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[madhuraman]

Dear Friends,
In continuation of what has hitherto been said, we are now into the delightful domain -"kAdhalikka nEramillai" songs that stay fresh and keep growing young by the sheer beauty of their orchestral embellishments as much as for the youthful flamboyance in them.
1.' enna pArvai' KJJ PS
Helped the entry of KJJ into TF by a path-breaking tune. The opening of the movie on this song rightaway made a huge impact on the audience and everyone was deeply committed to follow the movie from the word go. Also, perhaps no other opening would have generated appeal as was managed by this song at the University backdrop and the mesmerising Marina in broad daylight.

2. 'viswanAthan vElai vENum' PBS and Co
A song packed with a mood of riot, rendered in keenly delivered in chorus pumping in moods of fear into Baliah especially when PBS utters in hollow sound 'rAthiri nErathil, thookkathil nan oru rAtshasan pOl varuvEn' when the entire orchestra is withdrawn- a thoughtful elevation of mood by MSV. Though a boogie woggie number, its placement and the stand taken by Baliah and family on the occasion drive the thin story in elegance.

3. 'unga ponnAna kaigaL' PBS
Another song of a teaser aptly worded to convey the alternative for the jobless Ravichandran in the remote hills of the estate and certainly the orchestration provided for all the action that gowith this number.

4. ' anubhavam pudhumai' PBS PS
A deeply seductive element runs through the song picturised with night effect [ nighties dor women were not this much popular then] in arrested lighting and emotion -packed when PS whispers 'peNNenna peN endru' in a silent zero-instrument moment in the song. The song broke the then habit of dialogue -based expression of love in parks/gardens and also portrayed the plight of the pair as individuals in their premises.

5. 'kAdhalikka nEramillai' S G
An apparently light number but deep in suggestion of virtuosities of the aged merely to honour the 'role donned ' by MR in the sequence, well placed as a refurbishing occasion to restore MR's leaning to Kanchana.

6. 'malarendra mugam' LRE MS Raju
Truly a restorer song for the treatment of comedy in TF providing ample scope for all actors besiding showcasing the dance talents of Nagesh [choreography -THANGAPPAN]. A high profile orchestration and its success tempted movie-makers to try similar sequences in subsequent movies.

7. 'nALAm nALAm' PBS PS
A poetic piece rendered to epic dimensions and holding its fort unchallenged for decades and still creating the same mood for listeners any number of times and even for those who hear it for the first time now. Words fail me to describe the impact.

8. 'Nenjaththai aLLi' KJJ MS RAJU PS LRE Anjali[LRE's sister]
What a controlled piece considering the meandering course set for the tune as it goes with or without accompaniment. A grand feast of a song after which 'repeat audience' used to leave the auditorium as for them, it was the real climax in terms of enjoyment.

Eight songs in a row all power-packed absolutely relevant by lyric, orchestration and total appeasement for nth listening. What a grand MD is he, proved MSV in that distant 1964 itself.

Certainly KN set several things to a new trend in movie making.
Friends please add your perceptions.

Warm regards Prof . K.Raman Madurai.
_________________
Prof. K. Raman
Mumbai

[Baskar CS]

what to say prof as you have told almost everything .
apart from the directors or other crew of any film the role of master is setting the standards of music thru films of those decades is something unparalell in any terms

waht a man ,music and mighty he is . stands tall

[Vatsan]

All songs reflect the overall theme of KN, a laughter spree. A dash of a sentimental touch is all that is incorporated within "nALAm nALAm" and yes, ofcourse a whiff of serious romance in "anubavam puthumai" but all laid out on the bed spread of sunny lightness. MSV is a past master when it comes to getting all songs in a movie "flock" together as birds of a feather, but yet distinct. He sure exists in the subtlest of subtle realms in music.

Every song has its noteworthy Ahaaa moments apart from being classy on the whole, the chromatic upward violin surge when the charanams of "mAdi mElE mAdi katti" rocks and rolls and lies outside the ambit of a typical Rock & Roll number. "nALAm nALAm" is a sheer musical explosion brims forth, gently caresses, teasingly meanders leaving us on tenterhooks ending with the whiplash of the pallavi repeated with undulating folds. The interludes are the ultimate examples of cohesiveness, plucks at the mandolin combined with vibraphone, gentle violin sways agreeing, staccato piercing pieces from flute / piccolo emptying into the ever waiting arms of now a comparitively becalming violin passage that nudges the charanams to start and ofcourse, rolls on the tabla making an announcement of that very event. Every change in the flavour of melody is underlined by appropriate changes in tabla beats add to the "gait" of the tune. Verily, a mesmeric masterpiece likes of which evade all other composers, big and small, fat and lean. "enna pArvai" smells of a 25 year old in its 46th year of existence. Object lesson for other composers, big and small, f.....n. The enticing guitar counters that celeberate the move of tune in the charanams to the culmination point as in "akkam pakkam yArum illai" tickle and nudge the listener at the same time. The sax now reels under the domino effect, takes off to pass the baton onto the next charanam. The first interlude is always a treasure trove of listening pleasure with the electric guitar hitting a high with the mandolin(s) decorating the lower registers. Then a little bit of byplay between the two and atlast, the surge-retreat play of violins happen, much like the waves surging, receding and surging through again, a little differently. That eventually makes way for the accordian, a mute spectator until then, to intrude. The accordian has had enough of waiting on the wings and signals the charanam to kick-off. If "youthfuless" had some taste in music, its favourite number would be "enna pArvai". Undoubtedly. Now add another love-couple to this feel and you have "nejathhai aLLi konjam thA". Innumerable masterpieces has this live-wire of a composer churned out, set to the raggae beat. The wood block is also roped in, and so is the whistle. The pallavi has voice overlay in "thirds" also incorporated especially after the charanams, a grand master stroke. Life.....please get submerged in this light-hearted music miracle and stay there !!! The world would be a much better place to live in!!!

More later...