Minimum 500, preferably 1000 rAsA songs with nice lyrics, not written by VM

nanRi V_Sji!

Contrary to a popular opinion present today due to propaganda - that only BR brought all grAmaththu business to TF & got ably supported by VM / without those two TN wouldn't have had "maN vAsanai" / Madurai is a mottai gOpuram etc - it was IR who had single-handedly celebrated TN FOLK in TFM!

Right from annakkiLi which was 1.5 years prior to 16V!

He had done it with or without BR (and obviously mostly without help from VM).

In the course of this thread, we'll catch all those non-BR village songs with terrific pAdal varigaL, as well as "BR-but-no-VM" village songs with nice pAdal varigaL! (I've done some of that in the GA thread but we have opportunity to include every lyricist here)!

The purpose of a song in a film is to service an emotion at that point or to drive the story forward. When it services an emotion, elevating the viewing experiencing by excelling in the music composition is something a director would be grateful if a composer can pull it off. By that mark, Enna Samayalo is a song which elevates the viewing experience with quite some class. Of course, there is Kamal, Manorama and KB. But taken separately also, the song will be a masterclass. But even while putting it within the context of the situation, the fact that it comes up trumps and to use the word, is very ஜனரஞ்சகம், is a credit to the composing skills of Ilayaraaja. The composition is the real deal here. Not the picturization or the actors. In fact, picturizing the song seems more an excuse to air this song. Lyrics by Ilayaraaja.

I mentioned the song is a masterclass. Why so? It is one of its kinds in the music world. Yes, not just in cinema, but in music. It is a Ragamalika, i.e. more than a raaga in one song (which is not very novel and not the main point but is more incidental). The film’s original was Rudraveena in Telugu which got Raaja a national award. This song though is absent from the original and it’s possible to see why. Raaja composed this song nearly a decade back for the unreleased Manipur Mamiyaar as Samayal Padame. That was also written by Raaja. He merely reused with most of the lyrics here with mild alterations to suit this situation.

The sister-in-law kicks off the interest here (the hero and his sister just set things up till then) with “adiye, Mohanam” and the ragam is Mohanam. The sound created by the synth (?) to mimic the oodhu kuzhal (while staying true to Mohanam) as the sister coughs in front of the fire is wow detailing (with film music, you travel with the surroundings and re-create the sound, something you don’t have to do for classical music since it is on stage and conveys a song, its meaning and the associated bhAvam. That way, film music, where the musician travels with the visuals is a challenge in itself).  And what does one say about Chitra’s coughing which fills in the thALam! It is all a part of the same composition! The Nadhaswaram carries the Mohanam onto Kalyani, beautifully underlined by the following lyrics, “Kalyani… Kal… Aani…” each being separate words (SPB’s shhh… aaNi is worth noting. The shhh also fills in the thALam and is a part of the composition). Pun for us in the lyrics with the song travelling for the visuals!

But what follows knocks the breath off because he brings in something even classical musicians find difficult to compose called Swaraksharam, i.e. the swaram and the aksharam, the lyrics, will be the same. With “Gari Gari Gari Karikaaigalum enge, kariveppilai enge” and “Ma ma ma ma ma manjal podiyum enge? Masala podi enge” he introduces us to swaraksharam. Ma is the swaram and also comes with Manjal and Masala (where Ma is also the swaram in those words). It goes on to “dha ni dha ni dha ni dha ni dhaniya irukka?” and on to “ni ni ni… poruni… gavani” where dha and ni are the swaras.

Finally he delivers the knock-out punch. Nadhaswaram again takes Kalyani onto Vasantha, the next ragam, and the lines go “Sa dha ma ga tha ma dha ma” or, in other words,”Sadham aaga thaamadhama?” Swaraksharam in a casket. Genius! It continues with “Ga ma ga ma ga ma ga ma ga ma ga ma vaasam varudhe” (Ga and Ma) and “Sa ri Sa ri Sa ri Sa ri Sa ri Sari viLayaattugaL pOdhum” (with Sa and Ri). "Dha Ma Dha, Ma Dha Ni Sadham Ready aa?" (Madhani meaning woman and also being the swaram here). The Nadhaswaram (which serves as a bridge for every raga in this song) takes us to Madhyamavathi and the song ends.

The song is just replete with such detail that it rivals any classical composition in its complexity (lyrical and musical, for it is a proper Ragamalika with 4 Ragas, making it an eminently appreciable composition as such) and yet is enjoyable for the common man with the lyrics being pretty down to earth (often silly, like "Saadhamaaga thaamadhamaa?" but there is stuff beneath the surface which is precisely the depth we speak about and also, the words even otherwise fit the sandham well and sit beautifully in the tune; irukkAdhApinna? tune, lyrics reNdum oNNu dhAnE inga nowhere do you see the marriage of words and tune with a sonic flourish better than in a swaraksharam because the lyrics and tune are one and the same) and tasty (literally) yet quite rich in depth.

Indeed, a song where the swaras in each of the raagas employed come to aid the lyrics while singing that particular raaga (imagine the subtlety involved) without compromising the actual raga and the surrounding visual noise of rice boiling to the singers’ coughing and flinching organically forming a part of this song warrants this as a compelling masterclass. And to think one man both wrote and composed this. And to think this wasn’t even the song of the film. Proves. Why. Raaja. Is. God. Compelling add on here.

Excellent, DM, on samayal pAdamE

Nice recap on that melancholic line of 'pAtti ingE' V_Sji!

I'm thrilled the way this thread is going - though we've set a numerical target, the purpose is not to list thru in a rush. We rather want to dwell on the brilliant lines penned by various lyricists under rAsA's baton and relish, while dispelling any quality-related myth and proving to the world that his songs are no less to anything that came after

Interestingly, it helps me in another way too (need not rush thru collecting data into excel amidst the crowded days at present, I can do ArAm sE )

DM,
Brilliantly dissected intha paattellaam vEra yaaraalayum compose paNNa mudiyaathu. This is not just a song, our daily life is imparted in it combined with clever notes and word play. As I said many times, the versatility in the mood and emotions which tamil film music is famous for, is coming down to just one or two nowadays. Many such fun and thought provoking songs are no more composed. It is surprising none is interested in the versatility nowadays and contended with whatever current music directors give and go sky praise for such mediocre stuff. That's the order of the day.

Another song from the same film Poovizhi VaasalilE (1987). The song which disturbed me a lot. Every line is a gem. Lyrics by Muthulingam. Muthulingam conveys the agony of the kid beautifully in 'தப்பி வந்த சிப்பி முத்தே உன்னைப் பெற்ற தாய் யாரு'. From the lyrics we can feel for the kid. He conveys everything about the kid and also adds the impact the man has who takes care of the kid.
கண்ணில் உன்னைக் காணும்போது எண்ணம் எங்கோ போகுதைய்யா
என்னை விட்டுப் போன பிள்ளை இங்கே உந்தன் கோலம் கொண்டு
வந்ததென்று எண்ணுகின்றேன் வாழ்த்து சொல்லி பாடுகின்றேன்

The pinnacle moment of the song is when lyricist conveys the kid's sorrow in just two lines;
இது பேசா ஓவியம்
இதில் சோகம் ஆயிரம் (  )

The song concludes beautifully without 'hanging in the air' lines.
என் வாழ்வில் நிம்மதி அது உந்தன் சன்னதி


சின்ன சின்ன ரோஜா பூவே
செல்லக் கண்ணே நீ யாரு
தப்பி வந்த சிப்பி முத்தே  
உன்னைப் பெற்ற தாய் யாரு
சொல்லிக் கொள்ள வாயும் இல்லை
அள்ளிக்கொள்ள தாயும் இல்லை
ஏனோ சோதனை
இளநெஞ்சில் வேதனை

சின்ன பிஞ்சு நெஞ்சுக்குள்ளே என்ன என்ன ஆசையுண்டோ
உள்ளம் தன்னை மூடிவைத்த தெய்வம் வந்தா சொல்லும் இங்கே (what a way to express unhappiness, God who closed his heart, wow!)
ஊரும் இல்லை பேரும் இல்லை
உண்மை சொல்ல யாரும் இல்லை
நீயும் இனி நானும் ஒரு ஜீவன் தானடா
சோலைக்கிளி போலே என் தோளில் ஆடடா
இது பேசா ஓவியம்
இதில் சோகம் ஆயிரம்

கண்ணில் உன்னைக் காணும்போது எண்ணம் எங்கோ போகுதைய்யா
என்னை விட்டுப் போன பிள்ளை இங்கே உந்தன் கோலம் கொண்டு
வந்ததென்று எண்ணுகின்றேன் வாழ்த்து சொல்லி பாடுகின்றேன்
கங்கை நீ என்றால் கரை இங்கு நானடா
வானம் நான் என்றால் விடிவெள்ளி நீயடா
என் வாழ்வில் நிம்மதி அது உந்தன் சன்னதி

I used to be one among the naive people who thought VM introduced so many novelties to TFM lyrics

Recently, one (more) of those got removed by a chittukkuruvi song.

தாமரைக்கொடி!

I thought it was a VM-novelty in the pallavi of a fav song from Anandhakkummi. Now, in this seemingly pattikkAttu song Vaali had just like that used that phrase...

அடடட தாமரக்கொடியே இது ஓந்தோள் தொடரல்லியே
செல்லக்கண்ணு சின்னப்பொன்ணு இதை நீ நினைக்கலியே அணைக்கலியே

அட, போறபோக்குல அப்படியே "அசால்ட்டா" தூக்கிப்போட்டிருக்காரு!

The song itself is a nice poem, with the girl fancying herself to be a fruit (or a bunch of fruits) and imagining the boy to be a parrot. It's an yearning song, asking "the parrot to take advantage of the fruit" in a metaphorical manner. Both in pallavi & in a saraNam, the girl uses this method :

அடடட மாமரக்கிளியே
உன்னையின்னும் நான் மறக்கலியே
ரெண்டு நாளா உன்னையெண்ணி
பச்சத்தண்ணி குடிக்கலியே

அடடட மாதுளங்கனியே
இதை இன்னும் நீ நினைக்கலியே
கிட்டவாயேன் கொத்திப்போயேன்
உன்ன நான் தடுக்கலியே மறுக்கலியே

In addition, the song gets into one main country-side cultural reference as well (of women using turmeric, this common practice among middle-class and below people of TN is often made fun of by Keralites...OTOH, in TN, there are a lot of things attributed to turmeric usage...well, that is a topic for another post in detail, but here let us just mention that the girl believes it to enhance her beauty and make her attractive to the boy):

ஒன்ன நெனச்சே மஞ்சள் அறைச்சேன்
மாசக்கணக்கா பூசிக் குளிச்சேன்
அட என்னாட்டம் ராசாத்தி எவ இருக்கா சொல்லு!

Then there are a couple of uvamai business, thrown just like that, effortlessly by the poet :

உப்பக்கலந்தாக் கஞ்சி இனிக்கும்
ஒன்னக்கலந்தா நெஞ்சு இனிக்கும்
அட பரிசம் தான் போட்டாச்சு பாக்கு மாத்தியாச்சு

மீனப்புடிக்கத் தூண்டி இருக்கு
நீரப்புடிக்கத் தோண்டி இருக்கு
அட ஒன்னத்தான் நான் புடிக்க கண்வலயப்போட்டேன்

Then there's another purANa reference plus "thalaivan-thalaivi" business, again thrown-in effortlessly :

அடடட மம்முதக்கனையே
வந்து வந்து மயக்குது எனையே
இந்த ஏக்கம் ஏது தூக்கம்
பாயைப்போட்டுப்படுக்கலியே புடிக்கலியே

The song was a patti-thotti hit during its arrival. Not just the first line of the song, even the movie's name itself is a testimony of IR as a trend setter those days.

Yes, following the big success of annakkiLi, there was kavikkuyil, chittukkuruvi, pAlootti vaLarththa kiLi kind of movie names one after another. Also songs that started in similar style, like this mAmarakkiLi, Ala maraththukkiLi, kuyilE kavikkuyilE kinds

To watch (only 2 stanzas) : https://www.youtube.com/watch?v=iYOrwn0HQaI
Listen to all 3 saraNams by clicking HERE !

How about this by Vaali? Simple, but powerful lines beautifully capturing the euphoria of an artist whose dreams are fulfilled. No nonsensical stuff, no contrived phrases. VM has definitely made me acquire a keen appreciation for the absence of these elements.

மடை திறந்து தாவும் நதி அலை நான்
மனம் திறந்து கூவும் சிறு குயில் நான் 
இசை கலைஞன் என் ஆசைகள் ஆயிரம் நினைத்த்தது பலித்த்தது ஹே.. 

காலம் கனிந்தது கதவுகள் திறந்தது 
ஞானம் விளைந்தது நல்லிசை பிறந்தது 
புது ராகம் படைப்பதாலே நானும் இறைவனே 
விரலிலும் குரலிலும் சுவரங்களின் நாட்டியம் அமைப்பேன் நான்

நெற்ரின் அரங்கிலே நிழல்களின் நாடகம் 
இன்றின் எதிரிலே நிஜங்களின் தரிசனம் 
வருங்காலம் வசந்த காலம் நாளும் மங்களம் 
இசைக்கென இசைகின்ற ரசிகர்கள் ராஜியம் எனக்கே தான்

Another very excellent song. Will find a place in my top 25 Raaja songs of all time. Innum Ennai Enna Seyya Pogiraai. Have written about this too in my blog. The lyrics is ilai marai kaai excellence which the lyricist, err RV Udhayakumar (I mean, who'd have thought?!), writes wonderfully.

The charanam is the real deal. thALam is set to kaNdam (beat of 5, i.e. tha ka tha ki ta making it 5 sols or phrases). The vocals follow the thALa pattern obediently from “paadi varum vAnmadhiyE” to mOga pari pooraNiyE”. But when S Janaki starts with “poovOdu dhAn sEra iLam kAtru pOrAdum pOdhu”, the vocals digress to a beat of chathusram (beat of 4, i.e. tha ka dhi mi making it just 4 phrases) but the thALa pattern in the background remains kaNdam, i.e. 5. He is moving away from nature. The song will not come back to samam, i.e. equilibrium when the charanam ends if the vocal tune follows a beat of 4 but the actual thALam runs to a beat of 5. He however brings it to samam with the podi sangathis at “podhuuuu…” (in “poovOdu dhAn sEra iLam kAtru pOrAdum pOdhu”) and “poduuu…” at the end of Janaki’s 2 lines where the vocals go to chathusram and the lyricist on cue goes “sErAmal theerAdhu idam pArthu theermAnam pOdu…” as if asking the composer to follow nature and take the song back to equilibrium (theermAnam pOdu). A marriage of lyrics and music of this quality obviously results in the song being the wonderbar it is.

Lyrics:

இன்னும் என்னை என்ன செய்ய போகிறாய்? அன்பே அன்பே...
என்னை கண்டால் என்னன்னவோ ஆகிறாய், முன்பே முன்பே...
கைகள் தானாய் கோர்த்தாய்!
கட்டி முத்தம் தேனாய் வார்த்தாய்!
இன்பம் இன்பம் ஸ்ரிங்காரலீலா! (Where the tune has different phrases, look at the poet bringing in a portmanteau that sits well in the tune; Sringaara+Leela. Osai nayam in a nutshell)

பாடி வரும் வான்மதியே!
பார்வைகளில் பூம்பனியே!
தேவசுக தேன் கனியே!
மோக பரிபூரனியே! (Pari+Poorani. Sits well again as a single word split by the tune since that word is a portmanteau)
பூவோடு தான் சேர
இளங்காற்று போராடும் போது...
சேராமல் தீராது
இடம் பார்த்து தீர்மானம் போடு...
புது புது விடுகதை தொடத் தொடத் தொடர்கிறதே...

இன்னும் என்னை என்ன செய்ய போகிறாய்? அன்பே அன்பே...
என்னை கண்டால் என்னனவோ ஆகிறாய், முன்பே முன்பே...
உன்னை சேர்ந்தாள் பாவை!
இன்னும் அங்கு ஏதோ தேவை!
சொல்லு சொல்லு சிங்காரவேலா! (Singaara+Vela )

தேன் கவிதை தூது விடும்...
நாயகனே மாயவனே!
நூல் இடையை ஏங்க விடும்...
வான் அமுத சாகரனே!
நீ தானே நான் பாடும்
சுகாமான ஆகாசவாணி...
பாடாமல் கூடாமல்
உறங்காது ரீங்கார தேனீ...
தடைகளை கடந்தினி
மடைகளை திறந்திடவா!

இன்னும் என்னை...

    just for the lovely way in which the words sit on the tune throughout the song and of course, the depth from RV Udhayakumar is pleasantly surprising.



Can gush more just on the music apart from the kaNdam/chathusram magic. But this is a lyrics thread. This ought to do

Another nice song & nice post, DM!


fring151,
Great song you've quoted!

Your post on 'madai thiRandhu'

Simple, but powerful lines beautifully capturing the euphoria of an artist whose dreams are fulfilled

also triggered an important thought in my mind, on this very special song.

I can't help but can only explain in a long post...will try to make it as engaging as possible
(post to follow sometime today...)

நேற்றென் அரங்கிலே நிழல்களின் நாடகம்
இன்றென் எதிரிலே நிஜங்களின் தரிசனம்

Even when music is the focal point of many of us w.r.t films, at some point all of us will have to agree with the likes of P_R (that a movie is mainly story-telling). That way, one main responsibility of a poet engaged in a movie project is to get the main theme of the movie inside the songs, in as few words as possible.

Vaali is acclaimed for such ability as one can read from various accounts that got published at the time of his death. One of them became well-known to super singer program watchers thanks to Gopi. (That of Vaali summarizing silappadhikAram in just 4 words poetically : புகாரில் பிறந்தான், புகாரில் இறந்தான். Gopi, however, became gObi masAlA when he tried to explain it, sodhappifying as "கண்ணகியின் புகாரில்" )

நிழல்கள் is quite a poetic title! I wonder if that was the idea of the writer of the movie (Manivannan, that brilliant, well-read fellow) and not of the director. The conceptualization of all 5 characters (all of them depicted on the vinyl cover) got nicely centered around that title. If it was in the hands of someone like Adoor G, Aravindhan, MTV/Hariharan or even Balu M, we would have got a terrific arthouse product. OTOH, it fell in the hands of a commercial compromise fellow BR, very shabbily implemented on screen, got publicized improperly ("story of unemployed youths" nonsense) and made to compete with Kamal's VNS - only to be beaten out of shape

Despite all that fantastic effort by technicians / team members that topped with a grand IR album / score, it became a dud in the eyes of both serious movie watchers and common public because of the lack of vision / skills of the team lead, BR, who had severe limitations. In addition, he hired actors of severe limitations who couldn't do justice to the poetic characters written.

Regardless, Vaali captured the essence of நிழல்கள் so beautifully in those two lines I quoted above!

Aren't நிழல்கள் translated "shadows"? In a sense, yes! However, there is much more to it as well-brought-out in the song. Looking from the PoV of each main character, it could be rendered as any of the following:

so near yet so far
mirage
expectations unfulfilled
needs not met
dreams unrealized
எட்டாத கனி
தொட முடியாத வானம்

Still, the objectives weren't that "out of reach"...they all appeared so close, real, obtainable, achievable and yet...yet...yet...in each case, it became elusive.

Like the shadows of the mountain, or the shadows of the cloud. One can see, hide under, go near - yet the real thing is not anywhere near. Not reachable! It's just optical illusion!

Like the photographs of the favourite star (remember, they use the term "நிழற்படம்"). All that one can get close to are those pictures - never can touch, feel the real person.

Like the images on screen that are essentially "நிழல்கள்" of pictures on a transparent film - when powerful light passes thru. One can see, feel close / get attached / moved / affected, why even innermost emotions stirred strong by them, but...but then, they are never real

Now apply the situation of all the central characters of the movie to the two lines of Vaali in this song :

நேற்றென் அரங்கிலே நிழல்களின் நாடகம்

Each one feels some objective is reachable (job, love, career etc), even thinks it is very close - like a mirage, like a screen image, like a shadow. There's confusion as to will they really reach the real thing, however.

Then comes the closest moment(s) of elation :

இன்றென் எதிரிலே நிஜங்களின் தரிசனம்

Alas, in each case, it finally proves to be not a நிஜம் but only a நிழல்

Well, while the movie didn't prove to be the poem it was originally intended to be, at the minimum, rAsA-Vaali team did complete justice in this awesome song!

Awesome write up on Madai thirandhu, App! This is an iconic song in every sense. Thankfully I haven't seen the movie.

Wow! Superb post app ji Lines to be etched not just in film music/poetry world, but in real world too.

Wonderful writeup App on Nizhalgal. Never thought of the word Nizhalgal to depict all those different meanings that you mentioned. Coming to the movie, I still cannot forget that ominous background score played out when Rajasekar runs in slow mo on the beach conveying his unrealized dream or etta kani. Have to watch the movie yet another time atleast for the score.

mikka nanRi fring151, V_Sji & rajkumarc for the kind words!

Yes, it's an iconic song that gives me a kick each time I listen to the SPB giggle when singing "rAjjiyam" in the end of 2nd saraNam - acknowledging happily the occasion of Vaali's coronation of IR

Consider the effortless outpour of metaphors by Vaali (thAvum nadhiyalai, koovum sirukuyil)...

In every way, this song is a celebration for all admirers of rAsA!
(One good thing BR did was to show IR on screen for this song  )

fring151 wrote:Thankfully I haven't seen the movie.

Keep it up

Excellent write up appji!

nanRi DM

BTW, please check the "myth-busting" thread, I've added two posts there

One more thing, I want "responsible" IRFs to run a twitter series for IR's non-tablA songs and have the tweets posted into a new thread, to adequately cover the nonsense tablA-rAjA myth...let me open the thread and also initiate a "relay-tweets" in twitter.com

Hope to get the twitters contribute with 100's of tweet relays which I'll collect and deposit in the thread (I'm not sure if V_Sji can do some magic to automate the tweet-collection into that thread, like they do in the hub, which would be a nice-to-have)

I am not big on lyrics and I could be wrong. I do not keep exact tabs on who wrote which song. Here are a few songs from the 80s/90s that do not appear to have VM, but have some real great lyrics:

1. Amudhe Tamizhe Azhagiya Mozhiye from Kovil Pura
2. Kaalai thendral from Uyandha Ullam
3. Poonkatrile Kaalai from Paatu Paadava
4. Ponnil Vaanam Poothathu Kolangale from Villu Paatukaran

I used to hear a number of Kannadasan songs played in my early school days in the assembly. When I grew up, I used to wonder, why not replace those with these IR songs that have equally great lyrics.

Are any of these by VM?

காதல் மகராணி கவிதை பூ விரித்தாள் - காதல் பரிசு. This is the song I like the most in this film. Before touching the lyrics part I totally love the way the charaNam starts step by step with short phrases (பூவை நீ பூமடல், பூவுடல் தேன்கடல்), then a long phrase (தேன்கடலில் தினமே குளித்தால் மகிழ்வேன்), then again followed by the short phrase keeps us guessing all the time, what would be next. Maestro finishes brilliantly with இன்பம் கோடி ஊஞ்சலாடும் உள்ளம் போகும் ஊர்வலம் when one expects he would finish jumping to higher octaves to catch the pallavi phrase 'காதல்' while he kind of descends with உள்ளம் போகும் ஊர்வலம் teasing us heavily.

For 'orchestra ignorants' where they claim brass is gone by early 80s, this film was in 1987 and this song is full of brass section. For 'tabla ignorants', this song does not use tabla at all. For 'non-VM detractors' this song is by Muthulingam and has excellent lyrics way way better than ஏய் உன்னை தானே by VM from the same film. This songs hits three mangoes in one stone (shot).

The best part of the lyrics is right in the starting lines itself. Lyricist brings in a beautiful phrase 'கவிதை பூ விரித்தாள்'. He further explains the impact of this kavithai in the second line; புது கவிதை பூ விரித்து கனவில் தேன் தெளித்தாள். He adds the word 'புது' nicely there.

I am totally in awe for these lines; What a thought!
கண்ணே உந்தன் கூந்தல் ஓரம் கண்கள் மூடி தூங்கும் நேரம் இன்பம் கோடி ஊஞ்சலாடும் உள்ளம் போகும் ஊர்வலம்

If this is not enough, here comes the cracker of a line; He says, he sees a sparkling beautiful painting through the glowing light of her face, which makes him believe that it is day not night. என்ன ஒரு அதீத கற்பனை!
உன் முக தீபத்தில் ஓவியம் மின்னுதே
உன் அழகால் இரவை பகலாய் அறிந்தேன்

The last line is again a great finisher! They want to enjoy everything in the world and also search/explore the celestial heaven in the earth itself. Super stuff!
மண்ணில் உள்ள இன்பம் யாவும்
இங்கே இன்று நாமும் காண்போம்
அன்பே அந்த தேவலோக சொர்க்கம் இங்கே தேடுவோம்

Finally, lyrics does not contain embarrassing words. Great love song, written with composure with no extravagant stuff.

காதல் மகராணி கவிதை பூ விரித்தாள்
புது கவிதை பூ விரித்து கனவில் தேன் தெளித்தாள்
முத்து போல் சிரித்தாள்
மொட்டு போல் மலர்ந்தாள்
விழியால் இவள் கணை தொடுத்தாள்...இந்த

பூவை நீ பூமடல்
பூவுடல் தேன்கடல்
தேன்கடலில் தினமே குளித்தால் மகிழ்வேன்
மான்விழி ஏங்குது
மைய்யலும் ஏறுது
பூங்கொடியை பனிபோல் மெதுவாய் தழுவு
கண்ணே உந்தன் கூந்தல் ஓரம்
கண்கள் மூடி தூங்கும் நேரம்
இன்பம் கோடி ஊஞ்சலாடும் உள்ளம் போகும் ஊர்வலம்

பஞ்சனை கூடத்தில்
பால் நிலா காயுதே
நான் எனையே மறந்தேன் கனவில் மிதந்தேன்
உன் முக தீபத்தில் ஓவியம் மின்னுதே
உன் அழகால் இரவை பகலாய் அறிந்தேன்
மண்ணில் உள்ள இன்பம் யாவும்
இங்கே இன்று நாமும் காண்போம்
அன்பே அந்த தேவலோக சொர்க்கம் இங்கே தேடுவோம்

Nice write-up, V_Sji!

My fav song from the album

Muthulingam definitely had some nice songs...

ravinat,
Those are nice songs!

Recently, somebody posted a youtube link on twitter which was an old news video when the film field felicitated MGR for his "Doctor pattam". It briefly captures IR singing on a stage (with Gangai Amaran conducting orchestra)...the song is nothing but "அமுதே தமிழே அழகிய மொழியே எனதுயிரே"
(The video also shows a stage with MV singing a song with (Shankar) Ganesh conducting orchestra, praising MGR as indhiran-chandhiran-etc.)

BTW, here are the lyricists to the songs you've listed :

1. Amudhe Tamizhe Azhagiya Mozhiye from Kovil Pura - Pulamaippiththan
2. Kaalai thendral from Uyandha Ullam - Vairamuthu (that way, it does not belong to this thread )
3. Poonkatrile Kaalai from Paatu Paadava - Vaali
4. Ponnil Vaanam Poothathu Kolangale from Villu Paatukaran - Gangai Amaran

Need to talk about another song from 'iLamai oonjalAdukiRadhu' ; this song is on repeat in car...

ஒரே நாள் உனை நான் நிலாவில் பார்த்தது

Like I said in the 'kiNNaththil thEn vadiththu' post, the movie name itself is somewhat poetic, though I never peered into what it exactly meant.

Now that this song's pallavi too has the same phrase, it's time to decipher

The first line gets one set up in a nice, sweet, romantic environment. (ஒரே நாள் உனை நான் நிலாவில் பார்த்தது). There's similarity to another famous SPB song of prior years - "உன்னை நான் பார்த்தது வெண்ணிலா வேளையில்".

The next line is of intrigue : உலாவும் உன் இளமை தான் ஊஞ்சல் ஆடுது

Both the male and female sing this line and it's not difficult to conclude that the word "இளமை" includes all, mainly the physical beauty / features and then everything else that goes with youth. The reason I conclude physical is the main thing is because of the key word "உலாவும்", which means discernible to the onlookers. And something that makes strong impact / sensation / thuLLal inside their hearts!

That way, the 'ஊஞ்சல் ஆடுது' term has to describe the swings in the heart & mind of the person of opposite gender - in this case the associate / lover, when he/she happens to watch the other person's physical features   விழியில் விழுந்து இதயம் ஆட்டல்

BTW, the rest of the song is sweettO sweet! Not a single irritable portion / shocking term etc. I guess that happened in many Vaali romance songs where he lets the listener enjoy it like the way one enjoys smoothie.

i.e. Unlike VM who pushes some negativity, shock thingy - either for the heck of it or by his nature or carefully done to thuruththify as his signature (vaRaNda sahArA reference in sahAnA sARal, kuruvi kattum koottukkuLLa gundu vaiththal, poovukkuL bhoogambam uNdAkkudhal and such are his favourite things).

That way, the song is something that can be relished like an ice-cream. Short saraNams but each of them can get one into really romantic mood!

Look at this first one :

மங்கைக்குள் காதலெனும் கங்கைக்குள் நான் மிதக்க
சங்கமங்களில் இடம் பெறும் சம்பவங்களில் இதம் இதம்
மனத்தால் நினைத்தால் இனிப்பதென்ன

I believe the mangai-gangai thing is quite old but doesn't irritate.

The second one is something where he comes close to some negativity but smoothens it by throwing in a word that belongs to both sides - "மயக்கம்"

நெஞ்சத்தில் பேர் எழுதி கண்ணுக்குள் நான் படித்தேன்
கற்பனைகளில் சுகம் சுகம் கண்டதென்னவோ நிதம் நிதம்
மழை நீ, நிலம் நான், மயக்கமென்ன?

Here the male mildly tends to get into self-pity mode, by talking about "கற்பனைகளில் சுகம்" but the girl quickly corrects him, asking "மயக்கமென்ன" - which can be interpreted either way (one of self-pity or one of romance) and reassures him that she is willingly ready

Vaali jumps back to total-enjoyment mode in the third saraNam again, using music as metaphor for intimacy ("பஞ்சணைப் பாடல்"):

பஞ்சணைப்பாடலுக்கு பல்லவி நீ இருக்க
கண்ணிரண்டிலும் ஒரே ஸ்வரம் கையிரண்டிலும் ஒரே லயம்
இரவும் பகலும் இசை முழங்க (what a lovely expression here!)

Someone might object it's not two but four eyes and hands but that is poetic freedom...also, the number two there can also mean "pairs". Or it could even mean that they have both merged into one person and effectively only two eyes / hands.

Well, overall, nice lines penned by Vaali - even though they aren't as awesome as IR's score for the song. The awesomeness of music made people like me not look at the lines much, as in the case of many other songs

That wasn't the mistake of the lyricist - in fact, it was good in a way that it didn't hinder listeners getting absorbed into some top-class music!

App ji,
Delightful and pleasing write-up on one of the most romantic song in IFM. Lovely lyrics. I still remember when I straight-away liked the song (watched in DD) during my first listen. That was the first time I was heared guitar so clearly, not knowing that was guitar, some new sounds and new voices, and beautifully picturized too. Totally into the song. After 36 years, we are still discussing the song.

நீ ஒரு காதல் நூல் நிலையம்

What a poetic line (try spending a few seconds thinking about the physical impact of this  )

Well, IMO, Vaali had another agenda too with this line, something for which he is known for - eulogizing stars

Perhaps this was also supported by the director and the whole team, as Kamal was known as "kAdhal iLavarasan" those days, the true heir to Gemini Ganesan in that department

Actually, the whole saraNam is a riot :

கல்லூரியில் கல்லாததை கண் ஜாடையில் பயில
பல்லாயிரம் பாடங்களும் சொல்லாமலே புரிய
நீ ஒரு காதல் நூல் நிலையம்
பொன்மாலை தோறும் உன் லீலை பாடும்
என் பெண்மைக்கும் மென்மைக்கும் கண்ணா
நாளும் நீதான் சொந்தமோ

The song is quite an interesting one - I can't say if the girl is serious or sarcastic.

A couple of lines make one think that she is making fun of the whole loyalty business, if they are not from Pollachi / Palakkad / Kovai area :

நான் சத்தியம் காக்கும் உத்தமியாக்கும்
சொன்னதைக்கேட்கும் பத்தினியாக்கும்

For people from rest of TN / Kerala, this "ஆக்கும் / ஆக்கும்" business is possibly sarcasm, kiNdal. OTOH, that's just a harmless suffix in the Palakkadan Thamizh (Recall Nagesh / Avinashi making fun of Kameswaran Kamal in MMKR).

I can't say what the girl really means in this song - as a statement or kiNdal BTW.

Also, if one looks at the situation of the song, the boy wants to have "matRadhu" with the girl (i.e. not satisfied with other intimacies that include hugs, kisses, dancing around etc). But the girl says "only after marriage" and continues, like, "will I refuse anything after that?" :

நீ கேட்டால் நான் மாட்டேன் என்றா சொல்வேன் கண்ணா
என் கண்ணும் இளம் நெஞ்சும் என்றும் உந்தன் பின்னால் 

In other words, she confirms that despite her modern appearance, she is still typical TN-girl.

Musically, while the prelude, interludes and accompaniments are awesome, on the melody side the most lovable lines for me - despite the otherwise screaming VJ -are,

அன்பே உனை ஆராதனை செய்கின்றவள் மனது
பொன் போன்றது பூப்போன்றது எண்ணங்களோ இனிது
&
கல்லூரியில் கல்லாததை கண் ஜாடையில் பயில
பல்லாயிரம் பாடங்களும் சொல்லாமலே புரிய

SweettO sweettu, that made me listen to this number a hundred times in the last couple of weeks.

BTW, there're a couple of naughty lines too

தாமரைப்பூவில் தேன் சிதற
நீ கொஞ்சக்கொஞ்ச நான் கெஞ்சக்கெஞ்ச
நம் இன்பத்தின் எல்லைகள் கண்ணா
எங்கோ எங்கோ அம்மம்மா

Looking as a simple song may not put naughty thoughts in one's mind (because comparing lips to lotus petals and saliva to honey are as old as TFM) but when one considers the filmy situation and that the movie itself was adult themed, there is definite Vaalibak kuRumbu 

However, the trick is to keep it unknown to school kids (like me & classmates when the song came out) but make sure those vayadhukku vandhavargaL get a kick out of it

https://www.youtube.com/watch?v=MqReN806OUQ

Uravugal thodarkathai - Amaren

Coming from the ARR-VM thread, the best part about the lyrics for this song is that they actually make sense - quite a rarity for certain other kavignars.

*How to make sense while grappling with existential thoughts of beginning, ending and continuity*

Study:

Contrast

ஒரு கதை என்றும் முடியலாம் 
முடிவிலும் ஒன்று தொடரலாம் 
இனி எல்லாம் சுகமே

with

உலக வாழ்கை நடனம்
நீ ஒப்புக் கொண்ட பயணம்
அது முடியும் போது தொடங்கும்
நீ தொடங்கும் போது முடியும்

ராசாவே உன்ன நான் எண்ணித்தான் - தனிக்காட்டு ராஜா
பாடலாசிரியர் : வாலி

ராசாவே உன்ன நான் எண்ணித்தான்
பல ராத்திரி மூடல கண்ணத்தான்
ஏ...பூ வச்சேன் பொட்டும் வச்சேன் வாழத்தான்
நான் பூவோடு நாரப்போல சேரத்தான்
ராசாவே ராசாவே ராசாவே

The song is very intriguing. When Vaali sir used the words; எண்ணித்தான், கண்ணத்தான், வாழத்தான், சேரத்தான் he not only used for rhythmic sounding or for aesthetics. There is a big word hidden inside these words. That is ‘அத்தான்’ which the girl lover addresses indirectly her lover. I always used to hear only அத்தான் in those words. That’s the brilliance of Vaali.

I believe this is the first song where every line of charaNam is repeated twice;
ஆவாரம்பூவு அதுக்கொரு நோவு
உன்ன நெனச்சு உசிருருக்கு
ஆவாரம்பூவு அதுக்கொரு நோவு
உன்ன நெனச்சு உசிருருக்கு
ஆகாயம் பூமி ஆண்டவன் சாட்சி
ஆகாயம் பூமி ஆண்டவன் சாட்சி
பூத்தது வாடுது நீ வரத்தான்

If those lines are not repeated or any other words put for those repetitive lines, the soul is lost. Because there is a need to stress those lines again and again to reach the lover. What a finishing line in பூத்தது வாடுது நீ வரத்தான்! He wrote a big theme in just four words. I love the word ‘நோவு’, very rarely used in tamil film music.

மாக்கோலம் போட்டு மாவெளக்கேத்தி
நீ கெடைக்க நேந்திகிட்டேன்
மாக்கோலம் போட்டு மாவெளக்கேத்தி
நீ கெடைக்க நேந்திகிட்டேன்
பாத்தாளே ஆத்தா மனக்குறத் தீத்தா
பாத்தாளே ஆத்தா மனக்குறத் தீத்தா
கெடச்சது மாலையும் மஞ்சளும்தான்

Gem of a melody which underlines the separation, longing but how convincingly and positively Vaali finishes with
பாத்தாளே ஆத்தா மனக்குறத் தீத்தா
கெடச்சது மாலையும் மஞ்சளும்தான்

All the credit to Maestro for flowering such a heavenly melody, rooted in our tradition. The chorus is the biggest strength serving as the messengers of love from her to him. Even if we listen to this melody all day long, it will not be enough, as Maestro has weaved his soul in every note and made sure that it transforms to our own souls so that we get life every day through his music. ஜென்ம சாபல்யம்!