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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: Saravanan (@ 195.229.241.183) on: Mon May 17 11:17:36 EDT 2004
  
  Chitti, thanks for that interesting link!
  
  CV, hope Naaz comes to your rescue soon :)
  
  
• From: Naaz (@ 24.87.30.219) on: Mon May 17 21:29:29 EDT 2004
  
  Thanks for the interview link @@
  
  CV -
  
  I'll do my best (the meaning(s)might be in the vicinity of my general understanding of Urdu.)
  
  Iltijaein - Request(s)
  
  Tawaaf-ul (that's the word, I am sure now!) - This has to be explained with a bit of context. I am sure you know about Hajj and what it means for people of the islamic faith. On the final day of the Hajj, the pilgrims circle the Ka'baa. That act/gesture is called Tawaaf - Or the Coming of Full Circle. Tawaaf-ul ("Within the Final Circle" would be the appropriate interpretation, imo.)
  
  Aagosh - Annaippu, Madi, Maarbagam (gender neutral) - basically - a sanctuary of affection/care.
  
  Shab-e-Hijr: Hijrat in essence means "immigration" - and is associated with the Prophet Muhammad's journey one night from Mecca to Medina (this journey is also considered the beginning of the muslim calendar.) Hijr derives from this directly:
  Shab-e-Hijr, can mean the Night of Separation (Dislocation.)
  
  Now, I am really looking forward to your translation! :-)
  
  
  
  
• From: AV (@ 132.206.72.59) on: Mon May 17 22:12:12 EDT 2004
  
  Naaz - I think the word you are looking for is Taghaaful, which means lethargy or lack of interest (in a relationship)? Correct me if I am wrong.
  
  The poem is really wonderful and its central idea is quite nice. Who is the lyricist? Kaifi Azmi by any chance? Is this ghazal from the album Parvaaz?
  
  
• From: Cinema Virumbi (@ 220.227.146.2) on: Tue May 18 00:58:23 EDT 2004
  
  
  Naaz,
  
  I've already done a quick job! Pl. tell me if I can take sitam as 'viswaasaminmai' or just harassment. Pl. also give me the meaning of 'Tal Chali Hai'.
  
  
  
  
• From: Naaz (@ 24.87.30.219) on: Tue May 18 09:31:42 EDT 2004
  
  AV -
  
  You are right about Taghaaful and the meaning. However, if you listen to the ghazal (did you?) you will hear the word as Tawaaful. Both words (interestingly enough) are applicable in the context of the song. I choose Tawaaful (on the second hearing) as that seemed to be the word. Please add anything else you might think to be pertinent.
  
  CV -
  
  Sitam - Yes, harassment would be appropriate. "Emotional harassment"-nnu sonnaal it would be as glose as you can get.
  
  Tal Chali Hai - Is Over and Done (muttram petradhu.)
  
  ....your quick job would still be better than somebody else's dissertation! :-)
  
  
• From: Naaz (@ 24.87.30.219) on: Tue May 18 09:32:14 EDT 2004
  
  typo -
  
  "close" as you can get.
  
  
• From: Cinema Virumbi (@ 220.227.146.2) on: Tue May 18 09:58:17 EDT 2004
  
  
  Naaz, Saravanan, OISG,
  
  See how it has come out this time!
  
  nenjil pala kOdi aasaigaL thuLLuginRana!
  manathil pala kOdi viruppangaL thudikkinRana!
  kaalach chakkaraththin aravaNaippil sErnthE uRangukinRana
  un dhrOgamum (irangaa nenjum? kal nenjum? kodiya nenjum?) en viswaasamum!
  aayinum en appaavik (!) kolaikaaranE!
  en vENduthalgaL unnaiyE kaathalikkinRana!
  en vENduthalgaL unnaiyE kaathalikkinRana!
  
  (End Recitation)
  
  inthak kaathal en kaiyai vittup pOnathE!
  manathin nilaiyO kattukkadangaamal pOnathE!
  
  thaabam ippOthu ellai meeRip pOnathE!
  thaabam ippOthu ellai meeRip pOnathE!
  udal nalamO thaRi kettup pOnathE!
  
  inthak kaathal en kaiyai vittup pOnathE!
  manathin nilaiyO kattukkadangaamal pOnathE!
  
  oru vELai enakkuththaan kalakkamO?
  viLakkugaL yadhEchchaiyaagaththaan aNainthu pOyinavO?
  viLakkugaL thaRcheyalaagaththaan aNainthu pOyinavO?
  allathu pirivin kaariruL uNmaiyilEyE padarnthu vittathO!
  
  inthak kaathal en kaiyai vittup pOnathE!
  manathin nilaiyO kattukkadangaamal pOnathE!
  
  pOy uRangungaLEn viNmeengaLE!
  idhO, vEdhanaiyin iravuthaan soozhnthu vittathE!
  
  inthak kaathal en kaiyai vittup pOnathE!
  manathin nilaiyO kattukkadangaamal pOnathE!
  
  
• From: Naaz (@ 24.87.30.219) on: Tue May 18 13:37:00 EDT 2004
  
  AV -
  
  I listened to the song again - and this time with headphones - and, yes, it is Taghaaful! So the meaning you suggested works perfectly in context. Thanks for correcting this mishearing.
  
  CV -
  
  Bohut Sukhriyaa, Badi Mehrbaani...!!
  
  You are beating me to the couplets with these breakneck translations! I have no doubt that you enjoy these little exercises (oh yes, that enthusiasm is evident in your naa-nayam.)
  And, what's more, you also see a glimmer in a dark cloud of a ghazal! (In this case the composition (pace) and the lyrics (sobering) exemplify the overarching requirement for any ghazal - A Heightened Sense of Paradox / Irony. The tune disguises (or deconstructs) the theme of the song!)
  
  A few "let's think together" moments in your translation:
  
  1. Nenjil / Manadhil - This is a matter of diction. Of course, you are aspiring for variation here (the words are interchangeable, you must agree?) Query: Would the repetition of the same word (N or M) in any way add to the cadence/metre of the translation (a la Annalum / Avalum / Nokkinaal)?
  
  2. Kaalach Chakaraththin - The Tawaaf / Taghaaf moment. The latter (which is also righter) would alter the line as "Sorvin Aravannaippil..." ?
  
  3. Un Dhrogamum - Seems a bit harsh? Sitam (Harassment) can also be "indirect" or "inadvertent" - would you agree? How to say (unconsious) emotional violence in tamizh?
  
  4. Appaavik Kaadhalane - This follows from the "unaware of crimes" thread in the above: If the perpetrator does not recognise the violence, would that make him Appaavik (naive) or Ariyaak (innocent / ignorant still.)?
  
  5. Manadhin Nilaiyo Kattukkadangaamal...: Sambhal Chali Hai. Sambhal=Found/Find it's equilibrium. Kattukkandangaamal - Ubhar (overflowing)
  
  6. Oru Velai Enakkuththaan Kalakkamo - I looked for the Urdu line....then realised you were adding a line for the purposes of clarity!
  
  7.a. Pirivin Kaarirul - A phrase that captures the power of Shab-e-Hijr perfectly!
  
  7.b. yadhechaiyaaththaan / tharcheyalagaththaan - I like the ambiguity you introduce with your take on "Yuhin" - I had not interpreted it this way - but the "hesitation" (same word, two subtle shifts ) is rather apt and worth exploiting!
  
  It is great to be able to have another point of view on a rather difficult to decode song. You can count on more such "drills" coming your way, CV!
  
  
• From: Saravanan (@ 213.42.2.11) on: Tue May 18 15:51:33 EDT 2004
  
  Wonderful, C V and Naaz!
  
  I was initially surprised by the usage of 'vENduthalgaL'--but upon thinking, I feel it is quite apt.
  
  
• From: OISG (@ 195.229.241.180) on: Wed May 19 00:07:12 EDT 2004
  
  viLakkugaL thaRcheyalaagaththaan aNainthu pOyinavO?
  
  Nalla Haiku.This line perfectly eptiomizes the mood.The readers' should start losing themselves in the thought process.Thats what poetry is all about.
  
  
  pOy uRangungaLEn viNmeengaLE!
  idhO, vEdhanaiyin iravuthaan soozhnthu vittathE!
  
  For poetry's sake,i would have preferred
  
  iravuthan vedhanayaal soozhapattuvittatheY
  pOy uRangungaLEn viNmeengaLE!
  
  CV,Kavidhai ezhuthuvathu kashtam.Ezhuthiya kavingyanai kayapaduthamal mozhi peyarpathu athai vida kashtam.You are doing a fabuolous job.
  
  
  
  
  
• From: Naaz (@ 24.87.30.219) on: Wed May 19 09:57:06 EDT 2004
  
  CV -
  
  I should have asked:
  
  Are you able to listen to the songs from the briefcase?
  
  AV -
  
  Yes, Parvaaz it is.
  
  
  
  
• From: Kaumudi (@ 136.142.153.250) on: Wed May 19 18:58:42 EDT 2004
  
  Naaz
  Just listened to "Baat bas se". Very interesting and lively "ghazal". Never heard of such a ghazal. In fact, I thought that one of the unwritten rules of ghazals is that it has to be of a medium-slow pace. In any case, Vani did a nice job singing this one.
  
  
• From: Cinema Virumbi (@ 220.227.146.2) on: Thu May 20 00:13:07 EDT 2004
  
  
  Naaz,
  
  No! Not with my existing setup!
  
  
• From: Naaz (@ 24.87.30.219) on: Thu May 20 12:26:52 EDT 2004
  
  CV -
  
  "Existing Setup" Viraivil Maara Praththikiraen!
  Let me know when you are back to "listening" mode and I will upload a few more ghazals (VJ and others) in my briefcase.
  
  Digression:
  
  All -
  
  On Sunday, 23rd May 2004 Rhythm's India will feature Vintage edition of old tamizh and hindi hits. I am trying to put together a show featuring the best of LM and PS. I can swing the LM part no problem. The PS part might not be very successful (unless some samaritans from here can provide me with some quality PS solo tracks (varied) in the next 30 hrs....)
  
  The show is on at :
  
  www.citr.ca
  
  Sunday 23rd 8-10pm PDT.
  
  Quality song files (PS solos) welcome at naaz99@yahoo.com
  
  Or
  
  You could load up a briefcase and post the link here.
  
  Thanks for your input.
  
  
  
• From: vengayam (@ 203.197.203.98) on: Fri May 21 04:11:16 EDT 2004
  
  Naaz,
  do include" tamizhukku amuthenru per" . it is an order! enga oor kavi and sundara telugu kuyil kalakkiya paadal.
  i think you should be having the song
  
  
• From: Naaz (@ 24.87.30.219) on: Fri May 21 09:13:32 EDT 2004
  
  Vengayam -
  
  Thanks for the suggestion. I have many PS songs, but unfortunately, they are the audio challenged (drop-out, track switches, halfway fades - that sort of thing.) I would be glad to provide a list (say about 15-20 if somebody here would provide me with fine audio tracks from the PS 60 -70s solos.
  Otherwise, mannikkavum, PS will not half the show, and might just be LM (or LM duets) which will have to carry the show. (Sorry about the short notice, btw.)
  
  Do tune in, some of your LM recommendations (I have your list) will definitely make it.
  
  
• From: Saravanan (@ 213.42.2.11) on: Fri May 21 12:05:23 EDT 2004
  
  1979- part 3
  
  Continuing the 1979 saga of VJ songs for MSV, let us take up 3 songs this time- each one exquisite in its uniqueness:
  
  187. Thinthom thinthom endru- Kuppathu Raja- MSV
  
  Kuppathu Raja starred Rajinikanth, Vijayakumar, Padmapriya, Manjula, Manorama, Asokan and others. It was produced by Nalini & Aarumugalakshmi, and directed by veteran T.R.Ramanna. Ramanna tried to cash in on Rajinikanth’s rapidly growing popularity, but the film’s hackneyed story line, and lackluster screenplay put paid to his hopes. The film, released for Pongal 1979 (12.1.79) in Devi Paradise and Maharani theaters in Chennai, could muster only average business.
  
  Perhaps this was the only film in which Rajini’s pair was Padmapriya.
  
  Kannadasan and MSV teamed up once again, and given the constraints of a clichéd concept, they came up with some good songs. The two VJ songs were perhaps the only mellifluous moments in a largely strident and violence-dominated film. The other two songs were ‘Puli varuguthu puli varuguthu kaatta vittu nattukkulle’ (SPB/SJ) and ‘Kodi katti parakkudhada kaalam kudisaikku porakkudhada’ (TMS/MV/LRE/Manorama)
  
  This song brings in the ambience of a ‘kotha’- a North-Indian concept, but cleverly juxtaposes it in a southern milieu. In the 19th century and earlier decades of the 20th century, feudal aristrocrats in the North (Nawabs, Zamindars, Rajas) were great patrons of art and leisure, and nurtured the growth and development of the institution of tawaifs, ustanis or baijis (musician-courtesans) who were ‘class musicians and paragons of high etiquette and culture’. They were groomed in dhrupad, dhamar and kheyal styles, and thumri and tappa, dadra, hori, chaiti etc. were their forte. Native rulers had their 'jalsaghars' (concert halls) where on auspicious occasions mehfils were held and tawaifs were invited for their 'mujra'. Gharanedar tawaifs known as 'deredars' had their own 'kotha' (salon) where 'mujra' presentation before a distinguished gathering of music loving rais and landed aristocracy was a routine evening event. Lucknow, Patna, Gaya, Benaras and even Calcutta were the centres famed for such soirees.
  
  Hindi films abound in such songs, (mostly a crass portrayal of a girl dancing, an avaricious ‘madam’ looking on and nodding enthusiastically, while leering men loll on the cushioned floor, smoking the hookah, drinking from multi-colored goblets, throwing money in the air, generous with their ‘waah—waah’ exclamations!) while films like ‘Umrao Jaan’ revolved around such legendary characters.
  
  Though this concept seems quite incongruous in a South Indian setting (with the possible exception of Hyderabad), we’ve had many Tamil film songs depicting a Kotha- a clever film-maker would make it happen in either Bombay or Hyderabad! Of course, the dubbed Anarkali and Akbar had such songs in abundance. (Radha) Jayalakshmi startled many of her ardent fans when she sang a lilting ‘Kotha’ number ‘Kaaya pazhama sollu raja’ in Anbu Engae (1958, MD: Veda). PS had a poignant moment in ‘Sithariya sathangai’ (Paavai Vilakku-1960, KVM), and again in the short ‘Kavathaiyil ezhuthiya kaaviyathalaivi’, where S.Varalashmi recites the jathis in the prelude (Kaaviya Thaliavi- 1970, MSV). SJ gave a soulful essay in ‘Ragasiyam kelada’ (Koodi Vaandhaal Kodi Nanmai-1959, T.Chalapathi Rao) and a joyous number in ‘Vandhavargal vaazhga matravargal varuga’ (Engirundho Vandhaal-1970, MSV). We have earlier had VJ singing ‘Aadab arz tere salam’ (Anbu Roja- 1975, S-G)
  
  This song, like many of its kind, seems to be sung by a nautch girl who is forced by circumstances into the trade, she pours forth the agony of her profession into the song. What a wonderful alaap VJ commences the soiree with! Another authoritative female voice then commands her to continue to sing, and VJ, after a stifled sob of a helpless anguish, continues with a scintillating classical exercise, before the lyrical and rhythmic Pallavi commences:
  
  Thinthom thinthom endru aadinaal
  vandhom endre silar varuvaarvaargal
  thandhom thandhom endru thaavinaal
  thandhom endre silar tharuvaargal
  
  How fetchingly Kannadasan brings to life the sense of shame and despair that the dancer experiences, as she wryly reflects on her life, and the lecherous men who frequent the house to satisfy their lust. She forlornly details the despicable acts of the men who having paid for her services, force her into shameful submission. Even then, her faith in the Almighty remains undiminished, as she implores Him to rescue her from her appalling plight.
  
  MSV provides an excellent tabla support to VJ throughout the song, as she weaves magic on the captivating canvas, making this among their memorable collaborations of 1979.
  
  (Solos page 2 at vanijairam.com)
  
  
  188. Ammamma aasai pogum vegam- Kuppathu Raja- MSV
  
  Another song from the same film- I vaguely remember Padmapriya singing it in a drunken stupor, with a tipsy Rajini looking on.
  
  ammamma aasai pogum vegam
  engengo ennai kondu pogum
  eppothum kaamam enbathe sorgabogam
  ther kondu vaa--pogalaam--
  
  VJ gets into the inebriated mood that the song demands, but never compromises on the clarity of the syllables, and doesn’t let even a semblance of crudeness creep into her delineation. The repeated ‘pogalaam’ is such an irresistible summons! The tremulous ‘Naalai mudhal unnidam kaathal ennum sangamam’ is another delicious moment.
  
  oli ingE:
  
  Solos page 1 at vanijairam.com
  
  oLi ingE:
  
  http://www.indiadirect.com/superstar/r55.JPG
  
  
  

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