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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: Lily (@ 218.101.74.105) on: Tue Apr 6 00:43:54 EDT 2004
  
  Can you give me Shaam, Simbhu, vikram's all songs. Thank you.
  
  
• From: bb (@ 24.6.216.148) on: Tue Apr 6 02:40:13 EDT 2004
  
  Song of the Day: malarE malarE ullaasam from un kaNNil neer vazhindhaal.
  
  http://www.newtfmpage.com/cgi-bin/stream.pl?url=http://www.dhool.com/sotd/malaremalare.rm
  
  - A haunting Ilayaraja song, sung by S.Janaki. The film was directed by Balumahendra.
  
  - The song evokes a romantic mood so easily, and with so little effort. Listen to SJ's enchanting whispering voice take over the song, especially in the charanams. The laid back mood that the singer has is in contrast with the metronomic beat that the song follows. Even as we wonder whether the song is going to take a pause after the interludes, SJ starts off the charanams at the beat. I wonder if a younger IR would have let the song take a more freewheeling route and would have added more jazz touches to this song.
  
  - Shashi liked the picturization of this song. He wrote:
  
  Another song in the same movie- this time a love song but a solo by SJ. Again the song is in the background and both Rajini and Madhavi are romantically involved. The song is "Malare malare ulaasam, endhan ninaive ninaive sangeetham....' The glances of both Rajini and Madhavi show their deep romantic involvement as also their exchanging sweet nothings from time to time. One of the shots in the song show Rajini to be lying on Madhavi's lap and busy reading a magazine, while she is in her own world content at staring at the beautiful park/garden they are in. However, after a few minutes she gets bored and with a small twig tries to tickle his ear to disturb him as he is immersed deeply into his magazine. Rajini does not even take his eyes of the magazine but reflexly brushes Madhavi's arm. She repeats this after a few seconds and he again does this. Finally she gets curious as to what he is so deeply involved in. She grabs the magazine of Rajini's hand and lo and behold it is the Playboy centerpage nudes!! The scene ends with Madhavi trying to chase Rajini with the rolled book in her hand and he runing for cover.
  
  - I don't remember the picturization of the song, but from listening to it, it looked like a perfect night club song.
  
  - Balumahendra's films: http://newtfmpage.com/forum/4738.14.00.27.html
  
  
• From: Saravanan (@ 213.42.2.24) on: Tue Apr 6 06:00:29 EDT 2004
  
  Good one, bb. As you say, SJ's whispery caressing tone adds to the composition's allure.
  
  Lyrics are by Mu.Metha, btw.
  
  Un Kannil Neer Vazhindhaal- 1985 was Kalakendra's last venture. ( The company that had produced many films of K.Balachandar ealier )
  
  The film wasn't a big hit, but IR had given some good songs. 'Kannil enna kaarkaalam' has a singular allocation of lines : SPB sings only the pallavi each time, and SJ sings only the charanams!
  
  KJY's 'Enna dhesamo' has some relective lyrics by Vairamuthu. There was another song- a parody, if I remember right, starting with 'Ilamai idho idho' (MV & chorus?)
  
  
• From: Mythila (@ 15.219.201.68) on: Tue Apr 6 07:10:31 EDT 2004
  
  A cheerful song with great interludes that reminds me of "oru poongavanam" from agninakshatram. Only SJ has done justice to these kinda songs with the required coyness and mirth. One of my fellow Techmusicians used to hum the bass lines of the pallavi and it sounds like a diff song.
  I esp love the tune's curvy and languid flow in the lines "Vaasalil vaalibam vazhville yuvvanam" .
  The "thagu dhugu thagudhugu thaa" (???) at charanam tail is definitely annoying.
  
  
• From: purv (@ 198.38.6.253) on: Tue Apr 6 13:01:45 EDT 2004
  
  Good song, although I'd say I liked 'Kannil Enna Kaarkaalam' and 'Enna Dhesamo' more. But then, this is the first time I've heard this song. I haven't heard the 'Ilamai Idho Idho' song. Does UKNV have other songs than these 4? Or do these 4 songs make the whole album? Just curious.
  
  
• From: vijay (@ 68.16.25.50) on: Tue Apr 6 13:20:00 EDT 2004
  
  "Enna dhesamo" is partially lifted from "naa koyi Umang hai" from Kati Patang, similiar to "kanavu kaaNum" from another Balumahendra movie Neengal kettavai.
  
  
• From: OISG (@ 195.229.241.170) on: Tue Apr 6 14:40:52 EDT 2004
  
  After so many years i remember one thing about Un KaNNil neer vazhinthAl is the lovely "sugamaga azhavendum"in "kaNNil enna kaar kaalam".One of VM's nice efforts.
  
  "I wonder if a younger IR would have let the song take a more freewheeling route and would have added more jazz touches to this song".-And now you restart the eternal debate pre-82 & post-82.
  Personally i find both the songs as products from IR music factory, founded post-1982.
  
  
  
• From: purv (@ 198.38.6.253) on: Tue Apr 6 15:18:46 EDT 2004
  
  vijay, what part of 'Enna Dhesamo' is lifted? I've never heard the Hindi song you mentionned. :-))
  
  
• From: doubter (@ 208.142.210.1) on: Tue Apr 6 16:52:54 EDT 2004
  
  kadaisiyil thirai "damaal" endru tharaiyil vizhugiradhu.
  
  - Review of this movie in Kumudham.
  
  I don't any director oscillated between such extremes like Balu Mahendra did. The same guy who made moondraam pirai, veedu and marubadiyum, also made this, neengaL kEttavai and Raaman Abdhullaa. Incredible!!!!!!
  
  
• From: ganspb (@ 170.220.2.13) on: Tue Apr 6 19:31:29 EDT 2004
  
  A great song and somehow it falls on the class of 'Ilam Pani Thulir Vidum' and 'Putham Pudhu Kalai'.
  
  Vijay ,
  
  This is a very interesting observation.
  First of all to my knowledge I have heard both the songs.Naa Koiye and Enna Desamo and they are diffrent.
  But the second one 'Kanavu Kanum' is being haunting me for a while and I also have a feeling that it is lifted.
  I have never heard the orginal Hindi a Dilip Kumar song in the last 20 years.
  To me as of today this is the only misery about the Mastero.Can somebody share any info about this if they know.Infact the other day I was thinking of opening a thread on this and I am not sure whether it has been already discussed.
  Experts like Saravanan can throw more light on this.
  
  
• From: Naaz (@ 24.87.30.219) on: Tue Apr 6 19:54:52 EDT 2004
  
  ganspb -
  
  If I may answer your query:
  
  Kanavu Kaanum Vazhkai Yaavum Kalaindhu Pogum Kolangal
  Kasme Vaade Pyaar Wafaa Sab Baatein Hain Baaton Ka Kya
  
  It is a complete facsimile - the original is from Upkaar. MDs: Kalyanji Anandji
  
  Your 20 year longing is just a click away:
  
  http://www.musicindiaonline.com/music/l/XX01000K02
  
  
  
• From: Naaz (@ 24.87.30.219) on: Tue Apr 6 19:59:34 EDT 2004
  
  ganspb -
  ...and the hindi version featured Manoj Kumar and Pran. I am not sure which Dilip Kumar song you (had) have in mind. But DK was not part of the Upkaar cast.
  
  
• From: vijay (@ 68.51.215.28) on: Tue Apr 6 20:22:38 EDT 2004
  
  ganspb, kanavu kaanum was a more blatant one.Reg. enna dhesamo I was talking about just the pallavi which IMO was a slight rehash of that of the Hindi song. At the very least, heavily inspired.
  
  
• From: ganspb (@ 170.220.2.13) on: Tue Apr 6 20:37:44 EDT 2004
  
  Naaz,
  Thankyou for the reply.
  I may be wrong and it would be Manoj Kumar as I said I saw this song in Chitrahar a long time back.
  Why did I.R do it that is the question and we may not find any answers.
  
  Vijay,
  I will listen it and may be heavily inspired.
  
  
• From: Naaz (@ 24.87.30.219) on: Tue Apr 6 21:20:39 EDT 2004
  
  There is an answer, ganspb.
  The hindi song left a long lasting impression on Balu Mahendra. BM personally urged IR to use to the tune in Neengal Kaetavai. It was a faithful (and good) transfer from north to south. The tamizh song was touching in its own way and KJY made it equally memorable.
  
  
• From: bb (@ 24.6.216.148) on: Tue Apr 6 23:38:33 EDT 2004
  
  ganspb/Naaz, kanavu kaaNum vaazhkkai yaavum copy has been widely discussed/debated in newtfmpage. Hardcore IR fans put out this theory that it was a part of an exchange, a give and take programme, in which IR copied one song and the hindi MDs copied a IR song!! Sounds ridiculous? We've had pages and pages of discussion on this give and take policy :)
  
  
• From: bb (@ 24.6.216.148) on: Tue Apr 6 23:49:16 EDT 2004
  
  Song of the Day: kEtpathellaam kaadhal geethangaLE from illaRa jOthi.
  
  http://www.newtfmpage.com/cgi-bin/stream.pl?url=http://www.dhool.com/sotd/ketpathellaam.rm
  
  - Saravanan writes:
  
  ‘kEtppathellAm kAthal geethangaLE’ from illaRa jOthi. Sung by P.Leela. Lyrics by Kannadasan. Music by G.Ramanathan.
  
  Illara Jothi- 1954 was a Modern Theatres venture, produced by T.R.Sundaram. It starred Sivaji Ganesan, Padmini and Sriranjini. It was the first film for which Kannadasan wrote the story and dialogues as well, besides the lyrics. And after years of struggle for recognition the Wordsmith of tfm had finally arrived, for the dialogues (including the scintillating Anarkali drama) sparkled with exceptional literary luminescence.
  
  And as for the songs, Kannadasan sat with the virtuoso GR, and they worked painstakingly to create 11 songs--immortal instances of exquisite éclat. We find that besides A.M.Raja, Jikki and P.Leela, GR had also employed some little-known singers of the 50s:
  
  Kalyana vaiboga naale- Jikki, Gajalakshmi & chorus
  Annam polum maravar mangai (paar paar paar)- Swarnalatha
  Kalangamila Kaathalile kaanbom iyarkkaiyellam- A.M.Raja & Jikki
  Kaadhale uyiraagi karaindhaal Anarkali- A.M.Raja
  Chittuppole vaanagam ettipparandhe- Jikki & chorus
  Pennillatha oorile pirandhuvandhaar polave- Jikki(?)
  Kanngal irandil ondru ponaal kaana mudiyaathe- S.J.Kantha
  Siru vizhi kurunagai suvaitharum mazhalayin- P.Leela
  Ketppathellam kaadhal geethangale- P.Leela
  Ahaa—Kalai thenoorum kannithamizh - A.M.Raja & P.Leela
  Unakkum enakkum uravu kaatti ulagam sonnathu- Jikki
  
  * * * *
  
  Modern Theatres ( btw its being pulled down, see here: http://www.hindu.com/2004/03/08/stories/2004030804000600.htm ) was the bastion of Thiruchengodu Ramalinga Sundaram B.S.C. (Leeds); and he ruled over it with an iron hand, discipline being his watch word.. He was a trail blazing filmmaker and a visionary far ahead of his times.
  
  In 1949, when TRS started a magazine called ‘Sandamaarutham’, he appointed Kannadasan as its editor at a princely salary of Rs.120! Kannadasan is said to have accepted the job, as he was strongly attracted to the well-stocked library at Modern Theatres. He worked assiduously at his duties, and gradually the circulation of the magazine touched 65O. Piqued by a small issue of permission being denied for publishing an article written by Nedunchezhiyan, Kannadasan dashed off his resignation letter. But TRS, who didn’t want to let him go, transferred him to the Story Discussion Crew, giving him a raise of Rs. 30/- to boot!
  
  In 1953, Modern Theatres produced Thirumbipaar, which had story & dialogues by Karunanidhi, and lyrics by Kannadasan (save a Bharathidasan song). And Illara Jothi, with Kannadasan at the helm, came the subsequent year. Sadly for Kannadasan, he was in prison when Illara Jothi was released- he was incarcerated for taking an active part in the Dalmiapuram agitation.
  
  * * * *
  
  ‘Krishna Krishna Mukuntha Janardhana, Krishna Govinda Narayana Hare’- at daybreak, in the temple town of Guruvayoor, it is this divine call that rouses the inhabitants from their slumber, and day after day, the voice that brings them to this serene awakening is P.Leela.
  
  ‘Kalaimaamani’ Porayathu Leela (born 1935) started training in classical music as a child in Cochin. Sensing a bright future for her, her father shifted the family to Madras, where she continued her training under Pathamadai Krishnan. She sang her first film song when she was just 12 years old for music director Padmanabha Sastri in the film Kankanam (1948/ G.B.Narayana & Company).
  
  When hardly in her teens, she came under the tutelage of the great C.R.Subburaman, who coached her to sing some breathtaking songs, before his untimely demise. ‘Ellam inba mayam’ (Manamagal), her dazzling duet with the formidable MLV is a brilliant illustration of the faith that Subburaman reposed in her. Soon she was singing for all the reputed Music Directors in Tamil, Telugu & Malayalam; and gradually became the most sought after singer in the 50s.
  
  Let us, however, restrict our recollections to her wonderful songs for G.Ramanathan. G.R reserved some of his best compositions for Leela, and she justified his choice by bringing to enchanting life his intricate creations—‘Naadhar mudi melirukkum’ (Dhigambara Saamiyaar), ‘Pandiyan en sollai thaandi ponaandi’ (Thirumbippaar), ‘Sundari Soundari’ & ‘Vaaranamaayiram’ (Thookku Thookki), ‘Kaadhal konda poovil vandu’ (Puthuyugam), ‘Thaen suvai mevum senthamizh geetham’ (Dr. Savitri), ‘Kundruthoraadivarum’ & ‘Vaanga machaan vaanga’ (Madurai Veeran), ‘Vizhiyodu Vilaiyaadum’ (Karppukkarasi), ‘Niththirai illaiyadi’ (Kaathavarayan), ‘Sri Saraswathi maatha’ (Rani Lalithaangi), ‘Kaathirupaan Kamalakkannan’ (Uththama Puthiran), ‘Ennamellam inbakkathai pesuthe’ & ‘Aada vaanga’ (Chakravarthi Thirumagal), ‘Aththaane aasai aththaane’ (Arasilankumari), ‘Endru thaniyum intha sudhandhira dhaagam’ (Kappalottiya Thamizhan), ‘Nilave nee indha seithi sollayo’ (Pattinathaar)---
  
  The exacting taskmaster GR is said to have demanded several retakes of the SOTD, before Leela sang it to his satisfaction. In between Leela is said to have shed copious tears at his curt insistence at repeated retakes. Yet she persevered, and the final take showcases Leela’s singing prowess in full. The spellbinding progressions where the veenai and the violin seem to obey each minute wave of GR’s baton, and Leela’s spectacular swara passages ensure that this song is worth cherishing.
  
  
• From: Raj (@ 208.164.98.89) on: Wed Apr 7 00:39:54 EDT 2004
  
  bb: Great choice! 1954 was a banner year for Tamil movies if my memory serves me right. It was also a banner year for me. I remember most of the movies in that year. Thanks for taking me back to Mayavaram!
  
  

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