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ULAGAM SUTRAM VAALIBAN - "A Musical Feast"
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Sriram Kannan
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Joined: 12 Sep 2007
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PostPosted: Sat Sep 29, 2007 1:40 pm    Post subject: ULAGAM SUTRAM VAALIBAN - "A Musical Feast" Reply with quote

Lilly Malarukku Kondattam

Another golden step to the throne of our EMPEROR!!!! MGR fans would never miss atleast a song from this movie when picking up their "favourites" from their "thalaivar". A mystery to every other MD that how He made it possible with the instruments available that time, and the quality of the music still remains a challenge, undoubtedly not conquered yet. The songs cannot be listed like "There are other good songs in this movie", Every song is a gem!!! The entire movie is a treasure chest - you can only admire and learn how to create gems from it, but this quality can never be achieved by anyone, except Him.

Ironically, our EMPEROR was not the one assigned as the MD for this movie, at first. Though MGR told about his plan of a movie to be shooted in foreign countries and asked EMPEROR to compose music earlier, there was no communication for sometime and our MD later learnt that Kunnakudi was assigned as the MD of the movie, and 2 songs were already recorded. Again, MGR contacted our EMPEROR and asked about the movie, He was confused.He refused at first, but finally accepted to compose for the movie with the condition that the 2 songs of Kunnakudi has to be there in the movie plus the amount to be paid for him to the movie. MGR, in turn, gave his next movie to Kunnakudi itself (which was "NavaRatnam" - an APN "box-office" crash!!!).

MGR, as a director of the movie, proved again that he knew better about the commercial aspect of TFM, than anyone else. The movie was mainly aimed to shoot in foreign countries, especially the "Expo" exhibition in Japan that time. So, the major three factors that raised the movie to a block-buster was the music, the cinematography, and the third, obviously the then-three-letter phenomenon, MGR. (But, this phenomenon never worked every time. So, it's easy to guess why "music" has been given the first rank). As it is a complete entertainment movie, each song turned out to be a "peppy" one, EMPEROR never make the nods and taps stop throughout the songs.

TMS and PS sings in this wonderful romantic number, for MGR and Manjula. As usual, our EMPEROR takes us through a wonderful journey, with surprises (That's obvious!!!) all the way. (Other songs has surprises too... It's an amazing experience to hear the songs from this movie).

The ensemble of violins open the song, raising slowly in steps till the maximum, met by the trombone before TMS. TMS opens humming in his enthusiastic voice "da dadadada" in the raised pitch supported by drums, followed by the sensuous voice of PS joining in the humming. Their humming comes down slowy, followed by the mandolin in the same path.

TMS starts "lilly malarukku kondaattam", with drums in the background, maintaining the "tapping". The pallavi is prolonged by violins everytime, and when TMS repeats the pallavi, flute joins him in the end. The atmosphere suddenly changes to a slow, romantic with PS starting "antha nootraandu sirpangalum" with a wonderful rhythm of bongos. The mood seems to take over completely with PS prolonging "odum vetkathileyyyy..", but with TMS at "vantha idam ennavo", the "pep" picks back with drums, PS joining at "sontham ithu allavo", the happiness of the lovers expressed in "engeyum eppothum kondattam" with flute. The transformation is splendid that no one would be stuck by the abrupt change, the melody still maintained.

The violins come back in the first interlude, the stepping sequence maintained together with trombone at intervals. TMS joins with his happy "da da da" humming, later by PS with her "aaaaa...". The violins repeat their humming along with trumpet in the drums background. Then comes the most "catchy" part, the one I like most, the combination of veena and flute. The veena swinging gradually, followed by the quick tune of the flute, the mix mesmerizing, and ended by veena and violins.

TMS begins the first charanam "then koodu neeyenraal", with the drums at the back taking him over the track, followed by PS at "theeratha pasiyodu". TMS suddenly raises at "Naanondru Neeyondru naamondru thaanendru", but coming down gradually at "ondrodu ondraana sontham". The raising and lowering happens in the same line itself with the support of the drums, and later when PS joins at "indrodu theeradha inbam", the ending is marvellous!!!!

The mandolin begins a "joyful" walk in the second interlude, bongos at the back now, soon joined by violins. But, when the veena and flute bit comes again, drums comes for support.

TMS opens the second charanam at "naalthorum maarbodu", followed by PS. The raising and lowering repeats again here by TMS at "Then konda kannonru paar ennai paar enru" - "sevvaanam polaadum pothu". PS joins at "sinthungal muththangal nooru", soon the atmosphere changing again to the slow bongos "antha nootraandu sirpangalum", ended by the "peppy" TMS "vantha idam ennavo" with drums.

The song ends by the humming of TMS and PS, drums fading slowly along with them.

No wonder if we call our EMPEROR as "THE PIPER" - the tunes still mesmerizing us, and making us follow the footsteps of the person who knows nothing but only Music.
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saradhaa_sn
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PostPosted: Sat Sep 29, 2007 6:35 pm    Post subject: Reply with quote

Dear Sriram,

A wide ranged analysis about the song 'Lilly Malarukku' from USV. Your nerration about each and every line with the instruments used, are somewhat wonderful.

When I read your second paragraph, I just imagined how would be songs and re-recording if it was done by 'Kunnakudi' as decided by MGR earlier. If it was happened, then we no need to break our head on its songs Very Happy Very Happy Very Happy

I dont think MGR appointed Kunnakudi for navarathnam, because he was dropped from USV. Normally Kunnakudi was doing music for APN continously in that period (including Raja Raja Cholan), so that should be the reason. Because if we see the filmography list of MGR, there are 14 movies between this two (USV and Navarathnam). See the flow of the list...

121. Ulagam Suttrum Vaalipan (1973)/ M.G.R.Pictures, MGR
122. Pattikaatu Ponnaiah (1973)/ Vasanth Pictures, B.S.Ranga
123. Netru Inru Naalai (1974)/ Amalraj Films, P.Neelakandan
124. Urimai Kural (1974)/ Chitrayuka, Sridhar
125. Siriththu Vaazhavendum (1974)/ Uthayam Productions, S.S.Balan
126. Ninaithathai Mudippavan (1975)/ Oriental Pictures, P.Neelakandan
127. Naalai Namathe (1975)/ Gajendra Films, K.S.Sedhumadavan
128. Pallaandu Vaazhha (1975)/ Uthayam Productions, K.Sankar
129. Ithaya Kani (1975)/ Sathya Movies, A.Jeganathan
130. Neethikku Thalai Vanangu (1976)/ Sri Umaiyambikai Productions, P.Neelakandan
131. Uzhaikkum Karangal (1976)/ Kay Cey Films, K.Sankar
132. Oorukku Uzhaippavan (1976)/ Venus Pictures, M.Krishnan
133. Inru Pola Enrum Vaazhgha (1977)/ Subbu Productions, K.Sankar
134. Navarathnam (1977)/ C.N.V.Movies, A.P.Nagarajan

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P. Sankar
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PostPosted: Mon Oct 01, 2007 9:28 pm    Post subject: Reply with quote

Saradha Madam, Just one word to mention about the films of MGR. Not necessary that MGR was finishing all his films as per the order in which he accepted the offers. There are cases where MGR would attend shooting of some films regularly on priority basis and some films had taken even more than one or two years to see the screen.

P. Sankar.
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PostPosted: Tue Oct 02, 2007 6:29 pm    Post subject: Reply with quote

Dear Sriram,

a beautiful nerration about a beautiful song 'lilly malarukku kondaattam'.

you described the song line by line very perfectly.

When we are talking about the songs of 'ulagam sutrum vaaliban' I want to put a request to mr. Ram.

Dear Ram,

Can you please upload the BGM re-recording of the scene, that MGR is doing research about the power of lightning, in our Title music and BGM section..?. Because it is wonderful re-recording by our MSV sir.
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Sriram Kannan
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PostPosted: Tue Oct 02, 2007 6:44 pm    Post subject: BANSAAYEE Reply with quote

I am continuing my views on other songs of "Ulagam Sutrum Vaaliban" in the same thread itself, as it will be apt to include all of them under a single title "A Musical Feast"

BANSAAYEE


I admire our EMPEROR for two reasons everytime hearing to this song. One is, how He was able to compose a song in an entirely different background (Japanese, in this case). But, the answer for this would be that it is of no difficulty for a person who has done this before in "Pattathu Raani", "Thulluvatho Ilamai" etc. Second is, how He would have taught this song to the singers. Undoubtedly, TMS and LRE are the perfect choices for this song, but the mastery of the EMPEROR in the composition should not be forgotten.

Another good example of what extent an MD can know about their singers. Our EMPEROR is a master at this, while choosing a singer for the tune. His expertise had even made him remain stubborn in his choice, and prove finally he was right. This had happened few times in the case of MGR, when he started thinking of KJY and SPB as better choices than TMS, after sometime. Though our EMPEROR used them at the necessary places, he never ignored TMS for MGR. In fact, he had fought a lot about his choice than MGR's. One incident known to me was about "Thayagathin Sudanthiramey" from "Maduraiai meeta Sundara Pandiyan". This song was a very high-pitched one, the effect to be awakening the spirit of nationality when heard by anyone. EMPEROR's choice was TMS, and he composed the song keeping him in mind. MGR liked the tune, but asked for KJY. EMPEROR told if KJY has to sing, the tune has to be changed. MGR refused, and EMPEROR was stubborn. MGR angrily left the place, but later called the MD and informed his choice is better, and let TMS sing. The song was a hit.

One of the tough songs by our EMPEROR, because the phases through which the voices of TMS and LRE travel is really unimaginable. The entire song is supported by the excellent rhythm of bongos, another "foot tapper". Very proudly we can say, there has never been such a composition before and after. (This applies for many of his songs, and thats the speciality of our EMPEROR!!!). The song in the movie has longer interludes, than in the music records.

The song opens by the bang of drums and cymbals, like a traditional japanese one, followed by the mandolin. The play of mandolin is entirely different this time, the tune raising and lowering with a prolongation, joined by the ensemble of violins. The violins play in a slow, swaying manner, matching with the mandolin. The prelude ends with the fast hopping of the mandolin, with the flute at the end.

LRE begins the pallavi in the high pitch "Bansaayee", prolonging and coming down at the end with "eee...eee...eee", supported by the bongos. The next line

"kaathal pa-ra-vaigal
paadum ka-vi-thaigal"


goes in such a way that the first words are uttered faster, but the last words prolong and come down, the melody swinging in forever. The same pattern is repeated in "Thee-ra-thathoooo.. Aa-ra-thathooo... Valarum-Intha-Sugam...Uravail-Vantha-sugam", with the word "sugam" lingering in her lips and in our ears. The pallavi itself proves clear how difficult it would have been for them, because of the variations in every word of the song and the linger at every end of the line. Thats why such songs are still remembered by His fans. The lines are followed by the bongos and mandolin before TMS starts with "Bansaayee" again and the pallavi continues.

The first interlude is an amazing fusion of mandolin and guitar, together with the bongos, with mandolin at the front and a thin stream of guitar at the back. The bongos plays an important role here, keeping the song "lively" with the atmosphere. The guitar finishes the interlude, with LRE opening the charanam. LRE starts with "Thottilai pola naanummm", the last word lingering, followed by the flute with bongos. Throughout the charanam, every line of TMS and LRE is followed by flute, together with the bongos. When TMS finishes the last line "Karpanai vegam perum", LRE joins with the lyrics going "perummm.. serumm...", and then the humming "la la la". The pallavi repeats at "Valarum intha sugam", followed by the raised beats of bongos and violins.

The second interlude begins with mandolin in the bongos background, followed by the quick raising violins taken over by mandolin again, and ended by a slow, melodious flute. The bongos differ at every place of the interlude, matching the pace of the instruments. For a lengthy song, our EMPEROR follows the fashion of keeping the first and third interludes similar, and the second different. But, here the interludes are entirely different from one another but the charanams follow the pattern. Unlike the first charanam, where the opening starts low and raises, TMS opens the second charanam "Senthamizh naatin" in a little high pitch and the prolongation at "ilamai", followed by LRE. The lines follow continously alternated by TMS and LRE, but the ending is similar at "arumaiii...perumaii...".

A wondeful starting for the third interlude, bang of the cymbals, followed by the flute. Flute raising up quickly with cymbals at regular intervals, taken over by violins that come down in the same way as flute, with the regular bang of cymbals. TMS begins the third charanam "enthentha naadum namathu" in the same way as the first one. The charanam ends with the humming "la la la" by TMS and LRE. Flute and mandolin, with bongos ends the song in the same lingering manner.

What can we say about this song, nothing but a "roller coaster journey" all the way, where we would never feel travelling along the same path everytime. But, what can we say about the mastermind behind it , a person capable of making every imagination to reality ?
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Ram
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PostPosted: Tue Oct 02, 2007 7:02 pm    Post subject: Reply with quote

"Ulagum Sutrum Valiban" - What a Musical Extravaganza by our Melody Master !!! Each and every song is unique and absolutely creative on their own aspects.

I've moved this thread to the Movie section as we can go on adding the other songs under this thread.

Great narration by Sriram Kannan on "Lilly Malarukku" and "Bansayee". Expecting the rest!!!

It will also be interesting if everyone adds their 'experience' of Ulagam Sutrum Valiban songs, movie and BGM under this thread !!!

And dear Irene,

I'll try to get the BGM piece you have requested. Meanwhile, if any one has the VCD/DVD of Ulagam Sutrum Valiban, please rip the back-ground music that Irene has requested and send it to me. I'll be happy to upload in our BGM section.
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PostPosted: Wed Oct 03, 2007 2:29 pm    Post subject: Reply with quote

அவள் ஒரு நவரச நாடகம்
(உலகம் சுற்றும் வாலிபன்)

எல்லோரும் குறிப்பிட்டதைப்போல, இப்படத்தின் பாடல்களில் எதைச்சொல்வது, எதை விடுவது?. ஒவ்வொன்றும் ஒரு வெரைட்டி அல்லவா?. இவை பாடல்கள் அல்ல, இசையைக்கற்க விரும்புவோர்க்கு மெல்லிசை மன்னர் அளித்த பாடங்கள். இப்படத்துக்கு மிகப்பரிய பலமே பாடல்களும், பின்னணி இசையும்தான். கர்ணன், காதலிக்க நேரமில்லை, புதிய பறவை போல இப்படமும் ஒரு இசைக்காவியம்.

இப்பாடல் எம்.ஜி.ஆருக்கு (ஆயிரம் நிலவே வா, வெற்றி மீது வெற்றி வந்து, இரண்டு கண்கள் பேசும் மொழியில் பாடல்களைத்தொடர்ந்து) எஸ்.பி.பி பாடிய நான்காவது பாடல் என நினைக்கிறேன்.

முன்னிசையின் துவக்கமே கீழ்த்தளத்திலிருந்து வயலின் இசை கொஞ்சம் கொஞ்சமாக ஐந்தடுக்குகளாக உயர்ந்து உச்சத்தை அடைய, தொடர்ந்து சிதார், அதைத்தொடர்ந்து மீண்டும் வயலின், ஒவ்வொரு வயலின் 'பிட்'டையும் ஃப்ளூட் அழ்காக முடித்து வைக்க, அதைத்தொடர்ந்து சிதார் அப்படியே கீழே சரிய, இவற்றுக்கு பக்க பலமாக பாங்கோஸ் இணைந்து ஒலிக்க,பாடல் வரிகள் துவக்கம்... (தபேலாவுடன்)

அவள் ஒரு நவரச நா....டகம்
ஆனந்த கவிதையின் ஆலயம்
தழுவிடும் இனங்களில் மானினம்
தமிழும் நவழும் ஓரினம்


(ஆகா, எஸ்.பி.பி.யின் கொஞ்சும் குரலின் அழகும் குழைவும்தான் என்ன?. நமக்கு நினைவிருக்கிறது. ஆனால் அவர் மறந்துவிட்டார்)

முதல் இடையிசையின் துவக்கத்தில் கிடார் மற்றும் வயலின் மாறி மாறி ஒலிக்க, அதைத்தொடர்ந்து இரட்டைப்புல்லாங்குழலின் துள்ளல் (ஃப்ளுட்டை இப்படி ஒரு துள்ளலாக எந்தக்கொம்பனும் பயன்படுத்தி இதுவரை நான் கேட்டதில்லை). முடிந்து அடுத்த பிட்டிலும் ஃப்ளூட் உச்சத்திலிருந்து கொஞ்சம் கொஞ்சமாக சரிய, மீண்டும் சிதார் பிட் இடையிசையை முடிக்க (இடையிசை முழுக்க பாங்கோஸ்) முதல் சரணம் துவக்கம் (தபேலாவில்)

மரகத மலர் விடும் பூங்கொடி
மழலை கூறும் பைங்கிளி
நிலவில் ஒளிவிடும் மாணிக்கம்
என் நெஞ்சில் தந்தேன் ஓரிடம்

(தொடர்ந்து எஸ்.பி.பி.யின் என்ன ஒரு நீண்ட HUMMING . ஆனால் அவர் இவற்றையெல்லாம் மறந்து விட்டார்)

அவள் ஒரு நவரச நா....டகம்
ஆனந்த கவிதையின் ஆலயம்


இரண்டாவது இடையிசையில் முதலில் சிதாரின் நீண்ட பயணம், தொடர்ந்து வயலின் மற்றும் கிடார் பிட், முடிவில் (எங்கோ தொலைவில் ஒலிப்பது போன்ற) ஃப்ளூட்.. பின்னர் இரண்டாவது சரணம்...

அறுசுவை நிரம்பிய பால்குடம்
ஆடும் கலையே நாட்டியம்
ஊடல் அவளது வாடிக்கை
என்னைத் தந்தேன் காணிக்கை


மீண்டும் எஸ்.பி.பி.யின் அழகான நீண்ட HUMMING.

அவள் ஒரு நவரச நா....டகம்
ஆனந்த கவிதையின் ஆலயம்
தழுவிடும் இனங்களில் மானினம்
தமிழும் நவழும் ஓரினம்

அவள் ஒரு நவரச நா....டகம்


(முடிவில்பல்லவியின் முதல் வரியை தூக்கி முடிப்பார்.)

பாடல் முடிந்ததும் நம் மனம் நிறைந்து போகும்.
ஆகா... மெல்லிசை மன்னருக்கு என்ன ஒரு இசைஞானம், என்ன ஒரு அச்காய சூரத்தனம்.
பாடலைக்கேளுங்கள்:

http://www.msvtimes.com/music/songs/a.html
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P. Sankar
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PostPosted: Thu Oct 04, 2007 3:55 pm    Post subject: Reply with quote

Unmaithan Madam, avar maranthuthan vittaar polum!

P. Sankar.
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PostPosted: Thu Oct 04, 2007 8:47 pm    Post subject: Reply with quote

Nice discussion about Ulagam Sutrum VAaliban....

Matra padathin padalgalai pola allamal, indha padathin
anaithu padalgalumae Super hit enru ninaikiren.

Ulagam sutrum vaalibanodu oru payanam vandhaval naan

Nice rendition by PS.

Thanga thoniyilae - V.V.V. Nice melody.Beautiful song from MSV.

Pachai kili muthu charam - One more nice tune.

Aval oru navarasa nadagam - Beautiful composition.

Engal theatre il maadha kanakil odinalum, kadaisi naal varai kootam vandhu serndha oru padam.Adhanal, appodhu , indha padathai parka mudiyavillai.Idhu varai parthadhillai.

Indha padathin record varuvadharkaga kaathirundhu., engal theatre il Daily host pannum padalgala neeeeeeeeeeenda varudangala irundhu vandhadhu.

Appadi indha padathin paadalgal - Engal Theatre and Engalain Padalgal theriyuma?????? Very Happy
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vaidymsv
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Joined: 08 Nov 2006
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Location: Madras, India

PostPosted: Sat Oct 06, 2007 7:14 am    Post subject: MSV - THE KARNAN Reply with quote

Dear All,

While our Master has given innumerable songs for generations to enjoy, I would call Ulagam Sutrum Vaaliban & Ninaithaley Inikkum as two exclusive gifts given by our Master Creator for his rasikas like us to cherish for the rest of our lives. THe number of songs from these movies surpass almost 25 making him the KARNAN of music creators!!!

CHEERS
MSV IS KARNAN!!!
VAIDY

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madhuraman
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PostPosted: Sat Oct 06, 2007 7:45 am    Post subject: ULAGUM SUTRUM VAALIBAN Reply with quote

Dear Mr Vaidy,
Hats off to all of you for inch by inch analysis of MSV.Your observation of MSV as KARNAN needs a slight editing, in the sense 'VALADHU KAI SEYDHADHAI VALADHU KAIKKAE THERIYAMAL ISAIYAI IMAIPPOZHUDHIL MAATRI BRAMIKKA VAITHTHA MAAVEERAN ENGAL MSV. VAERENNA SOLLA?"
warm regards Prof.K.Raman Navi Mumbai
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S.Balaji
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PostPosted: Sun Oct 07, 2007 9:44 pm    Post subject: Reply with quote

2 lovely writeups about USV by Sriram K and 1 by Saradhaji . Vow ....this movie is one of the top 10 albums of tamil cinema IMO..

Look at the array of instruments he had used & I am speechless about each song...To me , every song is special & I cant figure out anything as my favourites because all are precious gems........

And almost 10 years after this , the Master unleased another musical feast through Ninaithaale inikkum.... Pls cover those songs also... Looking forward to it from both of you dear

Cheers Very Happy
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Sriram Kannan
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Joined: 12 Sep 2007
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PostPosted: Wed Oct 17, 2007 12:45 am    Post subject: Reply with quote

Dear Friends,

Does anyone have the full version of the songs "தங்கத் தோணியிலே" and "உலகம்... அழகுக் கலைகளின் சுரங்கம்"? If, please let me know. I am missing the interludes and some charanams as well in these songs.
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Sriram Kannan.

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Sriram Kannan
The Ardent


Joined: 12 Sep 2007
Posts: 103

PostPosted: Fri Oct 26, 2007 3:57 pm    Post subject: PACHAIKILI MUTHUCHARAM Reply with quote

பச்சைக்கிளி முத்துச்சரம்

Revisiting USV, quite after sometime!!! Totally engrossed in work, I was "merely" listening to songs, rather absorbing them. Heard this song, when I was breathing normal, EMPEROR's magic surprised me again. Another marvellous example of orchestration, EMPEROR proves his mastery, one more time, handling of instruments in a way no one would ever imagine. One could feel the "richness" of the tune matching the location and cinematography. EMPEROR has used his "rare" combination here again, prelude, pallavi and interludes bear a Western touch, whereas the charanams (especially the tabla background) reminds us of the romantic south indian melody. TMS and PS, the "best" pair ever, captivate us with their bewitching voices.

Prelude!!! No wonder this man is ruling the TFM for decades. Mandolin opens the prelude, starting a joyous walk in a lovely atmosphere, backed by bongos ( I remember the "famous" MGR hop for this prelude, with hands at the back, matching the mandolin hop), followed by the slide of guitar. Mandolin repeats the bit again, this time shamisen (hope I am right with this Japanese instrument) follows. With a bang of cymbals, violins continue the magic, the strings raising and lowering so smooth, cymbals in frequent beats, all in the background of thavil (such a composition, possible by ONLY man who has no bounds. Never restricts himself within the rules. His mastery is just like the music, a free flowing river that knows no barriers!!!). Flute repeats the violin, thavil sounding more prominent here, ending up with the single shamisen vibrating in our ears, before TMS starts with his "thullal" voice,

பச்சைக்கிளி முத்துச்சரம் முல்லைக்கொடி யாரோ

Bongos picking up with TMS, the line ended by guitar...

பாவை என்னும் பேரில் வரும் தேவன்மகள் நீயோ guitar following along..

PS opens in a melodious way, backed up only by bongos,

பொன்னின் நிறம் பிள்ளை மனம் வள்ளல் குணம் யாரோ the sweet prolongation "ஆஆ......"
மன்னன் எனும் பேரில் வரும் தேவன்மகன் நீயோ............

With the bongos raised, when PS repeats the pallavi, the "thullal" comes in her voice too, the tune going more energetic.

Thavil gives a thunderous opening to the interlude, followed by the violin ensemble raising slowly in six steps, taken down by guitar in the same way. Then comes the lilting flute, in the background of guitar, bongos and drums, adding enthusiasm to the mood. The finishing is given by the marvellous combination of violins and flute, so enticing that one could feel himself travelling along a way, full of crests and troughs, still the journey unforgettable. Tabla entering the song in the charanam, again our EMPEROR shows his expertise in using Tabla. A very known fact, this instrument has never been used so elegantly and skillfully with other MDs, like our EMPEROR. In fact, I think there are only very few songs by the EMPEROR where Tabla maintains the same rhythm throughout a charanam. TMS opens the charanam,

தத்தை போல தாவும் பாவை பாதம் நோகும் என்று
மெத்தை போல பூவைத் தூவும் வாடைக் காற்றும் உண்டு
tabla pacing up at the end of the line...

PS continues with,

வண்ணச்சோலை வானம் பூமி யாவும் இன்பம் இங்கு
இன்பக்கோலம் நாளும் காண நானும் நீயும் கொண்டு


TMS follows, the tabla quickly changing the beats at

கண்ணில் ஆடும் மாங்கனி கையில் ஆடுமோ prolongation at the last word, making it more romantic...

PS finishes the charanam,

நானே தரும் நாளும் வரும் ஏனிந்த அவசரமோ

tabla changing again at the last line, together with PS going up and down at every word, and tabla joining to the pallavi.

The second interlude opens with the violins supported by bongos, their beats more prominent and rhythmic in this interlude, the violins prolonging gradually in the background of bongos. Trumpet follows, raising normally, but stepping down with bongos, beats getting energetic. Mandolin picks up now, finishing the interlude with the bongos, tabla giving a start to the second charanam. PS starts,

மெல்லப் பேசும் கள்ளப் பார்வை ஜாதிப் பூவின் மென்மை
சொல்லப் போகும் பாடல் நூறும் ஜாடை காட்டும் பெண்மை

TMS comes at,

முள்ளில்லாத தாழைப் போல தோகை மேனி என்று
அள்ளும் போது மேலும் கீழும் ஆடும் ஆசை உண்டு

PS takes up with,

அந்த நேரம் நேரிலே சொர்க்கம் தோன்றுமோ (the prolongation by PS)

and TMS finishes,

காணாததும் கேளாததும் காதலில் விளங்கிடுமோ....

The tabla repeats the magic here in this charanam as well, except that the singers are alternating.

A grand opening of the violins dying gradually, begins the third interlude, followed by the accordion supported by the bongos. Now comes the "peppy" flute, dancing together with the bongos, making us move to the beats, finished by a quickened mandolin, and tabla starting with the same pace giving way to the charanam. TMS begins,

பொன் பட்டாடை மூடிச் செல்லும் தேன் சிட்டோடு மெல்ல
நான் தொட்டாடும் வேளை தோறும் போதை என்ன சொல்ல
(tabla pacing at the end)

PS continues,

கை தொட்டாட காலம் நேரம் போகப் போக உண்டு
கண் பட்டாலும் காதல் வேகம் பாதிப் பாதி இன்று

TMS follows,

பள்ளிக்கூடம் போகலாம் பக்கம் ஓடி வா....
PS ends with,

கூடம் தனில் பாடம் பெறும் காலங்கள் சுவையல்லவோ.....
The song ends with TMS and PS in a chorus of "Ha Ha Haha Oh Oh Oho.. La La Lalaa", bongos slowing down along.
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Sriram Kannan.

Follow me at http://bibliomaniac-moviefanatic.blogspot.com/
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Ram
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Joined: 23 Oct 2006
Posts: 1160

PostPosted: Fri Oct 26, 2007 7:03 pm    Post subject: Reply with quote

Hey Sriram,

Great going about this Music Bonanza by our Melody Master !!!

Very Happy
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