Re: Manadhil oru paattu - Song of the moment - Vol 2

kiru Tue Feb 24, 2015 1:29 am

I like Chithra and PS. Both of them have an enduring voice quality. For any music director, PS, will have a, 'vaseegaram' in her singing. Between Chithra and PS, PS seems to understand and emote the lyrics better without sacrificing or over-shadowing the technical aspects (AFAIK). Once you get a little more heavy and technical you get into VJ territory. I hope I have communicated my positioning of PS per my limited knowledge of music :-( .

Usha Tue Feb 24, 2015 11:22 am

PS songs in IR music.. list podalam.. athanai paatu iruku........

karpoora bommai ondru........

kannan enna sonnan

poonkaviyam pesum......... motherhood.. romba azhagaga express agum.......

Un nenja thottu rasa....

unna nambi nethiyilae........

ondrodu ondranom anbale........... soft ana love expression....

vaasamalli poovu poovu ......

beautiful one.........

manadhile oru paatu....

club dance paatu. analum.. oru discipline irukum.. adhu dhanae IR....

Naan azhaikiren then kulathile.......

iravu neram.........

MH Sat Feb 28, 2015 5:04 pm

Adding to PS song, Recent find for me is, maala karukalile...the prelude made me think it's probably going to be a devotional song in folk style, then this Pallavi comes and gives me sweet shock.. Whatta tune..backed by beautiful bass guitar...

MH Sat Feb 28, 2015 6:58 pm

Usha wrote:PS songs in IR music.. list podalam.. athanai paatu iruku........

karpoora bommai ondru........

kannan enna sonnan

poonkaviyam pesum......... motherhood.. romba azhagaga express agum.......

Un nenja thottu rasa....

unna nambi nethiyilae........

ondrodu ondranom anbale........... soft ana love expression....

vaasamalli poovu poovu ......

beautiful one.........

manadhile oru paatu....

club dance paatu. analum.. oru discipline irukum.. adhu dhanae IR....

Naan azhaikiren then kulathile.......

iravu neram.........

Some of the songs are from 70's and are first time listen for me.
Thanks for sharing..

app_engine Sat Feb 28, 2015 8:36 pm

easwar,

Please check this thread when you have some spare time:

https://ilayaraja.forumms.net/t23-the-ir-ps-thread

Smile

app_engine Wed Apr 22, 2015 11:16 pm

Purely from the standpoint of today's propaganda world, "பூங்கதவே தாழ் திறவாய்" should be termed as the "mother of myth busters"!

Of course, the song was nothing sort of a sensation at the time of arrival as well ; but the significance it attains NOW - in the view of much propaganda going on in recent times by ARR and his jAlrA gumbal - is much more!

I've been listening to this song on loop in the car for a few days now and what a pleasant experience during each listen!

Well, following are some of the myths being promoted by the opponent gumbal in recent times & this song should help as a weapon against some "கண்ணை மூடிக்கொண்டு இருட்டு இருட்டு என்று சொல்லும் பூனைகள்"!

Myth # 1 - rAsA never promoted or encouraged new singers and such people got a life only after ARR showed up in TFM!

Such a phenomenal masterclass song was given by rAsA to two newbees! Of course, he didn't leave them dry after that and continued to encourage the talents for long, giving more assignments! i.e. unlike the current gumbal that seeks new voices everywhere (including reality shows) with a sheer purpose of marketing & to hide from the public that their rusted rehashes have nothing else novel!

Myth # 2 - ARR is working hard to bring "strings" (and, by extension, WCM) into Indian music scene where it never existed before (interviews to that effect by the MD himself or other studio employees, running a school, training a lot of boys in strings, statement that 'no more need for rAsA to go abroad' etc)!

All that one needs to do is just listen to poongathavE prelude and that should smash and trash any such stupid, malicious claims!

Myth # 3 - None excelled in BR movies except VM!

I've already busted some of this in the GA / VM threads but this has to be mentioned again and again! For any who have doubts as to who wrote this masterpiece -that has both cinematic appeal and literary gimmicks nicely blended, years before anything that post-92 movies can claim as their pioneering efforts : That pattikkAttAn GA penned the pAdal varigaL!

Additionally, this also should bust any notion the general public may have that rAsA's thambi was only a nAttuppuRa / dappAnguththu song writer! (Despite my irritations with GA for his loudmouth anti-IR remarks every now and then, I'm really pleased that the TV channels nowadays frequently credit GA for penning such terrific songs as en iniya pon nilAvE, uRavugaL thodarkadhai, kAtRil endhan geetham, EdhO kanavugaL ninaivugaL, un pArvaiyil OrAyiram, oru rAgam pAdalOdu, Anandha rAgam kEtkum kAlam etc. )!

Myth # 4 - IR was only tablA guy & rhythm innovations in TFM appeared only after 1992. Some even believe bass guitar didn't exist in IR-era Laughing

Unless someone is deaf, he / she can listen to the rhythm arrangements of this song and appreciate how many complex sounds have been concoction-ed together as background in this number. Each time I listen to this song, I'm simply amazed! The song includes some scintillating bass guitar portions as well!

Myth # 5 - rAsA was alien in "Fusion Music" territory

While some people reluctantly agree that rAsA was more than country folk, yes he did indulge in some rAgA references etc, often they try to paint him as "only Indian music" kind of fellow and didn't know "western".

Well, once again the prelude and interludes of this song should shut any such frivolous claims. Well, some may still say, "hey - look at that mELam in first interlude, how can it belong here", please come to the next bullet point Smile

Myth # 6 - Film music is too limiting for innovations

Even a novice listener can understand the need for such quick shift to kalyANa mELam in the first interlude as to why ; but only some discerning ones can appreciate the terrific, seamless placement of that portion there! And the smooth way the saraNam starts where it ends! Well, those who followed rAsA for years won't be surprised at such precision at all Smile

BTW, this kind of "switching due to the demand of the filmy situation in the middle of the song" is cakewalk for rAsA. Even this switch to mELam in this song was third such occasion per my memory (kaNmaNiyE kAdhal enbadhu, vAn mEgangaLE were both prior, poththi vachcha malliga mottu came after poongathavE) and there could have been more such cases.

There may be more that others can add to this song but I don't want to miss this last one :

#Myth # 7 - Doing too many movies at the same time kills quality of output!

rotfl

Not just ARR, this is the situation with most fellows that started MD-ing in IFM during recent times. They should all bow down at the masterly talents of yesteryears, specifically IR! As a sample, on this year 1980, nizhalgaL was but one of the many masterpieces that he composed music for. Though ARR might claim that his "growing up years had boring music in IFM / TFM" (that obviously included 1980 when he just turned into a teen), any one with a proper pair of ears and decent brain / musical sensibilities won't dump the following albums as boring - even when they don't agree with me as "some-of-the-best-ever-in-IFM"! I don't need to prove this to public, as these songs get featured often EVEN in reality shows (including Vijay TV super singer, a program with ARR-promotion among their top agenda items, cannot live without such numbers for their living) - besides their regular presence in otherwise TV / radio channels, current movies and local transportation in TN!

-nizhalgaL (pon mAlaippozhudhu, poongathavE, madai thiRandhu, dhooraththin nAn kaNda)
-nenjaththaikkiLLAdhE (paruvamE, uRavenum pudhiya vAnil, O thenRalE)
-Johny (oru iniya manadhu, en vAnilE, Asaiya kAththula, kAtRil endhan geetham, senO reetA)
-Guru (endhan kaNNil, pEraichchollavA, paRandhAlum vida mAttEn, nAn vaNangukiREn, AdungaL pAdungaL)
-moodupani (en iniya pon nilAvE, paruva kAlangaLin kanavu)
-kallukkuL eeram (siRuponmaNi asaiyum, kothumallippoovE, eNNaththil EdhO, thOppiloru nAdagam)
-murattukkALai (mAmEn machchAn, podhuvAga emmanasu thangam, endhappoovilum vAsam uNdu, pudhu vaNNangal konjidum sOlai)
-ullAsappaRavaigaL (Germaniyin senthEn malarE, azhagu Ayiram, deiveega rAgam, nAn undhan thAyAga vENdum)
-poottAdha poottukkaL (Anandham Anandham, vaNNa vaNNa vaNNappoonjOlaiyil, nenjukkuLLE Asai)
-meeNdum kOkilA (chinnanchiRu vayadhil, rAdhA rAdhA, ponnAna mEni, hEy OrAyiram)
-kALi (adi Adu poongodiyE, vAzhum mattum nanmaikkAga, azhagazhagA pooththirukku)
-iLamaikkOlam (vachcha pArva, sridEvi en vAzhvil, nee illAdha pOdhu)
-anbukku nAn adimai (kAththOdu poo urasa, kAttiloru singakkuttiyAm, onROdu onRAnOm)

Besides the above, there had been other language movies and some not-so-well-known ones such as soolam, rusi kaNda poonai etc that had good / hit songs.

Finally, if someone says "hero was at fault, director was at fault, that is why bad song", please check out the "poongathavE" video below! This is to judge for oneself how IR performed with evergreen / classy stuff as output even when working with ONLY mediocre people / environment / facilities etc - that are replaced with truly world-class-stuff available in the country today!

Laughing

https://www.youtube.com/watch?v=aKCbGH6ejGA

kiru Thu Apr 23, 2015 12:10 am

@App - your Mythbuster series is awesome !!! I think ARR got into WCM only after he moved to US/London. There the musicians were all aligned to some genres, he had nothing !!! So he adopted one which will not conflict with theirs !!! He never liked strings. He subcontracted that work out most times. This is one of his traits that reduces my respect for him, even though he might be an Oscar-award winning artist. Even a child who listens to NEPV/Megha/Rudrammadevi and any recent album of ARR will understand who is using the WCM idiom in their song.
(like my 6 yr old will say it sounds like Star wars or Lord of the Rings when he listens to any WCM heavy song)

ravinat Thu Apr 23, 2015 1:37 am

App

You are preaching to the choir.

AR and WCM - that is a bad combo.

AR and CCM - give me a break.

I am already seeing Iman repeating himself.

Lastly fusion - until you get good at a few genres and demonstrate in a few compositions , forget it. Most of the new musicians get by with some luck.

I will be happy if none of the tfm musicians talk about fusion or WCM till Raja is around. Just shut up when you have such a towering figure next door

app_engine Thu Apr 23, 2015 1:54 am

ravinat sir,
Smile

Actually, I've already got returns Smile

Read this nice blog post shared by our MayilSK in twitter, in reply to me tweeting the link of the post above:
ஆற்றுப்படுத்துதல்

Smile

Usha Thu Apr 23, 2015 11:46 am

app,

Nizhalgal... paatuku matum Great illai.. BGM kum dhan...... Ipo kaetalum....... amanushyamana composing.............. adhuuvm..
Characters.. avanga mood and the feelings........ Really Great.. Extraordinary Output............

movie link.

ovovru bgm . ethanaiyo paatuku samam.............. Violin......... Greato great.......

https://www.youtube.com/watch?v=nUr6YV91hoU

ravinat Thu Apr 23, 2015 4:12 pm

App

I must say that Uma Ramanan is one of the finest voices we had in terms of Tamil diction. Next to PS, I would rate her for her Tamil diction. She is hardly credited for that. As you said rightly, Raja continued to give her opportunities well into the 90s.

Now, let me put on the AR hat...

"We have started a Tamil singing school here in Chennai, so that leading music directors do not have to go to Bengal to get proper Tamil singers...." Very Happy

app_engine Thu Apr 23, 2015 4:24 pm

Usha wrote:app,

Nizhalgal... paatuku matum Great illai.. BGM kum dhan......

Very true, rAsA in great mood!

(BTW, it is funny to see the "super hit" caption to that movie in youtube rotfl

It was a BO disaster and almost threw BR out of reckoning :-) And IR had to encourage him and rescue him by producing a movie and continuing to give great musical support (alaigaL Oyvathillai).

ravinat sir,
Laughing

@ "'Tamil singing school " (senjAlum seivAnga!)

**V_S** Thu Apr 23, 2015 6:54 pm

எப்படி இசைஞானி தன் எல்லா பாடல்களிலும் தன் முத்திரையை (Raja's stamp) பதிக்கிறார் என்று நான் எப்பொழுதும் வியந்ததுண்டு. அது போதாதென்று தன் எல்லா பாடல்களிலும் தன் கையெழுத்தையும் (Raja's signature) தவறாமல் இடுகிறார் என்று பலர் சொல்லி கேள்விப்பட்டிருக்கிறேன்.

முத்திரையும் கையெழுத்தும் ஒன்றா என்று பல முறை எனக்கு நானே வினவியிருக்கிறேன். அல்ல என்று அவர் பாடல்களே எனக்கு கற்றுக்கொடுத்த பாடம். அவர் பாடல்களில் அவர் முத்திரை இருப்பது எப்படி சிறந்ததோ அதைவிட அவர் கையெழுத்தும் அதில் சேர்ந்துகொண்டால் அது இன்னும் சிறப்பு வாய்ந்த ஒரு படைப்பாக இருக்கும் என்பது என் கருத்து.

முத்திரையை விட ஏன் கையெழுத்து சிறந்ததென்று உங்களுக்கும் புரிந்திருக்கும். நமக்கு பிரியப்பட்ட/மரியாதைக்குரிய ஒருவர் நமக்காக கையெழுத்திடுகிறார் என்றால் அதைவிட குதூகலமான தருணம் வேறில்லை. முத்திரையை அப்படி பார்க்கமுடிவதில்லை. ஏன் என்று உங்களுக்கும் தெரியும்.

தாளில், நூலில், கிரிக்கெட் மட்டையில் ஒருவர் கையெழுத்திட்டு பார்த்திருக்கிறோம். நாம் ஒன்றை எழுதுவதைவிட கையெழுத்து இடும் பொழுது நம்மை அறியாமல் ஒரு வேகம் இருக்கும். ஒரு தனித்துவம் (style) இருக்கும். ஒருவர் இடும் கையெழுத்து இன்னொருவர் போல் இராது. கையெழுத்து எந்த வடிவத்தில் போட்டாலும் (தாளில், நூலில்...) அதற்கு முன் ஏதாவது எழுதிவிட்டு பின் கையெழுத்து இடுவார்கள். ஆகவே பொதுவாக அது ஒரு பக்கத்தின் கடைசி பகுதியில் காணப்படும்.

இதெல்லாம் சரி. எப்படி ஒரு பாடலில் கையெழுத்திடுவது? ஒரு பேனாவோ பென்சிலோ இல்லை, தாளோ கூட இல்லை. ராஜாவின் பாடல்களை தொடர்ந்து கேட்டுகொண்டே இருந்தால் இந்த வினாவிற்கான விடை வெகு துல்லியமாக நமக்கு விளங்கிவிடும்/தெரிந்துவிடும்.

ராஜா தன் இசையில் கையெழுத்திடும் அந்தத் தருணமும் அதை நாம் தவறாமல் உணரும் தருணமும் மிக மிக பிரமிப்பூட்டும். திடீரென்று ஒரு ஞானோதயம் கிடைத்தாற்போல் ஒரு பரவச உணர்வு வரும். அந்த பரவச உணர்வின் காட்சியை கண்களுக்கு மறைக்க தெரியாது. நம்மையும் கேட்காமல் நம் கண்களில் கண்ணீர் ததும்பும்.

அப்படி ஒரு தருணம் இன்று இப்பாடலை கேட்கும் பொழுது நிகழ்ந்தது. இந்தப்பாடலில் எல்லா இடத்திலும் ராஜ முத்திரை இருந்தாலும், "எனது கதையில் புதிய திருப்பம் எழுத வந்த பூங்காற்றும் நீதானே" என்ற இடத்தில் ராஜா நமக்காக நம் மனக்கண் முன்னே வெகு வேகமாக கையெழுத்திடுவதை (live) நாம் கண்டிப்பாக உணரமுடியும். வேகமாக ஓடும் அந்த சந்தமும், அதற்கேற்றார் போல் முத்துலிங்கம் அவர்களின் வரிகளும், பறக்கும் ட்ரம்சும் (with syncopation), ராஜா கையெழுத்திடும் வேகமும் நேர்த்தியும் நம்மை பரவச நிலையில் ஆழ்த்தும்.

ஒரு பாதை இல்லையேல் மறு பாதை போடலாம்
உன் வாழ்க்கை பாதையில் பூந்தென்றல் வீசலாம்
எனது கதையில் புதிய திருப்பம் எழுத வந்த பூங்காற்றும் நீதானே
இந்த வெண்ணிலா என்று வந்தது எந்தன் பாடலை நின்று கேட்குது

இதுபோல் அவர் தானே கையெழுத்திட்ட பல படைப்புகளை நான் என் இதயத்தில் சேமித்து வைத்திருக்கிறேன், நீங்களும் வைத்திருக்கிறீர்களா?

https://www.youtube.com/watch?v=k_KC32yNA80

app_engine Thu Apr 23, 2015 8:27 pm

தமிழில் கலக்கல்!

the clap

V_Sji!

**V_S** Thu Apr 23, 2015 8:56 pm

நன்றி சார்! Very Happy

kiru Fri Apr 24, 2015 3:52 am

Well.. syncopation is too subtle a thing for a less music savvy person like me (are there any tips on identifying it ?). Sometimes, I do not even notice the sangathis. But something like a counterpoint is too big/in-the-face even for me. I usually use that to identify IR. A presence of counterpoint is almost 99% guarantee it is IR, in my sampling. (Educate me of other MDs). IR does have a style in his melody too, but I am not good at discerning this with high success rate. Also, this style evolves continuously, his earlier works (say bhadrakali) to my ears sound almost like MSV. But by 80s I can see a distinct style. Then again I can get fooled by a Salil Chowdry tune.

**V_S** Wed May 06, 2015 6:44 pm

சாங் ஆஃப் தி டே! அண்ணே என்னண்ணே அக்கா முன்னாடியெல்லாம் பாட சொல்லிட்டீங்க...
தாளம் நிக்காமல் போய்கொண்டே இருக்க 'நல்லாருக்கா...என்று ஒரு நமட்டு சிரிப்புடன் (குண்டு என்ற வார்த்தையை விட்டுவிட்டு) அரைகுறையாக 'மணி' என்ற வார்த்தையுடன் தொடர்வது பாடல் எப்படி இயற்கையாக அமைகிறது என்று காண முடிகிறது. அவர் இத்தனை பாவத்துடன் பாடும் லாவகம் வேறு யாருக்கும் வராது.

மற்ற எல்லா வரிகளும் நகைச்சுவை உணர்வை தந்த போதிலும் 'இதை குப்பண்ணே சொன்னாக்கா தப்பண்ணே' என்ற ஒற்றை வரியில் வாலி நம்மை சிந்திக்கவும் வைக்கிறார். #ஒரு குண்டுமணி குலுங்குதடி

app_engine Fri May 08, 2015 9:59 pm

Classic song for a Friday afternoon (after another "good-bye-buddy" kind of team lunch)...

கண்மணியே காதல் என்பது கற்பனையோ காவியமோ கண்வரைந்த ஓவியமோ
எத்தனை எத்தனை இன்பங்கள் நெஞ்சினில் பொங்குதம்மா பல்சுவையும் சொல்லுதம்மா

The video is very 70's...
https://www.youtube.com/watch?v=WgaQ7ydMOMw

Of course, awesome IR-SPB-SJ combo Smile

Usha Tue Jun 02, 2015 3:09 pm

Happy Birth day Raja Sir....

sangeetha megam then sindhum neram...........

Pogum Paathai Thoorame, Vaazhum Kaalam Konjame
Jeevan Sugam Pera Raaga Nathiyinil Nee Neenthavaa
Pogum Paathai Thoorame, Vaazhum Kaalam Konjame
Jeevan Sugam Pera Raaga Nathiyinil Nee Neenthavaa
Intha Thegam Marainthaalum Isayaai Malarvaen
Intha Thegam Marainthaalum Isayaai Malarvaen
Kelaai Poo Manamae Oh..

Ullam Ennum Oorile Paadal Ennum Therile
Naadum Kanavugal Raaja Bavanigal Pogindrathey
Ullam Ennum Oorile Paadal Ennum Therile
Naadum Kanavugal Raaja Bavanigal Pogindrathey
Ènthan Møøchum Intha Paatum Anaiyaa Vilakke
Ènthan Møøchum Intha Paatum Anaiyaa Vilakke
Kelaai Pøø Manamae Oh..

Lyrics for Raja Sir........

https://www.youtube.com/watch?v=q1QgqiqXfdY

app_engine Fri Jun 05, 2015 8:14 am

Sureshji has hosted a "drumming rAjA" playlist on youtube :
https://www.youtube.com/playlist?list=PLSv5Q60S5dwSQ-U9ptt3of3DKsl5SlzAY

the clap

And this song from that list is making me not to go to bed but keep repeating - enna oru sugamAna sOdhanai!

WOW - what a song! (Of course, I've already slAgiththufied this song on many other occasions / threads before).

இந்தப்பாட்டெல்லாம் ஒரு தடவை கேட்டுட்டு நிறுத்துறது நடவாத காரியம்.

நம்ம காதுகளும் மனசும் அப்படி ஆயிப்போச்சு!

**V_S** Mon Jun 08, 2015 9:40 pm

நான் யாரு எனக்கேதும் தெரியலியே – சின்ன ஜமீன் – இளையராஜா

என்னை மிகவும் உலுக்கிய /உருக்கிய ஒரு பாடல்.

Tons of beauty hidden in this gem. Striking first line tune. The lengthy, slow and elongated “நான் யாரு” followed by brisky “எனக்கேதும் தெரியலியே” tells lots of emotion in the tune. When a person is asking him, who is he?, he first thinks and then answers. The thinking part is established in lengthy, “நான் யாரு”, but once he knows the answer, normally the answer is told fast which is established in “எனக்கேதும் தெரியலியே”. These kind of thoughts is very rare to impossible with anyone other than Maestro.
Same way in anu-pallavi, when he starts with என்னை இந்த பூமி கொண்டு வந்த சாமி” we tend to think the line would extend more, as the hero unfolds his story, but Maestro ends beautifully, subtly but suddenly in “யாரைத்தான் கேட்டானோ ஹோய்..” implying the hero is lost on words, and depressed too. Just in pallavi/anupallavi Maestro nails the mood just with the tune before even lyrics coming into picture.

நான் யாரு எனக்கேதும் தெரியலியே
என்னக் கேட்டா நான் சொல்ல வழியில்லியே
என்னை இந்த பூமி கொண்டு வந்த சாமி யாரைத்தான் கேட்டானோ ஹோய்…

Vaali pours some moving lines, especially in “பேரு வெச்ச ஆத்தாதான்” and “போனாளம்மா காத்தாதான்”. What a way to describe that the hero lost his mother! Just in two words.

என்னைப் பெத்து ராசைய்யான்னு பேரு வெச்ச ஆத்தாதான்
பொண்ணப் பெத்த சந்தோஷத்தில் போனாளம்மா காத்தாதான்
ஊரைச் சுத்தி நாள் முழுக்க ஓடும் ஆறு நானம்மா
சின்னப்பிள்ள நான்தான் என்று சொல்லும் ஊரம்மா
சொல்லட்டுமே சொன்னால் என்னம்மா ஹோய்…

He also describes/underlines hero’s emotions and how he was ridiculed, but was always separated from the town/village, but hero also convinces himself that nothing is wrong. Wonderful word play by Vaali.

எந்த நாளும் எண்ணை கூட ஒட்டிடாது தண்ணீரு
என்னை அந்த எண்ணை போலே எண்ணிக்கொள்ளும் இவ்வூரு
இங்கிருக்கும் பேர்களெல்லாம் என் மனசப் பார்க்கலே
என் கதையைப் பாசமாக ஒன்னப்போலக் கேக்கல
கேக்காவிட்டால் குத்தம் என்னம்மா

The flute which comes closely in every line is the consoling and healing line for every line he sings/utters. Same way the solo violin which comes in the interludes.
Very very soulful and moving. You might have observed that both the interludes are same in this song, which is rare in Maestro’s songs.

Same way, it is breathtaking how Maestro underplays the rhythm. There are many songs of Maestro where he peps up the rhythm even for a slow sounding tune, such that we won’t even realize it is a slow song. But that would have served a different purpose, different film. Here, he didn’t make complicated rhythm arrangement or even tried to make it a faster song. At-least I expected the change of rhythm pattern during the finishing lines of pallavi/charaNam, but there also he kept himself under control, not to exhibit anything fancy, as it will only spoil the mood of the song.

This is one the prime examples where Maestro does not force his thoughts to seek to the gallery to claim his name or fame (he never does that), he dissolves himself to the film context and situation and delivers a stunner. You know who composed it (with every of his signature intact), but you would never see him in this song, you would only feel the character he is portraying through the music. You won’t get such a composition in collaborations, it has to be in solitude.

இந்த மாதிரி பாட்டெல்லாம் எங்கேய்யா போச்சு Question

இந்தத் தலைமுறை இசையமைப்பளர்களும், அவர்களின் ரசிகர்களும், பொது ஜனமும் இதுபோல் நம் மண்ணின் பெயர் சொல்லும் புதையல்களை தடம் தெரியாமல் அழித்தேவிட்டனர் என்று சொல்லலாம்.

ஹரிகாம்போஜியில் இப்படி ஒரு பரவசம்!!

app_engine Mon Jun 08, 2015 11:13 pm

Heartfelt write-up, V_Sji!

I haven't paid much attention to this song before Embarassed

I guess it jells well with the movie's context...

app_engine Tue Jun 09, 2015 8:36 pm

Nice post on thenRal vandhu theeNdum pOthu

Though I didn't click on any of the youtubes in the post, the song kept playing in my mind thru-out while reading Smile

Simply "mind-playing-the-song" makes my eyes moist.

What a song!

**plum** Wed Jun 10, 2015 4:30 am

எந்த நாளும் எண்ணை கூட ஒட்டிடாது தண்ணீரு
என்னை அந்த எண்ணை போலே எண்ணிக்கொள்ளும் இவ்வூரு
இங்கிருக்கும் பேர்களெல்லாம் என் மனசப் பார்க்கலே
என் கதையைப் பாசமாக ஒன்னப்போலக் கேக்கல
கேக்காவிட்டால் குத்தம் என்னம்மா

Vaali who is good at articulating others' philosophies for a day's wages, here captures perhaps IR's wink-wink philosophy w.r.t film world.

**V_S** Wed Jun 10, 2015 4:43 am

Great catch! When I listened to the song that time, I didn't get the inner meaning w.r.t Raja's own life and how others played game on him, but it makes total sense after almost everyone deserted him for no reason. I even realized that, when I wrote that yesterday. Says lot about Vaali and how he thoroughly studied the film circle.

Sponsored content