, Page 2 in Vanijairam.com)
  
  
  176. Muthamma chinna chittu- Meenakshi Kungumam- S-G
  
  An attractive solo from the same film, soaked in rustic flavour-
  
  Muthamma chinna chittu
  munnae pinnae paarthu nada--
  muthamida ida poranadi akkam pakkam vetkam vara
  ammadi ammadi nee aasaiyilla ponnaadi
  ammadi ammadi nee aasaiyilla ponnaadi
  
  moonu padi sakkarayil naalu padi thaen kalandhu-
  muththam endru allaivechchaandi
  adi ammadi saththam pottu koduthuvittaandi
  adi ennavo senjaandi yevarum kaettaa sollathae
  
  kattillo kachidhama kayithukkattil vayithukkattu
  ippa naan kandu vandhendi
  adi chinnamma eppo nee kaana poraedi
  adi ennavo senjaandi yevarum--
  
  Kasi Visalatchiyodu kai kalandha Paramasivam
  Kaamatchi sangamam thaandi
  ini eppothum Meenaatchi Kungumam thaandi
  adi ennavo senjaandi yevarum kaettaa sollathae
  
  With the sound of a village belle walking with her anklets jingling merrily, the song summons vistas of quaint rural landscapes, and VJ slips into the scheme of things so effortlessly. The lass is in love, and is wonderingly singing of the raptures that love brings in its wake, and the expectation of this love finding fulfillment in wedlock. Kannadasan sparkles as usual, especially in the last charanam, where he cleverly brings in the film’s title into the lyrics. And ‘Kavignar vazhangiya Devarin’ S-G go to town with this rural delight, temple bells added for good measure. VJ, while falling in line with the rustic ambience, enthralls in her each varied prolonging of the Pallavi lines.
  
  Click here to listen:
  
  http://in.f2.pg.briefcase.yahoo.com/bc/sarva1511/vwp2?.tok=bcj6JJTBBs2ZC81m&.dir=/&.dnm=muthama.mp3&.src=bc
  
  
• From: Saravanan (@ 213.42.2.28) on: Mon Mar 29 14:59:44 EST 2004
  
  Continued:
  
  177. Devadhai oruthi- Kamakshiyin Karunai- SPB- S-G
  
  No clue about the cast/ crew of Anand Productions’ Kamakshiyin Karunai. We have earlier seen that KSG’s Kanchi Kamakshi was also released in 1978. Did its modest success prompt a desperate producer to make another ‘Kamakshi’ film in the same year?
  
  S-G had given some good songs for the film, though:
  
  Devadhai oruthi- SPB & VJ
  Thoda mattum koodathu- SJ & Ganesh
  Nee ariyadhadhalla- PS
  Kannanukku thottil kattum- SPB & PS
  
  
  SPB: Devathai oruthi bhoomikku vandhaal
  kaadhal thenaatril neeraada vandhaal
  oviya paavai kannukkul pugundhaal
  endhan uyirodu uravaadugindraal--
  uyirodu uraavaadugindraal
  VJ: Devathai oruthi bhoomikku vandhaal
  kaadhal thenaatril neeraada vandhaal
  oviya paavai kannukkul pugundhaal
  undhan uyirodu uravaadugindraal--
  uyirodu uraavaadugindraal
  
  SPB: maarbodu thaalaatum senthamarai
  ingu naan oru moondraam pirai
  VJ: Paarvaikku dhaagangal oraayiraam
  ini naan oru andhappuram
  
  SPB: neelakkanngal neendhum vannam
  nenjil odum aasai vellam
  paarvaigal aayiramo
  VJ: kaadhal vanna gopuram
  devan thandha kaaviyam
  jaadaigal naadagamo
  SPB: thendral thottum thingal suttum
  kanngal pattum mullai mottu
  kaadhalil aadiyadho
  VJ: katti kollum kaadhalan
  muththam angu thenmazhai
  Kamanin oorvalamo
  
  SPB entices with his nonchalant humming in the prelude, and begins the pallavi as well. His short humming after the third line is particularly delightful, and VJ follows with her soulful pallavi. The song is structurally singular, for it has a short first charanam, and a longer second charanam. Also both charanams vastly vary in tempo and tune. The song that was progressing unhurriedly till then suddenly surges in bursts of speed, yet deftly flows into the pallavi in the end.
  
  ( Duets 2, Page 3 in Vanijairam.com)
  
  
• From: Saravanan (@ 213.42.2.28) on: Mon Mar 29 15:01:53 EST 2004
  
  Continued:
  
  178. Kadhai sollum silaigal- Karate Kamala- JC- S-G
  
  No information about Alankar Arts’ Karate Kamala. I guess an ambitious producer wanted to cash in on the immensely popularity of martial arts films like Enter The Dragon & Return Of The Dragon. I remember seeing the wall posters of movies like Karate Kamala and Jeya Nee Jeyichutte in Luz Corner, but we weren’t taken to watch such films by elders at home. Perhaps they weren’t considered fit for our consumption!
  
  On hearing the songs, I feel that our elders were right- Karate Kamala would have most probably been a story of a girl whose lover is killed and whose modesty is outraged by a group of villains. She recovers from the trauma, and swears revenge. Perhaps she learns Karate as well, and then gradually seduces and then eliminates the bad men one by one. And there must have been ‘bits’ and pieces of steamy sequences to cheer the front-benchers too!
  
  The songs were:
  Kadhai sollum silaigal- JC & VJ
  Naane oru vaettai aada vandhaen- VJ
  Thenaruvi adhiloru poonkuruvi- PS
  L-a-i-l-a Laila, L-o-v-e Love- LRE.
  
  
  JC: Kadhai sollum
  VJ: silaigal
  JC: Manmathan vidum
  VJ: Kanaigal
  JC: moththam aruvathinaangu vagaigal
  VJ: avai aann penn pazhagum aananda kalaigal
  JC: kalaigal
  
  VJ: oru maeni yaekkam kondu
  perumoochu vaanga
  maru meni kaigal kondu
  thirumaeni thaanga
  JC: saththamindri muththam ondru sindhu
  nee innum konjam endham pakkam vandhu
  
  JC: sringara leelai solli
  sirikkindra sirpam angae
  adharkkaana naeram kandu
  malargindra pushpam ingae
  VJ: ottikkandum kattikkondum konja--
  indha ullam rendum ondrai ondru kenja
  
  The heroine and her lover are on a visit to Khajuraho (perhaps on their honeymoon) And stirred by the sculpted figures, they sing this song of passionate romance. They are lost to the world in their love, but they are being watched all the while, as the change of the mood in the second interlude indicates. Perhaps their joyous world gets shattered after the song ends? (guess work here by yours truly : )
  
  A dreamy prelude sets the mood, and JC and VJ euphoniously add fuel to the simmering passion. The ‘silaigal’ and ‘kalaigal’ repeated thrice is an added attraction. S-G have come out with a winner in this song- Kamala and her Karate skills may have found few takers, but this song lingers on in memory to this day.
  
  
  (Duets 1, Page 1 in Vanijairam.com)
  
  
  
  179. Naanae oru vaettaiyaada vandhaen- Karate Kamala- S-G
  
  Another song from the same film- this time the heroine is on the hunt, she is seeking revenge--
  
  Naanae--
  oru vaettai aada vandhaen--
  oru vaengai thaedi vandhaen--
  vidivaelai thaangi vandhaen--
  
  padhungaamal paayaadhu
  puli pola ila maadhu
  irayaaga unnai enni
  vilayaadum vilagaathu
  natta nadu kaatil kooda unnai thodarum
  ettiyadhai vittathillai katti thazhuvum
  ninaithaen
  mudippaen
  
  paniyaendhum rojappoo
  nerungaathae mul undu
  kani yaendhum kannam rendil
  thigattadha kal undu
  unna unna mella mella bodhai kodukkum
  mannavane sorgam sella paadhai vagukkum
  mayakkam
  mayakkam
  
  padammadum naagam pol
  idai aadum kodi mullai
  pidivaadham nenjil undu
  adangaatha siru pillai
  ennappadi vannakkodi thittam iduvaal
  sathiyamai latchiyathil vetri peruvaal
  sirippaal
  jeyippaal
  
  The chorus voices accompany VJ throughout- it is apparent it is a ‘club song’ where the heroine, disguised as a vamp, is trying to make the villain fall for her charms. As befits a climax song of this genre, S-G have filled the interludes with music that captures the suspenseful intrigue of the sequence. The ‘snake’ music in the third interlude is an intelligent insertion, for the charanam begins with ‘padamaadum nagam pol’. All the while, Ganesh makes merry on the bongos (he was playing the bongos for many years in MSV’s ensemble), while VJ pulls of this one in style- the fuming inner feelings, filigreed in the flamboyant façade find evocative articulation in her voice.
  
  Listen here:
  http://in.f2.pg.briefcase.yahoo.com/bc/sarva1511/vwp2?.tok=bcQyyKTBRYPIZmmH&.dir=/&.dnm=naane.mp3&.src=bc
  
  

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