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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: Interpreter (@ 203.200.216.62) on: Tue Feb 17 05:08:14 EST 2004
  
  Cin. Vir. - you missed the point. The last line is not a"?" but a "!" meaning it is an exclamation at the inscrutable ways of the creator whereby he creates the beautiful things cited in lines 1 & 2 as well as the "negative" (human?) things cited in 3.
  
  The pattam thara thedugirane should be read with a wistful sigh and a mirthless laugh? Gotcher?
  
  
• From: Udhaya (@ 65.142.46.99) on: Tue Feb 17 05:42:29 EST 2004
  
  Great song, despite Jency. This song reminds me of "chittukuruvikkenna kattuppaadu" for its enchanting mood. Didn't Mahendran and Balu Mahendra collaborate in "YaeNippadigaL" too?
  
  CV,
  Isn't it "pattam peRath thaedugindRaen"?
  
  
• From: geeth (@ 62.215.3.38) on: Tue Feb 17 06:27:12 EST 2004
  
  a song which has a lot of thuLLal in it. has a long postlude which even creates a feeeling that one more saranam may come. but stops suddenly with shoba's hole in the saree focussed on sarath.
  
  a memorable movie which brought in a lot of freshness in those days. came right after BarathiRajaa's successful entry and was giving a new direction to tamil movies. kudos to mahendran who found it difficult to make and sell this movie. though he had good friends in rajni and kamal it was a difficult task selling this movie to the distributors at that time. he once told in a interview that these two helped him sell it with great difficulty. he also mentioned about the feaud with BM and said BM was not the first choice for him. he said it was ashok kumar (and no one at that time knew of ashok kumar) and because he was not available he had to take BM. BM did a good job in the movie but AK came with his skills in UthiripookaL. Mahendran also said about the financial difficulties he faced during the making, at a time even to rent a camera. that time kamal helped by arranging a camera.
  
  
• From: geeth (@ 62.215.3.54) on: Tue Feb 17 06:35:47 EST 2004
  
  saravanan, you reminded of a very rare song - maan iname chinna poo vanname, the title song of the movie in IR's voice. a comparison of MM with 16Vayadhiniley - both trend setters but in different styles and debut for two great directors. both had IR singing the title song and what a difference in between them !
  
  
• From: * (@ 161.114.64.72) on: Tue Feb 17 07:30:11 EST 2004
  
  Mullum Malarum was featured on National Network Sunday regional movie slot - did it win NA by any chance?
  
  
• From: vijay (@ 68.16.25.50) on: Tue Feb 17 10:37:17 EST 2004
  
  A classic. I listen to this one pretty regularly. The wonderful usage of percussion instruments, jaladharangam, and the brilliant postlude. The string section towards the end finish in a crescendo conveying the elated feelings of Shobha. What a finish! Considering the cinematography too, this has got to be an audio-visual classic.This song to me symbolises IR's vigour in his early days more than anything else. That he could deliver classics despite the singer's limitations. This beats the oft-played "sendhaazam poovil" and the other songs by a huge margin if you just consider the music and mood. You almost wish Mahendran had done a few more films in those 3 or 4 years with IR.
  
  Good start for this week bb.
  
  
• From: Saravanan (@ 195.229.241.164) on: Tue Feb 17 10:49:47 EST 2004
  
  bb, I think the misunderstanding was between the producer Venu Chettiar & Balumahendra.
  
  I remember reading that the producer had not interefered at all during the shooting of the film. Mahendran had just told him that it was a Annan- thangai story, and Venu Chettiar was happy in an expectation of a suceess like Pasamalar.
  
  The shooting was all but over except the begining shots of 'Senthaazhamppovil' song, and re-recording was yet to be done, when two things happened. One was the problem between the producer and BM (reg. remuneration?). The other was of course Venu Chettiar showing the distributors the shots canned, and their rejection. The disappointed Chettiar is said to have cursed Mahendran for taking a shoddy film with huge gaps of silence! ('Ooma padam maathiri irukku!')
  
  Kamal stepped in to help. He bought the rolls of film required to shoot the remaining sequences, and also helped to resolve the problem between BM and the producer.
  
  As for Mahendran & BM not working together later, probably it was because BM himself became a director soon. I don't recall him being the cameraman of any other outside film later, except, of course K. Viswanath's Shankarabharanam and Manirathnam's Pallavi Anupallavi.
  
  
  
• From: Kupps (@ 192.76.80.74) on: Tue Feb 17 12:32:13 EST 2004
  
  Saravanan,
  
  >>>>>>>>>>>>>
  "oomai padam maadhiri aeduththu aenna kavuththuteenga" dialogue by the producer and mahendran saying "wait for IR to complete the rerecording" and after rerecording everyone including the producer and people appreciated the movie well.
  >>>>>>>>>>>>>
  
  indha episode MM-kka illa udhirippookkaLukkaa?
  
  
• From: OISG (@ 195.229.241.165) on: Tue Feb 17 12:34:51 EST 2004
  
  Anything Pre-82 sounds so fresh......this complaint itself is now 22 years old!
  
  Lovely song! .IR pidicha athana kaLimannum sadharana paanai kooda illai Vinayakram Ghatam aachu!Jency,the Udit Narayani from the Narayani land has come out with a winner.The pace,voice,marimbo usage-an absolute stunner to the hilt.Good one BB.Marakka mudiyatha padam,manathai negizha vaitha padalgaL,......pattam thara thedigindren enge antha IR & Mahendran?
  
  
• From: rameshb (@ 129.42.208.182) on: Tue Feb 17 13:03:41 EST 2004
  
  Very few songs in TFM prelude with rich orcehstration such as this, enge nimmathi, aval oru pachchai kuzhanthai..etc. This song also ends with some grandeur fiesta finale .
  paLLam silar uLLam is used in slEdai just as few other lines. Kavignar's inadvertent slEdai can be seen in 100s of songs:-) VM has indeed shown heavy inspiration of these lines in his ' theemthanana..'' in rhythm.
  
  
  
• From: Saravanan (@ 213.42.2.21) on: Tue Feb 17 15:15:03 EST 2004
  
  Kupps, MM-kku thaan. Not Uthirippookal. Egmore thaan, not Central :)
  
  
• From: Kupps (@ 192.76.80.74) on: Tue Feb 17 16:33:16 EST 2004
  
  Saravanan,
  
  Thanks for the clarification.
  
  When the authority, the Railway Minister himself, says then no red lights to the train.
  
  
• From: Lord LabakuDas (@ 12.162.224.6) on: Wed Feb 18 00:06:22 EST 2004
  
  Saravanan,
  i know who Nan Yaar is..Woody's drive in..potato bonda and one cofee..rite? :-))
  
  
• From: bb (@ 24.6.216.148) on: Wed Feb 18 01:53:48 EST 2004
  
  Song of the Day: veLLai kamalathilE from gowri kalyaaNam.
  
  http://www.newtfmpage.com/cgi-bin/stream.pl?url=http://www.dhool.com/sotd/vellaik.rm
  
  - Saravanan writes:
  
  ‘vellai kamalathilE’ from gowri kalyAnam. Sung by Soolamangalam Rajalakshmi. Bharathiyar’s verses set to music by MSV.
  
  Saravana Combines’ Gowri Kalyanam- 1966 was produced by G.N.Velumani and directed by K.Shankar. The film starred Jaishankar, Ravichandran, Jayalalitha, Sheela, Pandaribai & others. MSV, as usual, came up with a great album - the Postal Department’s attractive anthem ‘Oruvar manadhai oruvar ariya’ (TMS/ Kannadasan), the buoyant duet of carefree romance ‘Varanum varanum maharani’ (TMS & PS/ Kannadasan), the rousing devotional ‘Thiruppugazhai paadapaada’ (Soolamangalam Rajalakshmi & PS/ Poovai Senguttuvan), and the remarkable SOTD, of course.
  
  This song is filmed on Sheela, who renders it at a School Function, where she is a teacher. Ravichandran, the Founder’s son, is seated in the front row, and is enchanted by her song.
  
  * * * *
  
  ‘Ungalukku theriyuma, enga veedugalilellam avangaloda Kandha Sashti Kavachathodu thaan pozhuthe vidiyum’ reminisced a Sri Lankan friend, when we were talking of Soolamangalam Rajalakshmi recently. And I wondered anew at the widespread popularity of that immortal devotional album, and at the genius of SR, both as a singer of singular merit and as a composer of some wonderful albums- both film and devotional.
  
  LRE, in an interview pointed out at SR as the only singer she knew who scribbled down notations spontaneously as the MD sang the tune, and then completed the recording fully based on the notations. (LRE admitted her own limitations candidly -‘enakku swaram-na juram thaan varum!!’). She also recalled the song ‘Aani muthu vaangi vandhen’ and said while PS and she sang it just based on MSV’s coaching, SR sang it based on the notes she had jotted down!
  
  Muruga Ganamritha, Kuyil Isai Thilakam, Isaiarasi, Naadhakanal, Kalaimaamani Soolamangalam Rajalakshmi was the younger of the famed Soolamangalam Sisters, and was born on 6.11.1940. The sudden death of their father Karnam Ramaswami Aiyar forced the family to shift to Madras to eke out a livelihood. The sisters started rigorous training under Pathamadai S. Krishnan, and soon captured attention with their classical and devotional concerts.
  
  SR’s first film opportunity came when she was 8 years old ‘Kanavil kandene kannan mel kaadhal kondene’ (Krishna Bhakthi- 1948). Over the years I think I have managed to collect most of SR’s film songs, even the rarest ones like ‘Azhage anandam’ (Kalyanam Panniyum Brahmachari), Naan aada nee paadu kanna (Mala Oru Mangala Vilakku), ‘Maiyai thottu ezhuthiyavan’ (Thulasimaadam), ‘Thodudaya seviyan’ (Kannmalar) and ‘Ezhuthi ezhuthi pazhagi vendhen (Gumasthavin Magal). The youthful sweetness in songs like ‘Inithaana thendral’ (Viduthalai), and ‘Sammadhithaal endrum sandhoshame’ (Thuli Visham); the soft mellifluousness that comes across so bewitchingly in ‘Chithiram pesudhadi’ (Sabaash Meena), ‘Unakkum enakkum isaindha porutham’ (Naalu Veli Nilam), ‘Kannipparuvam aval’ (Indira En Selvam), and ‘Oorukkum theriyaadhu’ (Maadappura); the evocative feelings that find moving portrayal in songs like ‘Nee sirithaal naan sirippen’ (Paavai Vilakku), ‘Muthuppole’ (Sabash Mapillai), ‘Poi vaa magale’ (Karnan), ‘Illadha pillaikku naan’ (Appa tata), and ‘Kaveri maandhoppu kaniyo (Maruppiravi); the pristine perfection of pronunciation in classics like ‘Orumaiyudan’ (Konjum Salangai), ‘Thalaiye nee vanangaai’ (Sundaramoorthi Nayanar), and ‘Valluvan Vedham’ (Naga Nandhini); the breathtaking precision of time and tone in classicals like ‘Kaanakkan kodi vendum’ (Konjum Salangai), ‘Varugiraal ummaithedi’ (Thangappadhumai) and ‘Vetkkamaai irukkudhadi’ (Paar Magale Paar)- wherein SR matched giants like MLV and PL line to line, note to note; and of course, the impressive line-up of devotional songs right up to Sendhoor nizhalil (Sorgam Naragam -1977) and Anbe Uyarndhadhu (Sri Krishna Leela- also 1977) showcase SR’s prolific contribution to tfm. It is matter of regret that from the 60s, she was heard more often only in songs that needed more than one female voice. I have often been wonderstruck at her sustained brilliance - even in an unknown film having an impossible name like Ragasiya Penn 117 (1972, MD: C.N. Pandurangan), SR dazzles in an atypical seductive song ‘Aasai roja paaru’. Listen to a short sample of her scintillating jathis in this rare clipping from the soundtrack of Aadhi Parasakthi (1971):
  
  http://www.newtfmpage.com/cgi-bin/stream.pl?url=http://www.dhool.com/sotd/vellaik2.rm
  
  SR wasn’t satisfied with just singing. Her thirst for exploring new avenues led her to volunteer to assist S.M.S for the music of the classic Konjum Salangai. And, assisted by her sister, she went on to compose music for films like Dharisanam-1970 (‘Idhu maalai nerathu mayakkam’- TMS/LRE), Tiger Thathachari- 1974 (‘Kalyanam oru vizha’- TMS/SR), Appodhe Sonnene Kettiya- 1979 (‘Ellam avan seidhadhu’- KJY/VJ) and Pillaiyar- 1984 (‘Pillaiyar Pillaiyar’- Soolamangalam Sisters).
  
  She has sung numerous non-film devotional songs, and also composed music for many of those albums. She succumbed to a severe attack of Jaundice on 21.6.1992, when she was just 52 years old.
  
  Who knows what made MSV give SR this song?! Was it at producer Velumani’s insistence, for SR had given a spellbinding essay (‘Kuyil koovi thiyil ezhuppa’) in his Naanal just the previous year? Or did SR’s beguiling rendition of Bharathiyar’s ‘Kaani nilam vendum’ (in Naalu Vei Nilam, MD: Aathmanathan) fetch her this Bharathiyar song? (Two years later, KVM too would summon SR to sing Bharathiyar’s ‘Kaakkai chiraginile’ for Thirumaal Perumai). Or was it just that since SR had come to sing ‘Thiruppugazhai paadappaada’ for the same film, it struck MSV to make her sing this short song? Whatever may be the factors involved, serendipity did happen, and the Mahakavi’s stirring lines married with MSV’s haunting Hamir Kalyani, find themselves immortalized in the voice of the inimitable Soolamangalam Rajalakshmi. nilam peyaraLavum peyar peyarAdhAL.
  
  * * * *
  
  These verses form part of the ‘Saraswathi Vanakkam’ in the First Part of Paanchaali Sabatham. Bharathiyar invokes Saraswathi’s blessing, before commencing the work. ‘dhraupadhi pugazhkkadhaiyai mANiyal thamizhppAttAl nAn vaguththidak kalaimagaL vAzhththugavE’ he prays.
  
  For the whole verse, see here: http://www.pondy.com/bharathiar/12-2velli.htm
  
  
• From: nAn eNNum pozhuthu EthO sugam (@ 202.54.137.100) on: Wed Feb 18 02:28:19 EST 2004
  
  '&%$#ADI PENNE*&^%$' is what I feel like directing towards Jency. But what a stunner of a song!!! The genius of IR saying 'Hi' to the Tamil music lovers. The days where IR's percussion arrangements were as imaginative as those for the rest. Oh, let's leave the technicality alone, what a flow and what precise capture of the mood !!! Our creators are truly blessed. Blessed as well, are those who know that. Ahem !!!!
  
  

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