This instrument is arranged just like the jalatarangam. In jalatarangam, china clay or porcelain cups of different sizes are used to produce different frequencies of sound.
The cups are usually filled with water and are arranged in a semi circle in front of the musician. the player strikes the porcelain cups with a stick to make music. usually, there will be around 15-20 cups covering 2 octaves 1/2 + 1 + 1/2.
Similarly, if the tablas are arranged to produce all the swaras or notes, that is called tablatarangam.
Usually mridangam or tabla is tuned to a sruthi, that of the main artist. In tablatarangam several tablas of different sizes are tuned to different sruthis or tuned to produce the swaras of a raga.
You may remember MGR playing the tablatarangam in the movie 'mannadhi mannan' in the song 'aadadha manamum undo'.
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Raja has used the instrument in several songs. check out the following songs
'Pattu kannam thottu kolla' from 'kaaki sattai'.
this is a class song starting with a beautiful chorus complementing the egyptian style set and attire.
check out the first interlude. it starts with the tablatarangam, aptly used to embellish the royal regalia.
Goods vandiyile from Kunguma chimizh which is also like siriya paravai featuring three different styles for each stanza of the song.. In the 'chola era' portion tabla tarangam is used.
Muthumani Chudare Vaa .... from Anbulla Rajinikanth.
When Producer Azhagan Thamizhmani and writer Thooyavan saw a film called Touched by Love in 1980 which had Elvis Presley in a guest appearance at a film festival, they wanted to make a similar story in Tamil.
Thooyavan finished screenplay within a month. He wanted to cast MGR as the hero but couldn't do so. Thooyavan narrated the story to K. Natraj who was working as one of the assistant directors in Devar films.
K. Natraj, also known as manasatchi natrajan for his role as rajini's conscience in the movie '3 mudichu', agreed to work on the film and Rajini accepted to act in this film. Rajini initially agreed to give callsheet of 6 days then extended for 10 days since he wanted the film to come out well. It was his first directorial venture and he came out quite successful.
The film was entirely shot in a school with 300 students. Rajkumar Sethupathi, brother of actress Latha and husband of actress Sripriya did a small role as Ambika's husband. Rajinikanth, Jaishankar, Bhagyaraj, Radhika all played as themselves in the movie. Actor parthiban also made a screen presence as bhagyaraj's asst. director.
Under the banner S.T. Combines, the movie was released on 2.8.1984 and had a decent run. Already a big attraction among children, this movie sealed Rajini's place as the kids' most favourite superstar forever. Baby meena played the role of a child with terminal cancer and won many accolades.
All the songs were given enough airtime during those days. While 'kadavul ullame' was a serene number, 'then poove' was a romantic's eternal favourite. 'muthu mani sudare' was an orchestral beauty giving ample room for the imagination of a child in her dreams about her favourite hero. Na.Kamarasan's lyrics were beautifully sung by K.J.Yesudoss.
In this song too, the second interlude has notes played on Tablatarangam, after the Piccolo & Strings ensemble. Listen and enjoy.
Deepavali fell on 1st November that year, and with it came two of Raveendran's films, among a host of many high-profile releases. Remember, Ilaiyaraja’s stellar album Punnagai Mannan, along with a formidable array comprising of Aruvadai Naal, Kannukku Mai Ezhuthu, Thazhuvaatha Kaigal, Vidinja Kalyaanam and Maaveeran were all released on that day. And all of them, with the exception of Maaveeran, had some lovely songs that staked claim to the airwaves straightaway. In the midst of this enchantment, it is a wonder indeed that Raveendran's two albums defiantly elicited notice.
Lakshmi vandhaachu (Aieres Cine Arts) was one of the two. "The Hindu" Rangarajan (who had earlier produced Kanmaniye Pesu) was the producer, and Rajasekar was the director again. The film was an adaptation of Hrishikesh Mukherjee's 1980 blockbuster Khubsurat.
The story was about an affluent household where the mother is a strict disciplinarian and expects everyone to fall in line with her dictums. The good-hearted father and the family suffer in silence. Troubles starts when a fun-loving girl whose sister is married into this family comes for a visit. The narration flows through several interesting twists and turns and all is well in the end. Ashok Kumar, Rekha, Dina Pathak & Rakesh Roshan played the leading roles with heartwarming empathy R.D. Burman had come out with some chartbusters for Khubsurat.
The Tamil remake had Sivaji Ganesan, Revathi, Padmini and Nizhalgal Ravi essaying the main roles. The movie was well-made, with Sivaji Ganesan painting a mellow and subtle veneer over his famed histrionics. Padmini and Revathi brought in riveting flourishes to the frames. Despite all this, the movie did not do as well as expected; it was most probably overshadowed by the (more) high-profile releases on the same day.
However, on Raveendran’s part, he worked on and crafted some captivating numbers for this movie. Let us listen to two of them here.
My first pick is the dance song ‘Sandhana nilavoli’ rendered with class and verve by Malaysia Vasudevan. Lakshmi discovers that the eldest daughter-in-law of the house had undergone formal training in dance during her college days and had kept it under wraps for fear of incurring the wrath of the mother. The father catches them trying out some nimble steps on the terrace. He had been an ardent Tabla player in his younger days and they all agree to have a grand session the next day when the mother would be away. ‘Piya Baawari’ was the equivalent song in the Hindi original where Asha Bhonsle was scintillating with Ashok Kumar reciting the Jathis.
Here it is a solo by Malaysia Vasudevan filmed on Sivaji Ganesan. A prolific screen presence in the 70s, Jayachitra was all but forgotten in the 80s. Though she had lost her youthful charm by then, she shows grace and poise in her dance movements. Needless to say, Revathi is usual effervescent self. Malaysia Vasudevan brings in a majestic sheen to the fast-paced notes.
The other is the most popular song from the album. A dreamy solo with a languorous lilt, the song acquires an allure of its own when Janaki cloaks the lines with a wispy wistfulness. Rich orchestral embellishments add flamboyance to this hallmark Raveendran composition.
The other 1986 Deepavali release of Raveendran was AVM's Dharma Dhevadhai. Radhika played a pivotal role as a police officer in the movie that had Vijayakanth, Pallavi and Saratbabu essaying supporting roles.
The catchy Yesudas- Janaki duet 'Thodu thodu vaa mella' was the pick of the album. Opening with arresting humming notes, the song entices in its very unpredictability. Who would have thought of inserting the ethereal ‘Entharo mahanubhavulu' twist in the second interlude- aaha- the signature of the genius!
1987 followed with Thaaye Neeye Thunai (Bhuvaneswari Kalamandir) releasing for Pongal. The film was directed by P.R. Somasundar, and like devotional films of yore, had a crowded cast- Karthik, Pandiyan, K.R. Vijaya, Nalini, Pallavi, Sudha Chandran, Srividya and many others.
Raveendran worked with a bevy of lyricists like Vaali, Muthulingam, Ponnaruvi, Chidambaranathan and Thirupathooran, to come with an interesting album. 'Koo kuyile kaadhal kavikkuyile' is a dainty duet by S.P.Balasubramaniam & Vani Jairam that found repeated air time for a while.
'Bhuvaneswari aruL puri aadhari' by Yesudas & Chitra is a fervent, emotional appeal to the Almighty for an ailing girl to recover.
It was many years before another Tamil movie was released with Raveendran’s compositions and that was also sadly the last Tamil movie for which he raised his baton. The movie was Malare Kurinji Malare (1993/ Raja Movie Productions), which was some years in the making. It was directed by A. Parthiban. An obscure Raja Venkatesh was the hero, while Seetha played his pair. Raveendran had sung in this album- the song 'Deepangale neengaL vizhi moodinaal' is a veritable aural treat. The Yesudas- Chitra duet ‘Vaa ilaiyavale’ found fleeting air time. ‘Kaadhal Payinkiliye’ is a gentle pathos number, sung by Chitra. ‘Aathorum thoppukkuruvi’ is a jaunty Mano-Chitra outing. However, to my mind the album seemed disappointingly lackluster when compared to the other albums mentioned so far.
With that, Raveendran bid adieu to Tamil cinema. Only a handful of albums came his way. Like Hamsalekha and Devendran who enchanted us with a few albums in the 80s and bereft of continued patronage disappeared soon thereafter, Raveendran could not make any significant inroads here. Perhaps the overwhelming presence of Ilaiyaraja did not leave any space for newcomers to set their stalls and peddle their craft. Manoj-Gyan were only composers could sustain their presence for a few more years, thanks to the support of Abhavanan.
Raveendran continued to enrich Malayalam cinema with the magic of his music for many more years. His sojourn in Tamil was woefully brief, yet he has left behind some fleeting glimpses of his infinite capabilities. Even now if you happen to catch a few lines of ‘Ezhisai geethame’ or ‘Kaadhal vennila’ in some TV Channel, you cannot help your heart skip a beat in wistful salute to the genius of Raveendran. He will live on in our hearts, and his songs would continue to fascinate generations of fans.
Leaving you with a present of Raveendran's eternal presence:
Kanmaniye Pesu was released in January 1986. Rasigan Oru Rasigai (Vasan Brothers) followed in February. Scripted and directed by Balu Anand, the film had Satyaraj in the early stages of transitioning from playing villain to leading roles. Ambika, Ramesh, Chitra, Goundamani and others were in the cast.
The story revolved around a singer Latha Venkateshwaran (Ambika). Though she has crossed the first bloom of youth, she remains single. And only her parents know the reason. Many years back she was engaged to be married to her cousin, the young, successful businessman Balu (Satyaraj). They were in love with each other and looking forward to their marriage. However, Balu offends Latha when in a moment of inebriated weakness, he tries to get physical with her. She is disgusted at his hasty, thoughtless overtures and calls off the wedding.
She thereafter focuses on her music and evolves into a popular vocalist. A repentant Balu waits patiently for her. He even makes it a point to attend all her concerts. However, she ignores him with disdain whenever their paths happen to cross. Meanwhile, while on a concert tour to a temple near Coimbatore, she come across a rustic orphan, Gopal (Newcomer Ramesh). She is mesmerized when she overhears him developing a song that she had been rehearsing- his voice is divine, his pitch perfect and his mastery over the intricate phrases mind-blowing. She accosts him and offers to take him back with her and give him the formal training that he deserves. The innocent youth is overwhelmed by her sudden offer; demurs initially and then accepts with joy.
Under her patronage, Gopal becomes a renowned singer in his own right. His mastery over his craft and good looks fetch him hordes of fans. A rich young girl (Chitra) falls in love with him and their relationship develops gradually. One night, while returning home after a function, Latha finds Balu lying unconscious in his car. She admits him in a hospital- she finds all her misgivings melting and discovers that her love for Balu remains as firm as ever. Meanwhile, not knowing all this, Latha’s father is unhappy with what he perceives to be a romantic relationship between Latha and Gopal. He opens his heart to Gopal, and Gopal agrees to enact a drama. He startles Latha by suggesting that they get married. Latha is infuriated at his presumptuous arrogance and drives him away. After a few twists and turns, all is well that ends well.
A story such as this, with music as its mainstay, is a godsend to any composer and Raveendran accepted the challenge with alacrity. He set about crafting a magnificent sound-track whose allure remains immaculate to this day. True, he did rework on few of his Malayalam compositions from Chiriyo Chiri and Thenum Vayamabum, but that did not take away the magic of a creative mind at work.
This album remains Raveendran's best effort in Tamil. With an ensemble of singers such as Yesudas, Jayachandran, Malaysia Vasudevan, S. Janaki & Vani Jairam and a team of ingenious lyricists such as Vaali, Pulamaipithan, Na. Kamarasan, M.G.Vallaban and Gangaiamaran, Raveendran came out with some timeless treasures.
As the title credits roll, you sit up even as Vani escorts you into enchanting vistas of sheer melody with ‘Kaatrinile varum geetham’, a fine racy number soaked in pristine notes. The two versions by Yesudas & Janaki of the ‘Yezhisai geethame’ that captivates in it convoluted Charanams and the soulful ‘Paadi azhaithen’ by Yesudas (both Sivaranjani based) usurped the airwaves for a while that year. Janaki’s Sudhdhasaaveri 'Unakkaagave naan uyir vaazhgiren' fills the listener's heart with a quiet rapture. And right from the opening humming, the jaunty Jayachandran- Janaki duet 'Amma adi amma sugam summa varuma' thrills in the startling unpredictability of Raveendran's arrangements. 'Vellii mookku minna minna' has Yesudas enjoying a rare merry outing even while clutching on to the silken strands of Kalyani- his delighted drawl on 'Kazhuthai saththam nalla sagunam' is the highpoint here! Malaysia Vasu's 'Naadu nalla naadu' catches your fancy even as the song unfolds with an unorthodox choral humming.
Besides these songs that were released in the vinyl record and aired on the radio, the movie is filled with several pieces of music that have never elicited the attention they deserved….. a small piece of ‘Ezhisai geethame’ sung by Chitra (Why isn’t she credited in the titles?), the music lessons (Chitra & Yesudas) commencing from lovely Swara passages leading to the scintillating Swati Tirunaal composition in Chakravagam- ‘Saroja naabha dayaarnava maamava’, the haunting Yesudas- Janaki duet ‘Yen mounam ilankuyile’…. Riveting musical moments that are interwoven seamlessly into the narrative.
Tamil cinema next heard Raveendran in 1986, a year in which there came as a sudden delightful deluge 4 movies laden with his treasures, filling discerning fans with joy.
Produced by ‘The Hindu’ Rangarajan, Kanmaniye Pesu was Rajasekar's adaptation of Ramesh Talwar's 1981 Hindi film Basera. The film starred Sivakumar, Lakshmi, Ambika, Ganga & Ashwini. The story was a domestic saga, a happy family rocked by a plethora of emotional upheavals- a widowed younger sister marrying her brother-in-law when her elder sister slips into a coma, and years later being forced to don the white garbs as the elder sister regains consciousness. How long can this charade continue? The elder sister discovers the truth eventually and feigns insanity so that she can go back to hospital, sacrificing her happiness for the tranquility of the household.
R.D. Burman had tuned some characteristically winsome songs for Basera and Raveendran proved his mettle by coming up with an equally alluring album. The frolicsome ‘Velakku vecha dhinam virundhirukkum’ (Gangaiamaran), with its startling dappankuthu turn midway, is among Chitra’s early successes in Tamil. ‘Rasa en rasa’ (Vaali) is a fun-filled, teasing ditty by Janaki & chorus. ‘Vaanam engal ellai’(Vaali), a breezy, stylish celebration of youth sung by Malaysia Vasudevan and Chitra, is punctuated by some brilliant interlude moments.
Presenting today, the two remaining songs of the album, two exquisite miracles, that have stayed put in a special perch of my heart all these years.
The first is ‘Nalam paaduven’ by S. Janaki.
As the last rites to the mortal remains of Raveendran were being performed by his son Saajan at Porur on 4 March 2005, Janaki, flanked by Chitra and Sujatha on either side, was part of the grief-stricken crowd that had assembled to bid the master a tearful farewell. Her thoughts must have gone back a good many years- for it was alongside S. Janaki that Raveendran made his debut as a singer in 1969; ‘Pavana Ranjini’ was a duet that he sang with the chanteuse. And though after he became a famed composer, Chitra was his pet protégé, Raveendran did reserve some select creations for Janaki- ‘Hemandha geetham’ from Thalam Thettiya Tharattu, ‘Aamukham kanda naal’ from Yuvajanotsavam, ‘Chicha chicha’ from Mazhayethum Munpe, ‘Omana thingal kidaavo’ and ‘Pon Pularoli’ from Ethiripoove Chuvannapoove.
Take this song as an illustration of the Raveendran-Janaki teamwork. The song begins as Sivakumar runs his fingers on the piano keys, remembering the happy days with his first wife Lakshmi, who has been in a coma for years. His memories go back to the early years of their marriage, and the arrival of their son, and the song she had sung in celebration of this domestic bliss…
RDB had created a celebrated solo for Lata for the equivalent sequence in the Hindi original- ‘Jahan pe savera ho’; but to me Raveendran and Janaki pip at the winning post with their ‘Nalam paaduven.’ Hark at the somber piano notes usher in the flashback to happier times of a distant past and then Janaki ushers in the joy with her high-pitched humming. And the voyage begins. Watch the pulsating interludes- Raveendran’s signatures- and the serpentine charanam, and how effortlessly Janaki takes on the challenge as only she can! Breathtaking, without taking a breath! Vaali’s lines are filled with analogies of sheer marital rapture. https://www.youtube.com/watch?v=llvytclVP7g
For a long time, I thought this was a tune that Raveendran specially composed for this movie, but some time back, I came across his non-film album Vasantha Geethangal, and I found the Malayalam original sung by Yesudas.
The other song from Kanmaniye Pesu is, of course, the heart-tugging ‘Maname Mayangaathe’.
The younger sister watches in helpless grief as the elder takes over her rightful position the wife. And this song is the raconteur that empathizes with her quandary and counsels her to resign herself to her fate, for after all, hasn’t she been shining in borrowed feathers all these years? ‘Vaazhnthu paarthathu vaadagai vaazhkkai, uriyavaL vandhaaL- vazhi vidadi!’ sermonizes Vairamuthu. Raveendran crafts a poignant melody, and who else but Yesudas, with his melancholic mellifluousness, could have done better justice to this song!
Both the songs were often requested for and aired a brief while, before being relegated to oblivion. Let us revisit these gems, and salute the memory of Raveendran.
It was on this day 12 years ago that Indian film music lost one of its prodigious icons and it has remained poorer ever since… the demise of Raveendran Master was at the time widely covered in the local press and media not only in Kerala, but here in Dubai as well.
And a year later, ‘A Tribute to Raveendran’ proclaimed the posters that had sprung up all over Sharjah and Dubai. Glancing at one of them excitedly, I learned that a concert was being held on March 2nd at Al Nasr Leisureland here in memory of Raveendran on the first anniversary of his demise. Chitra, Madhu Balakrishnan and Gayatri sang the virtuoso’s songs.
The singers spoke of the late master in hushed tones of awe and reverence. Madhu Balakrishnan sang many of the songs that had sparkled with the magic collaboration of Raveendran with Yesudas, and did justice to even intricate compositions like ‘Harimuraleeravam’, ‘Rama katha gaanalayam’ and ‘Otta kambi naadham.’ Chitra revealed that it was Raveendran Maash who advised her, in 1982, to come and seek her fortune in Chennai, and her voice faltered as she recalled the last song she sung for him, and she went on to render it- the haunting ‘Kalabam tharam’ (Vadakkum Nathan). Gayatri memsmerised the audience with the soft, caressing notes of the piety soaked ‘Dheena dayalo Rama’.The concert which commenced at 9 pm went on until the wee hours of the morning, and the enraptured crowd sat in a trance, as they were treated to a night of unforgettable music….music that still lives on, and will forever linger to bespeak the glory of its creator…..
Oh, how time speeds on in its remorseless flight! It is now more than a decade since the passing away of Raveendran, yet I remember the benumbed responses of the film music fraternity at the terrible loss. If upcoming singers like Biju Narayanan, Pradeep Somasundaran, Manjari and Renjini Harikumar paid wholesome eulogies to their mentor, I read seasoned veterans like M.G. Sreekumar, Chitra and Sujatha coming up with reverential tributes to Raveendran. And as for Yesudas, heartfelt and moving were his emotional panegyrics to his late friend- for more than colleagues, they were bosom pals; and the silken strings and dainty chords that bound them together are surely stronger than mere mortal existence, for they are fortified by something more eternal- music.
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Born on 9 November 1941 in Kulathupuzha as the seventh child of impoverished parents, Raveendran’s early years were full of struggle. Even as a student of the exalted Swati Tirunaal Music Academy (to gain entry into which he was interviewed by no less a person than Semmangudi Srinivasa Iyer), Raveendran sang in concerts all over Kerala as part of the Ganamela troupe ‘Thunder Birds’ to make both ends meet. Armed with a degree from the hoary institution, he landed in Chennai which was the citadel of South-Indian cinema then, in 1966.
Staying in Ayyanpuram in a friend’s lodgings, he made his rounds of the Kodambakkam studios, but all his efforts to gain an entry to playback singing in Malayalam movies proved futile. It was actor S.V.Sahasaranamam who offered him some solace and made Raveendran sing for his ‘Seva Stage’ plays. Raveendran continued his attempts to gain a foothold in Malayalam film music in the meantime and his untiring efforts bore fruit when composer Baburaj offered him a song to sing in the movie Velliazhcha (1969/ Solar Pictures). The song ‘Pavana ranjini’ did enjoy fleeting popularity, but Raveendran did not get many opportunities again. He had to be content with singing as part of the chorus in a few songs. He even worked as a dubbing artiste to eke his livelihood, for he now had a family of his own to support.
Raveendran had never entertained serious thoughts of trying his hand at music composing, until Yesudas passed on to him a chance at music-direction that had come his way. And with the song ‘Tharake mizhiethalil kanneerumaai’ (sung by Yesudas, of course!) in Choola (1979) Raveendran made a magnificent entry in Malayalam film music. The next two decades saw him reap one bountiful harvest after another, and earn an enviable name as an original composer of rare merit. His music was easily recognizable as his and only his- towering classical edifices, cemented by ingenious, innovative experimentation, doorways carved with enchanting preludes, interiors painted with rich, vibrant interludes and home to trained, tantalizing voices.
Though well acquainted with Raveendran’s works in Tamil, my knowledge of his Malayalam songs has been regretfully inadequate. I had earlier heard the songs from success stories like Thenum Vayambum, Chiriyo Chiri, Aaram Thamburan, Sukhamo Devi, Amaram, Venkalam and of course, the masterpieces His Highness Abdullah and Bharatham. But it was in the last decade that I made the rueful, belated discovery of the genius of Raveendran in hidden (at least to me) treasures such as ’Sayandhanam chandrika lokama’ (Kamaladalam), ‘Venalkkaadum poothu’(Kalyanappittennu), ‘Enthinu veroru sooryodhayam' (Mazhayethum Munpe), ‘Aakasha thamara pole’ (Ayal Kadha Ezhuthukayanu), 'Iru hridhayangalil'(Oru May Maasa Pulariyil) ‘Vaarmukile vaanil nee’ (Mazha), ‘Mamankam palakuri kondaadi’ (Vasantha Geethangal- a non-film album)- what a wondrous, varied tapestry has the master worked on!
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Let us salute the memory of Raveendran by taking a ramble down memory lane, visiting each one of the Tamil movies upon which he bestowed the bounty of his genius. True, his Tamil albums amount to a paltry 7, but his genius glitters in each one of them, and the songs live on to tell the tale of the man behind the music.
How many of us remember an obscure movie titled ‘Hemavin Kadhalargal?’
Ganga Creations' Hemavin Kaadhalargal must have been years in the making, for while it was released in 1985, the EP sleeve of the movie mentions its year of manufacture as 1982. The film was produced by Ganga and was the second film of the acclaimed Malayalam director T.V. Chandran. Though Chandran had commenced his career as an actor in P. A. Backer's Kabani Nadi Chuvannappol, he realized his true calling when he directed his first film Krishnankutty in 1981. Hemavin Kaadhalargal was his second film, and his only outing in Tamil. In later years, he crafted some of Malayalam cinema's finest films like Alicinte Anveshanam, Ponthan Mada, Ormakalundayirikkanam, Mangamma, Susannah, Danny, Padam Onnu: Oru Vilapam and Kathavasheshan.
I gleaned the story outline of Hemavin Kadhalargal only from a staid and taciturn colleague who suddenly opened up when we were talking about the life and times of Raveendran. The mention of Hemavin Kaadhalargal must have touched a long forgotten chord in him, for he leaned forward and asked us shyly if any of us had seen the film, and as we listened in pleasant surprise, he went on to pay a glowing panegyric to the bold theme and the genius of its brilliant director.
As the title indicates, the film revolved around Hema (played by Anuradha) and her elusive search for a perfect spouse. She finds herself drawn to one of the two young men who come her way, and marries him. But she is soon disenchanted by his narrow, male chauvinistic attitude, and walks out of what had become a stifling wedlock. She then finds the man of her dreams, an idealistic, fiery labour leader. But she realizes that she is unlucky the second time as well, and his untimely demise leaves her shattered. Nevertheless life must go on for the living, and Hema continues her quest, undeterred…
Besides Anuradha, the film had in its cast Delhi Ganesh, Vijayamohan, Sabita Anand and others. The dialogues were written by writer Ramanichandran.
It was Hemavin Kaadhalargal then, which marked the debut of the gifted Raveendran in Tamil cinema.
Listen to this song ‘Paarvai theril’ from Hemavin Kadhalargal by SPB. Raveendran's imagination is in full play here, and right from the unconventionally structured Pallavi (most probably set to pre-written lyrics, by Kavin Mugil), the song traverses along some unexplored, exciting paths. SPB seems to have given Raveendran a joyous welcome to Tamil cinema, for he simply captivates with his magic. Hark at his stifled chuckle just before 'punnagai aLLum..', and how he smiles, sulks, cajoles, teases, woos and exults. What a singer! https://www.youtube.com/watch?v=75ld2cWrFnk
Besides this song, Hemavin Kaadhalargal had one other song- the spellbinding 'Kaalai poove nee vaa', where Janaki summons to kaleidoscopic life the magical vistas envisaged by Raveendran.
- We shall revisit the remaining Tamil albums of Raveendran Mash in subsequent parts.
