"MSV CLUB" - The Discussion Forum of MSVTimes.com

[Sriram Kannan]

One of the best dance numbers ever, that made even MGR to dance better, a superb fast paced song, every second of it making our limbs moving, I hope this would be enough for this song's introduction. Also, this would be in my topmost Tabla numbers, the usage of the instrument takes a gigantic form in this song. Another splendid example of using Shehnai in a joyful occassion. Not to forget the very early song that follows the Bhangra style. Wow!!! Every song of our EMPEROR has itself thousands of specialities, making them unique and beautiful, that is everlasting.

Another MGR-EMPEROR combination, "Kudiyiruntha Koil" also is an EMPEROR-K.Sankar combination, one of the very few MD-Director combination that lasted long, even after KS changed path and started making devotional movies. Our EMPEROR has worked in every movie of KS (even in "Thai Moogambigai", the only movie that KS went for another MD, but also features EMPEROR in the climax song together with BMK and Serkazhi). The movie was an uproaring hit, songs liked even by the modern generation. Our EMPEROR has thrown a musical exhibition in the movie, every song in a unique style, starting from the foot tapping Western "என்னைத் தெரியுமா", sizzling "உன் விழியும் என் வாளும் சந்தித்தால்", romantic "நீயேதான் எனக்கு மணவாட்டி", an entirely differnt style of poetry with Western musical touch at "நான் யார் நான் யார் நீ யார்", amazing Spanish style duet "துள்ளுவதோ இளமை", classical "குங்குமப் பொட்டின்", not but not the least, the bhangra "ஆடலுடன் பாடலைக் கேட்டு".

TMS and PS pairs in the song, making it another immemorable duet for MGR. The prelude itself has its surprises, with more being unleashed as we get into the song. Mandolin opens the song, in the background of tabla and tambourine. The opening itself brings us to the "dance" mood, the energetic mandolin bit encouraging it. The ensemble of violins follow in a fast journey, from high to low, the ending taken over by mandolin prolonging in steps, together with a slight thread of shehnai. When the violins repeat the pattern, mandolin and shehnai finishes again, the prolongation of shehnai more prominent here, and more scintillating. Mandolin goes with tabla, an excellent "peppy" bit by our EMPEROR, and used before the start of pallavi and charanams throughout the song. The tabla, that remains a slow rhythmic, quickens its beats together with the hopping flute, before the pallavi starts. The tambourine remains in a constant pace throughout the pallavi, supporting tabla.

PS opens the pallavi here,

ஆடலுடன் பாடலைக் கேட்டு ரசிப்பதிலேதான் சுகம் சுகம் சுகம்....

Follows the moans "ஸ்ஸ்ஸ் ஆஆ", these repeated with a gradual raising pitch with a tap of tabla everytime, that paces up when PS completes with a "ஹோய்".

TMS follows with

ஆசை தரும் பார்வையில் எல்லாம் ஆயிரம் எண்ணம் வரும் வரும் வரும்....,

with the similar moans, supported by tabla. The pallavi repeats with TMS and PS singing together.

The first interlude is a magical spell, tabla changing the pattern everytime when joined with an instrument in the interlude. Mandolin opens the interlude, followed by violins that raise slowly, the combination in a tabla background. The mandolin repeats the bit, violins raising more. The tabla gives a finishing touch to them, and when shehnai opens up, the pace of tabla changes completely, a joyous shehnai with the fast paced tabla. Tabla finishes it again too, and goes for its next suddern transformation, a little slowed one, with mandolin and claps. The violins raise, and join the music to the charanam.

TMS starts the charanam,

கண்ணருகில் பெண்மை குடியேற
கையருகில் இளமை தடுமாற
தென்னை இளநீரின் பதமாக
ஒன்று நான் தரவா இதமாக,

the last letter lingered and prolonged very stylishly, tabla moving along whenever TMS goes and comes back, and finishes with a fast tap joined by the raised voice of TMS with a "ஹோ.

PS follows,

தெங்கனியில் தலைவன் பசியாற
தின்ற இடம் தேனில் சுவையூற
பங்கு பெற வரவா துணையாக

PS repeating the same with the last letter. PS continues with

மன ஊஞ்சலின் மீது பூ மழை தூவிட உரியவன் நீதானே...., the quickened beats of tabla joining to the pallavi.

The second interlude is again the same spell of our EMPEROR, the instrument pattern repeating, with the variations in tabla everytime. Violins takes us to the charanam, this time too.

TMS starts the charanam,

கள்ளிருக்கும் மலரே வளைந்தாடு
களைப்பாற மடியில் இடம் போடு
உள்ளிருக்கும் நினைவில் உறவாடு
உலகையே மறந்து விளையாடு (the last letter prolonged, supported by tabla)

PS follows,

விம்மி வரும் அழகில் நடை போடு
வந்திருக்கும் மனதை எடை போடு
வேண்டியதை பெறலாம் துணிவோடு, continuing with

உன் பாதையிலே நான் ஊர்வலம் வருவேன் புதுமையை நீ பாடு...., tabla quickening and joins us to the pallavi.

The climax reaches with the quickened and raised beats of tabla, making everyone frenzy with its speed, flute raising along, matching the pace of the tabla that finishes its "rudra thaandavam".

I do not know, who played Tabla for this song(Mr. Prasad??), whoever it is, a Genius. And the composer who only can make it possible??? His knowledge, still remains a mystery.
_________________
Thanks and Regards,
Sriram Kannan.

Follow me at http://bibliomaniac-moviefanatic.blogspot.com/

[madhuraman]

Dear Sriram Kannan,
Your reference to K I Koil draws me back to some points to ponder over. Aaadaludan Paadalakkettu was a challenging number for any one to dance. Initially MGR faced some difficulties in sustaining swift-paced stances in the sequence. When movie makers thought of replacing L.Vijayalakshmi [ thinking that MGR FINDS IT HARD TO WORK WITH THAT ACE DANCER ] MGR insisted on retaining her. He took special sessions of training to bring forth articulate dsplay of rapid Bhangra movements. Rather he tok it a professional challenge and more than justified his dance capability in that long richly embellished musical bonanza. In fact, the song terminates with fantastic percussion beats that scintillate the movie observer.
Another point that has been in my mind all these years is the typical MSV TOUCH OF THAT MESMERISING 'HOI' in a vast range of songs especially those of the romantic duets. I have been thinking of compiling such a list. We know that MSV embellishes every piece in a way not possible for the average minds. 'HOI' has been a vocal pep that stretches the elixir of the mood far after the lyricist's play of words. 'Hoi' has been used as a terminal scintilator setting the musical pace that has to follow. Though the technique has been a patented trade mark of MSV, it has been more widely utilized in P.Susheela - numbers irrespective of the singer partner. What is curious is, various MDs have different styles of 'finishing' a song. BUT IT IS MSV WHO ELEGANTLY 'FINISHES' EACH LINE IN A SONG. Use of "HOI" has often electrified the mood of the song. A very rich brain indeed that is totally musical in every thing He does!Truly a marvellous creator -unparalleled is MSV . Thank you for this opportunity.
Warm regards Prof.K.Raman Navi Mumbai.
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Prof. K. Raman
Mumbai

[Ramesh.P]

Hi sreeram

Hope you heard post lude . What a finish. We can say MUSICAL FEAST BY EMPEROR. He gave different variety in this film.

Another point that has been in my mind all these years is the typical MSV TOUCH OF THAT MESMERISING 'HOI' in a vast range of songs especially those of the romantic duets

Immediately my mind goes to NILAIKANNADI KANNAM KUNDU AAGAMALAR KALLURAM KINNAM KONDU OOHO .

Minimai Kannmanyai kondavanai ennyedame thanthal unn annai unnai
OOO CHACH MAMMA PAPPA.

Unbeliveable. GOLD MINE IS THERE IN EVERY SONG. DIFFICULT TO UNEARTH.

regards
ramesh

[irenehastings]

Good analysis Sriram Kannan (as usual).

This songs posses

Special Pre-lude
Special Interlude
Special Postlude

From top to bottom (begining to end) what an electrified comppossing by our MSV sir..!!.

As you rightly mentioned it is 'Tabla Special'. Yes, no any drums or bangos were used. Fully out and out Tabla only used throughout the song. The way the prelude starts itself take us to some other level every time when we hear this song. Same experience to the entire song till the post lude comes to the end.

(another wonderful 'postlude special' is "aadaamal aadukiren" from Ayirathil Oruvan by our Mellisai Chakravarthi)

[saradhaa_sn]

'ஆடலுடன் பாடலைக்கேட்டு' அற்புதமான அலசல். அருமையாக நீங்கள் அலசி விட்டதால், அப்பாடல் பற்றி மென்மேலும் நான் சொல்லத் தேவையில்லை. நண்பர் ஐரீன் சொன்னது போல இது ஒரு 'தபேலா ஸ்பெஷல்' பாடல்தான். காரணம், வேறு தாள வாத்தியங்களுக்கு இதில் இடமேயில்லை. அந்த அளவுக்கு தபேலாவின் ஆதிக்கம்.

இப்பாடல் தொடர்பான ஒரு நிகழ்ச்சி....

ஒரு முறை ராஜா அண்ணாமலை மன்றத்தில் என்று நினைக்கிறேன். 'லக்ஷ்மண்-ஸ்ருதி' குழுவினரின் இசை நிகழ்ச்சி நடந்தபோது, இப்பாடல் பாடப்பட்டது. பாடலுக்கான முன்னிசை (PRELUDE) தொடங்கியபோதே கைதட்டல் பறந்தது. பாடல் முழுமையும் அமைதியாக ரசித்த கூட்டத்தினர், அசுர கதியில் புயலாக வீசிய பின்னிசை (POSTLUDE) அடங்கி பாடல் முடிந்ததும், பலத்த கைதட்டலால் பாராட்டு தெரிவித்தனர்.

பாடல் முடிந்ததும் மைக்கை பிடித்த லக்ஷ்மண் "ஒவ்வொரு முறை நாங்கள் கச்சேரி செய்யும்போதும், எங்கள் கச்சேரியிலேயே பலத்த கைதட்டல் பெறும் பாடலாக 'ஆடலுடன் பாடலைக்கேட்டு' என்ற இந்தப்பாடல்தான் இருந்து வருகிறது. இன்றைக்கும் அதுபோலத்தான். இந்தப்பாடலை உருவாக்கிய அண்ணன் எம்.எஸ்.வி அவர்கள் சாந்தோமில் இருக்கிறர். அவருக்கு கேட்கும்படியாக மீண்டும் ஒருமுறை பலமாக தட்டுங்கள்" என்றார்.

அரங்கம் அதிர்ந்தது என்று சொல்ல வேண்டுமா..??.
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Saradha Prakash

[baroque]

Genre BHANGRA, the song rocks with the untraditional usage of TABLA as percussion!

In ANBEY VAA too there is a BHANGRA music during the scene SIMLA YOUTH CARNIVAL. Here the composer has delivered the traditional punjabi folklure dance musical piece followed by a ballroom dancing musical piece for ice skating - Gracious fairytale musical movement supports the exquisite smiles and lifts of the dancers.
WAY TO SHRI.MSV!!
Shri.MSV promotes love and beauty with his music!! I am grateful for his heart and wisdom!
Outstanding narration by Mr.Sriram!

[rajeshkumar_v]

ஆட‌லுட‌ன் பாட‌லை கேட்டு ர‌சிப்ப‌திலே தான் சுக‌ம் சுக‌ம் சுக‌ம்.. இந்த‌ பாட‌லை எத்த‌னை முறை கேட்டாலும் சுக‌ம் சுக‌ம் சுக‌ம்..

நாட்டிய‌ தார‌கை விஜய‌லெக்ஷ்மியுட‌ன் ஆடுவ‌த‌ற்கு முத‌லில் த‌ய‌ங்கிய‌ எம்.ஜி.ஆர் பின் பல‌ முறை த‌ன்னை தேற்றிக் கொண்டு ஆடிய‌த‌ன் ப‌ல‌ன் த‌ன்னால் ஆட‌வும் முடியும் என‌ நிரூபித்தார் என்றால் மிகையில்லை.

அதே போல் ஆல‌ங்குடி சோமுவையும் ந‌ம்மால் ம‌றக்க‌ முடியாது. அவ்வ‌ள‌வு அழ‌காக‌ பாட‌லை இய‌ற்றியிருப்பார். டி.எம்.எஸ்,சுசீலா ப‌ற்றி சொல்ல‌வும் வேண்டுமோ ....

[Ram]

One of my relatives (my father's cousin) is a great fan of M.K.T, P.U.Chinnappa, G.Ramanathan. (Era before MSV). He likes film songs based on classical Ragas. But when he listens to this number he will start dancing and he will have no words to describe the rhythm and the application of the Raga.

The perception of this kind rhythm and application of Sindhu Bhairavi this way - who will not like this marvel!

Again, a beautiful writeup Sriram !!!
_________________
Ramkumar

[sriramp]

I like this number for its orchestration.

If we look at " sugam, sugam, sugam.... iss... ha iss.. ha iss.. ha...", I think MSV is really canny here, he came up with a bangra tune so that he can evade the censor board with this hush-hush noise and at the sametime perfectly fitting the sugam sugam pallavi. If it is not for the bangra background here, probabaly this song would not be in the movie.

Someone mentioned about MSV's use of hoi, this is my observation -- it is not always hoi, it is hai, Look at this

ondru nan tharava idamaga.... hoi hoi hoiya -- boyishly teasing in high pitch here

vendiyadu peralam thunivodu... hai hai haiye -- entice femaninely in low pitch.

Now we know the difference between hoi and hai

THAT is WHY MSV IS A GENIOUS. CREATIVITY IS HIS FAVORITE PASSTIME.

Its a lesson to all the present generation music directors to know how to express Bhava in a song, even if it is indecent

[S.SAMPAT]

Dear Sriram Kannan,

Wonderful analysis. What a TABLA. What a wonderful execution of Tabla.
What a different kind of patterns. Sabesan sir who is the tabla player?Great player indeed!! But Sriram, this kind of rythm pattern are being immediately conceived only by MSV himself at the time of recording. I can tell this with my experience of seeing MSV recording. Master himself makes the tabla pattern orally. He himself tells the nadai. One of the rythm players told me that no one else can spell out nadai orally like MSV sir.

What a song!! Who else could create such a song !!! Mindboggling!

With love,
Sampat

[Damodaran Pachaiappan]

Fantastic write up about a fabulous song. Of late, I must admit that I am almost addicted to this song! For the past few weeks, every evening ( it is so late I should call it night ) , I listen to this song as soon as I enter my house after work. It refreshes me immensely. My tiredness vanishes as I listen to this foot tapping number. The pace is unbelievable. Tabla at its best!
Orchestration is phenomenal. Not a single missed beat. Even the chime that comes at the end of each line is so crafty. One needs to listen to this song on a good music system to appreciate the intricacies of the orchestration. I get a feeling of a multi-tier of instrumentalists like a BBC prom although in reality, our Mellisai Maamannar would have used only a fraction of the number.I wonder how this song would sound if recorded on a modern day multi-tract system.It would simply blow you away. The lyricist deserves praise as well. TMS and P Susheela have sung this song as no other singers could. Exemplary Perfection. Nothing less would satisfy our beloved MSV.

The information from Professor about the song itself is interesting. Indeed, MGR had performed/danced very well in this song almost matching L Vijayalakshmi's.
But ultimately, it is the composition, choice of instruments and orchestration that make this song so appealing to me.

How can I ever thank Sangeetha Saraswathy Shri MSV for the delightlful evenings?
_________________
Dr.Damodaran Pachaiappan

[madhuraman]

Dear Dr Dharam
How to thank Sangeetha Saraswathy? - concludes your last posting on the subject. Honestly there is no way of doing it. Yet, one can do a few things. Admirers of the legend [like your goodself], if they choose to keep their site visits regular by posting their responses, would certainly add colour and variety to our efforts besides giving that 'satisfaction' of sharing something with fellow admirers. I hope my request is not out of place. Cetainly in a day of 24 hrs , 5 minutes for MSV is not asking for too much. This is my appeal to ALL ADMIRERS OF THE LEGEND. Let us rejuvenate our site . Thank you .
Warm regards Prof.K.Raman Madurai.
_________________
Prof. K. Raman
Mumbai