Happy Birthday Dasetta..

Saravanan Natarajan
Admin · 4 hrs

In celebration of his birthday today, two songs of Yesudas, both with Sasirekha's humming- one by the Master, the other by the Maestro....

* * * * * *

Here the girl cannot speak…. cannot speak with words, that is. Yet her eloquent eyes speak volumes, her smiles proclaim her happiness, her gestures declare her love for her man…

He had earlier rescued her from a scoundrel. Days later at a public rally, he makes an impassioned plea for young men from affluent families to come forward to marry girls with disabilities. A social activist challenges him to set an example and points out to the same girl who is in the audience. She is speech-impaired and destitute, he comes to know. Without a moment’s hesitation, he agrees and the marriage is held the very next day.

It is now the night of their marriage. They are alone in their chamber and he greets her lovingly and talks to her of his progressive thoughts…at one stage he asks her for her opinion, forgetting for a moment that she cannot speak. Seeing her eyes brimming with tears, he is filled with remorse.

He draws her gently into his arms and sings a caressing song of solace. A soothing salve to a bruised heart. So what if she cannot speak, he asks lovingly. Her silence is in itself a language that he would understand, he avers. And in the tender solicitude and loving understanding of her man, she sheds her sorrow and hums along with him with a happiness that had been a stranger to her threshold until then…. Enough, let us leave them alone now in their little world of joy....

Noting the bard’s lines beginning with a reference to the Veenai, the astute master makes the Veenai the mainstay of this captivating composition,with the guitar, flute and piano adding to the allure…..and who else but Yesudas to bring to life the mellow flourishes that the lines demand- empathy, understanding, assurance and overpowering love come across so magnificently in his song....

This captivating song forms part of my earliest memories…Seeing it in Doordarshan as a child, I fell in love it at once and this song, among a few others, paved the way for what would become a lifelong passion.

https://www.youtube.com/watch?v=5sliTjKfPEo

* * * * * * * * *

The Balanagamma (also called Aidamma) temple is in the Vanaparthi taluq of Palamuru district in Telangana. This ancient temple attracts huge crowds, for the benign Goddess is revered as one who assumes fearsome proportions to liberate her devotees from the clutches of satanic forces. Her magnificent exploits are numerous and are subjects of the rich Telugu folklore. The fables are filled with rich fantasies involving thrilling adventures, romance, evil magicians, incredible sorcery and finally good triumphing over evil. (We had these much before J.K.Rowling was even born!)

Burra Katha (a traditional ballad singing folk form) exponents have been narrating tales of Balanagamma from time immemorial. Balanagamma and her legendary valour are also the favorite themes for Jangama Katha, Chekkabomalatta, Koyya Bomalatta and the Surabhi Folk Theatre- all ancient narrative art forms of Andhra Pradesh.

It was an adaptation of the Burra Katha version of Balanagamma that Gemini Vasan decided to make a movie of in 1942. He got the talented Balijepalli Lakshmikantham (who also acted in the movie) to work on the screenplay, dialogues and lyrics. Chittajalu Pullaiya was the director. The film starred Kanchanamala in the title role of Balanagamma who is held captive by the evil sorcerer Maayala Maraathi (played by Govindarajulu Subbarao). Pushpavalli played the vamp Sangu and Banda Kanakalingeswara Rao played Kaaryavardhi Raju. Saluri Rajeswara Rao and M.D. Parthasarathi composed the music.

Gemini’s Balanagamma, with its spectacular settings and special effects, was a thumping success and paved the path for celluloid adaptations of similar folklore fantasies. Why, in 1942 itself, came another adaptation of Balanagamma called Santha Balanagamma (Santha Productions), directed by M.V.N. Rama Rao! Vasan retold the story in Hindi in 1954 as Bahut Din Huye. The movie starred Madhubala, Ratan Kumar, Aagha and others. Music was by Eemani Shankara Shaastri.The next adaptation of Balanagamma to hit the screen was in 1959: Balanagamma (Sri Venkataramana Films) starred N.T.Rama Rao, Anjali Devi, S.V.Ranga Rao and Rajasulochana. It was directed by Vedantam Raghaviah and had music by T.V.Raju. This version was dubbed and released in Tamil as well. Kannada cinegoers had to wait till 1966 for a Kannada adaptation: Balanagamma (Sanathakala Mandir) was directed by P.R.Kaundinya. It had Rajkumar, Kalpana, Nagiah and Rajashri in its cast. Interestingly, S.Rajeswara Rao composed the songs for this version as well.

It was this tried and tested story then that Director K. Shankar decided to resurrect in Tamil in 1981. It had the beautiful Sridevi as Balanagamma, supported by Saratbabu, Manju Bhargavi, K.R. Vijaya, Sudarshan and others.

Ilaiyaraja must have found working on a folklore fantasy a refreshing change, and came up with a stunning album. ‘Koondhalile megam vandhu’ remains the most popular song of the lot, and quite deservedly so. The Maestro had composed a pristine Bilahari here, and who else but Yesudas could deliver this mesmerizing melody! With Sasirekha humming along, the song remains a wonder that many a classical vocalist has saluted with awe.

https://www.youtube.com/watch?v=5Yw1C3sRUS8

https://www.facebook.com/groups/1018417744856618/permalink/2349489345082778/

மலர்ந்தும் மலராதவை # 8

மலர்ந்தும் மலராதவை # 8:

அலைபாயுதே கண்ணா....

In tune with the music season, here is a classical treasure by Ilaiyaraja from an unreleased movie- a celluloid adaptation of a story by none other than the redoubtable Jayakanthan...

* * * * *

‘Who asked you to believe in me? You must first believe in yourself!’

This was JK’s stern rejoinder when the young Ilaiyaraja, his brother Bhaskar and Bharathiraja visited JK in his house, and told him that they have come to Madras trusting that JK would help them find their moorings. IR had known JK well from the days when he used to accompany his brother Pavalar Varadarajan in his concerts featured in meetings of the Communist Party wherein JK was the star speaker. IR was always an ardent fan of JK and his writing. And now when IR, Bhaskar and Gangaiamaran arrived in Madras in search of livelihood, they thought it appropriate to call on JK. In a recent speech, IR said that it was only in jest that they sought the support of JK, but JK took it seriously, and JK’s words inspired IR to develop self-confidence and motivated him to expand his horizons even further.

In later years, as IR became the monarch of all he surveyed in Tamil film music, he continued to admire JK. IR was among the chief speakers when JK was felicitated on being conferred the Jnanpeeth Award in 2006. In his tribute laced with wit, IR recalled the long years of his association with JK and the experiences of accompanying his brother to conclaves of the Communist Party. IR showered encomiums on JK, and said humbly that to speak on JK, one needs to be a greater genius, which he was not. He even read out a verse in wherein he equated JK with Bhararthi.

IR’s speech on JK:

http://www.youtube.com/watch?v=ZxWLc9hZ0wU

When IR constituted a literary forum called "Isaignani Ilakkiya Perumandram" in 2007 to encourage Tamil writers, he invited JK to serve as the president of the forum. IR then produced a celluloid tribute to his friend in 2008. The docufilm titled ‘எல்லைகளை விஸ்தாரித்த எழுத்துக்கலைஞன்' was directed by Ravi Subramanian and the haunting background score was composed by IR. In fact, the movie opens with a soulful song sung by IR, even as JK is shown going on an early morning drive.

* * * * *

However, this was not the only instance of IR composing music for a film associated with JK. In the early 80s, B. Lenin sought to craft JK’s ‘எத்தனை கோணம், எத்தனை பார்வை’ on celluloid, and engaged IR to compose the songs for the movie. It is pertinent to note that Lenin’s father Bhimsingh had made brilliant movie adaptations of JK’s ‘சில நேரங்களில் சில மனிதர்கள்’ (1977), ‘ஒரு நடிகை நாடகம் பார்க்கிறாள்' (1978) and ‘கருணை உள்ளம்’ (1978) which had fetched widespread critical acclaim. ‘எத்தனை கோணம், எத்தனை பார்வை’ is said to have been based on ‘காத்திருக்க ஒருத்தி’, a novel that JK had written in 1980. I have not read the novel, but have vague memories of a friend relating the story to me- it seemed to be woven around a woman who takes the bold step of separating from a wayward, alcoholic husband. Interestingly, way back in 1965, JK had written a short story titled ‘எத்தனை கோணம், எத்தனை பார்வை ’, which showed the startlingly varied angles at which different members of a family, and even the man and woman concerned, view a marriage proposal.

The movie never saw the light of the silver screen, though I believe the video cassette of the movie was released a few years later. I have seen the EP record of the movie. The record sleeve showed images of Thyagarajan, Sripriya, Suresh, Nalini and Charuhasan. I have vague memories of Vadivukkarasi being part of the cast as well. The year of manufacture of the record was 1983. JK drafted the screenplay and scripted the dialogues. Lenin must have been disappointed at the movie finding no takers. But years later, in 2001 to be precise, Lenin was in the news again, and this time it was because he had won the National Award for the Best Director for his work in ‘ஊருக்கு 100 பேர்’, adapted from JK’s eponymous novel.

The person who must have been most saddened with ‘எத்தனை கோணம், எத்தனை பார்வை’ proving to be a non-starter is Ilaiyaraja, for he had composed an outstanding set of songs for the movie. However, his labour was not wholly lost, for as its wont Radio Ceylon went to town with the album, and the songs turned out to become quite popular in their time.

IR inserted some scintillating classical songs in the album. 'பாஹிமாம் ஸ்ரீ ராஜராஜேஷ்வரி’ by Yesudas is a veritable feast for learned connoisseurs. Then there are several delectable bits such as ‘கௌரி கல்யாண வைபோகமே’, ‘நிதி சால சுகமா’, ‘கல்லானேயானாலும்’ and soulful bits of aalaaps, all by Yesudas. ‘புகழ் சேர்க்கும் புது வாழ்வு’ accentuates the softer, sentimental side of Malaysia Vasudevan, while ‘நிமிர்ந்த நன்னடை’ has the same Vasu in his usual strident strain. 'என்ன வித்தியாசம்’ is a ditty full of philosophical mischief, rendered by Malaysia Vasudevan & Gangaiamaran. ‘எத்தனை கோணம் எத்தனை பார்வை'’ has Malaysia Vasudevan & Chorus ruminating on the vexatious issues that plague the society and prescribing socialist solutions to the ills. I believe JK had written the lyrics for ‘புகழ் சேர்க்கும்’, ‘என்ன வித்தியாசம்’ and the title song.

Let us listen to the remaining 2 songs from the album. The first is Uthukkaadu Venkata Subbaiyer's
famed ‘அலைபாயுதே கண்ணா’ by Yesudas & S. Janaki set in Kaanada. Shankar-Ganesh had sought inspiration from this ancient composition for setting the tune of the pallavi of ‘ஆசைகளோ கோடி’ by Janaki (அர்த்தங்கள் ஆயிரம்/1981). Years later ARR stuck to the traditional tune when he had to include the hoary composition in ‘அலைபாயுதே’ (2000). The song was sung by Kalyani Menon, Harini and Neyveli Ramalakshmi.

Ilaiyaraja waves his baton, and lo- the violin and flute set the stage for enchantment. The interludes- the first with interesting moments where the Veenai flirts with the Guitar and the second dominated by a bewitching flute are simply ethereal, even as the mridangam provides unobtrusive support all through the song. Yesudas, who keeps singing this song on many a December stage, brings to the fore his impeccable pedigree, while the singular Janaki matches Yesudas valiantly note by note. She soaks her rendition with the tremulous ache of being in love with Lord Krishna.

https://www.youtube.com/watch?v=yJtak7kc8Yg

We have next ‘விதைத்த விதை தளிராய் எழுந்து’ a joyous duet of hope, sung by Deepan Chakravarthi & B.S. Sashirekha, with IR at his creative best. This time the maestro’s glance falls on Darbaari Kaanada and he conjures a tune that weaves the nuances of the Raaga as a tantalizing trellis. The prelude and interludes are vintage Ilaiyaraja. The first interlude opens with the guitar, and then the violins make merry with the tabla offering some sedate moments before the guitar and veenai escort the tune to the charanam… The intriguing veenai- guitar dalliance continues in the second interlude as well, while this time it is the flute that beguiles the tune back into the charanam. Lyrics by the birthday boy Gangaiamaran.

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

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1810478982317153/

மலர்ந்தும் மலராதவை # 6

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை # 6:

திங்கள் மாலை வெண்குடையான்...

In celebration of the birth anniversary of Salil Chowdhury today.

* * * * *

It was the genius Ramu Kariat who brought Salil Chowdhury down south in 1965 to compose music for his magnum opus Chemmeen. And sitting in Room No. 28 in the old Woodlands Hotel in Chennai, Salilda diligently crafted the landmark album. The rest, as they say, is history. The besotted Malayalis now acquired one other common passion, besides communism and football, to share with their Bengali brethren.

With his scintillating compositions marked by rich orchestration in film after film, Salilda went on to carve a hallowed niche for himself in Malayalam film music. His albums such as Swapnam, Nellu, Ragam, Raasaleela, St. Thomas, Ee Gaanam Marakkumo and Air Hostess are a discerning collector's delight even to this day.

Unfortunately, contemporary Tamil cinema just did not have the catholicity to embrace this genius and celebrate his music. The first timid foray that Salilda made into Tamil Cinema was Uyir (1971/ TVS Productions), for which he composed only the background music, while the songs went to actor/singer/composer Ramana Sridhar (alias Vijayaramani) more popularly known by his real name T.S. Raghavendra.

The next opportunity came in 1973 when Ramu Kariat got Salilda to compose 3 songs for his Karumbu, an ambitious venture planned in rich magnificence and grand cinemascope. The movie was scripted by none other than the great Tamil writer Thi. Janakiraman. 3 songs were recorded by Salilda featuring the vocals of Yesudas, P. Susheela and Sabita Chowdhury. Sadly, for reasons unknown, the project was abandoned.

Happily, the songs remain with us. Radio Ceylon played them ever so often in the 70s. Even I who
started listening to the radio only in the last years of the decade recall these songs finding abundant airtime. And then...., they disappeared, pushed relentlessly by the swirling mists of time. These songs lay submerged deep in my heart, even when I had forgotten them in course of time. All they needed was a spark to get back into conscious memory, and this spark was provided by a Sri Lankan friend, a kindred soul whose passion for Tamil film music knows no bounds, who was visiting from London.

We sat one afternoon, deep in joyous recollections of songs from the 70s…He sang suddenly the first line of this song, and I joined him excitedly in the second line, brimming with the ecstasy of discovering a long-lost treasure…my voice choked with rapture as we commenced the third line ‘Gangai thannai punarndhaalum’. He waited for me to regain my composure and patted me understandingly... We then spoke wonderingly of Salilda and discussed his memorable works in the southern languages…

My hunt for the Karumbu songs in all the recording centers I knew in Madras and even all over the South was in the vain, the songs remained stubbornly elusive…Imagine my pleasurable surprise when the same Sri Lankan friend gave me a CD full of obscure songs that I had requested from him, and these songs were part of that precious lot!

Presenting here the Yesudas version of Ilango Adigal’s Kaanalvari verses from the Silappadhikaram, tuned by Salilda for Karumbu. If you haven’t listened to it earlier, you are in for a rare treat. And even if you have, it is bound to bring goosebumps at every listen… Yesudas sounds ruminative and wistful as he renders the ancient lines from the first epic poem in Tamil (circa 5th century AD)… Cannot but salute anew the genius of Salida and at the magic that he has wrought…

Song: Thingal maalai
Film: Karumbu (Unreleased)
Vocals: K.J.Yesudas
Lines from Ilango Adigal's Silappadhigaram
Music: Salil Chowdhury

https://www.youtube.com/watch?v=nwVYnuof_98

Discussion at:

https://www.facebook.com/groups/1018417744856618/permalink/1790322600999458/

Thendral thaalaatum neram - Vasantham varum

Saravanan Natarajan writes:

தேன்மலர் மறப்பதுண்டோ தென்றலே உன் நினைவை....

Today happens to be the birthday of our V. Kumar. Cannot let the day go by without offering our salute to the memory of the humble composer, for the treasures that he has bequeathed that serve as constant reminders of their gentle, unassuming creator.

Let us listen today to a hidden gem from a movie called ‘Vasantham Varum’. Vasantham Varum, despite its optimistic title, found that spring had callously passed it by, for it never got to be released. And the wonderful album that Kumar eagerly worked on was consigned to lie forgotten on the dusty rear shelves of the few audio centers that happened to buy the EP record.

The record gives the year of its manufacture as 1981, and announces the wretched banner as ‘Electra Films’. Vijayan is shown in a ruminative posture on the front sleeve, while Saratbabu smiles at you from the other side. The director of this doomed film was K. Somasundareswar. All the four songs were written by the obscure Mu. Paavanan.

This song, ‘Thendral thaalaatum neram’ is an exquisite guitar-driven composition, one that throws open wondrous vistas of dreamy, languorous romance. Yesudas and P.Susheela merge into the captivating canvas, bringing to passionate portrayal the aching longings of a love-struck couple.

Listen here:

https://www.youtube.com/watch?v=Z6zjDQqMkRU

How bitterly disappointed Kumar would have been at the fate of the film, and its album!

But then, such frustrations were not new to Kumar. So many of his painstaking endeavors were wasted on such stillborn ventures. Numerous were such flowers that were born to blush unseen. Only fervent listeners of Radio Ceylon were fortunate to have listened to such wonderful creations of Kumar like ‘Naano un adimai’ (P.Susheela/Jayachandran), ‘Niilaavai netru paarthathu’ (Vani) both from an unreleased Unnai Naan Sandhithen, ‘Ulagam siridhu naan unnai ennumpothu’ (TMS/P. Susheela) from Perappillai, TMS and Vani weaving magic in ‘Oru paarvai nooru kavidhai’ from Manoranjitham, Janaki’s haunting title track from the same film; SPB and Janaki crooning ‘Rasigan thaan enakku nee’ from an unreleased late 70s venture called Rasigan- have not been able to get much information on these unreleased films. Aval oru Kaaviyam was fortunate, for after years of hibernation in the cans, it was released in a few B & C centers in 1983. Thanks to the myriad TV channels that occasionally telecast this film in their weekday noon slots, Kumar’s enchanting songs like ‘Krishnaprabhu unnidam kudi konden’ (P.Susheela) and ‘Kodi inbangal thedum ullangal’ (Jayachandran/ P.Susheela) enjoy an extended lease of life.

But why talk about Kumar’s painstaking efforts wasted on unreleased films- he often suffers the misfortune of even many of his brilliant compositions being repeatedly credited to others. A seasoned audio center owner in Royapettah was firm in his belief that ‘Thirukkoyil thedi rathi devi vandhaal’ was by MSV; a learned journalist friend was skeptical when I insisted that ‘Enna thavam siedhen unnai manam kolla’ was by Kumar, and a classmate refused to accept that ‘Ennai azhaithathu yaaradhu kanne’ was not by Ilaiyaraja!

Let us attempt to set the record straight, and give the self-effacing Mellisai Maamani his true due. We owe him that.

Discussion:
https://www.facebook.com/groups/1018417744856618/permalink/1676829255682127/

The King's Treasuries - 12 Muthumani Chudare - Anbulla Rajinikanth

Narayanan Swaminathan writes:

The King's Treasuries - 12

Tabla-tarangam

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'.
********

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.

https://www.youtube.com/watch?v=zk77taRfXoE

Pudhiya poovidhu

in the first interlude, eventhough it sounds just like tabla, if you keenly notice there are some notes played on the tabla.

https://www.youtube.com/watch?v=2aIhykB5SHs

Siriya Paravai Siragai

In the 2nd interlude of Siriya Paravai song from Andha Oru Nimidam , there is a short piece played on the Tabla-Tarangam and Jalatarangam in unison.

https://www.youtube.com/watch?v=rgOkSqxQUi0

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.

https://youtu.be/wAAYEHe55gw

********

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.

https://youtu.be/Yqdc_sIUMoQ

Discussion at:

https://www.facebook.com/groups/1018417744856618/permalink/1452610504770671/

Ilango Adigal’s Kaanalvari verses from the Silappadhikaram - Karumbu 1973

Saravanan Natarajan writes:

ஆடி வெள்ளி special:

It was the genius Ramu Kariat who brought Salil Chowdhury down south in 1965 to compose music for his magnum opus Chemmeen. And sitting in Room No. 28 in the old Woodlands Hotel in Chennai, Salilda diligently crafted the landmark album. The rest, as they say, is history. The besotted Malayalis now acquired one other common passion, besides communism and football, to share with their Bengali brethren. With his scintillating compositions marked by rich orchestration in film after film, Salilda went on to carve a hallowed niche for himself in Malayalam film music. His albums such as Swapnam, Nellu, Ragam, Raasaleela, St. Thomas, Ee Gaanam Marakkumo and Air Hostess are a discerning collector's delight even to this day.


Unfortunately, contemporary Tamil cinema just did not have the catholicity to embrace this genius and celebrate his music. The first timid foray that Salilda made into Tamil Cinema was Uyir (1971/ TVS Productions), for which he composed only the background music, while the songs went to actor/singer/composer Ramana Sridhar (alias Vijayaramani) more popularly known by his real name T.S. Raghavendra.

The next opportunity came in 1973 when Ramu Kariat got Salilda to compose 3 songs for his Karumbu, an ambitious venture planned in rich magnificence and grand cinemascope. The movie was scripted by none other than Thi. Janakiraman. 3 songs were recorded by Salilda featuring the vocals of Yesudas, P. Susheela and Sabita Chowdhury. Sadly, for reasons unknown, the project was abandoned.

Happily, the songs remain with us. Radio Ceylon played them ever so often in the 70s. Even I who started listening to the radio only in the last years of the decade recall these songs finding abundant airtime. And then...., they disappeared, pushed relentlessly by the swirling mists of time. These songs lay submerged deep in my heart, even when I had forgotten them in course of time. All they needed was a spark to get back into conscious memory, and this spark was provided by a Sri Lankan friend, a kindred soul whose passion for Tamil film music knows no bounds, who was visiting from London.

We sat one afternoon, deep in joyous recollections of songs from the 70s…He sang suddenly the first line of this song, and I joined him excitedly in the second line, brimming with the ecstasy of discovering a long-lost treasure…my voice choked with rapture as we commenced the third line கங்கை தன்னைப் புணர்ந்தாலும்.. He waited for me to regain my composure and patted me understandingly... We then spoke wonderingly of Salilda and discussed his memorable works in the southern languages…

My hunt for the Karumbu songs in all the recording centers I knew in Madras and even all over the South was in the vain, the songs remained stubbornly elusive…Imagine my pleasurable surprise when the same Sri Lankan friend gave me a CD full of obscure songs that I had requested from him, and these songs were part of that precious lot!

Presenting here the Yesudas version of Ilango Adigal’s Kaanalvari verses from the Silappadhikaram, tuned by Salilda for Karumbu. If you haven’t listened to it earlier, you are in for a rare treat. And even if you have, it is bound to bring goosebumps at every listen… Yesudas sounds ruminative and wistful as he renders the ancient lines from the first epic poem in Tamil (circa 5th century AD)… Cannot but salute anew the genius of Salida and at the magic that he has wrought…

https://www.youtube.com/watch?v=nwVYnuof_98


Discussion at:

https://www.facebook.com/groups/1018417744856618/permalink/1284677091564014/

Devan Thiruchabai Malargale - Avar Enakke Sondham

Saravanan Natarajan writes:

Devan Thiruchabai Malargale…

Another favourite from the magnificent 70s…

Sung by Poorani & Indira.
Lyrics by Panju Arunachalam. Music by Ilayaraja.

* * * *
Avar Enakke Sondham (1977/ P.A. Art Productions) starred Jaishankar, Srividya, Fadafat Jayalakshmi, Thengai Srinivasan and others. It was the time when Panju Arunachalam had begun to don many hats besides lyrics writing; Avar Enakke Sondham was among those early films for which he wrote the screenplay, dialogues and lyrics, besides being the producer.

The story revolved around Anand (Jai) and his wife Kavitha (Srividya), who are at constant loggerheads. Kavitha rules the household with an iron hand and the children resent her stringent disciplinary measures. Both Anand and the children find comfort in the affection and care that they get from Elizabeth (Fadafat Jayalakshmi) who is a typist in Anand's office. Kavitha misunderstands this relationship; but gradually realizes the error of her own ways. All is well that ends well. This song has Elizabeth singing to the children, and praying for their well-being.

* * * *

It was 'Annakkili' Selvaraj who introduced Ilaiyaraja to Panju Arunachalam. Selavaraj, who had earlier been highly impressed by Ilaiyaraja's talents when Ilaiyaraja had composed music for his stage plays, took him to Panju Arunachalam with high words of commendation. And thus was born the prolific Panju- Ilaiyaraja association that saw so many landmark collaborations in the coming years.

From 4 films in 1976, Ilaiyaraja had progressed admirably to 12 films in 1977. And most of those 12 would not merit even a dusty rear corner in memory had it not been for his wonderful songs. The year would also remain special to Ilaiyaraja for the reason that it was in 1977 that he bagged the Tamil Nadu State Award for his outstanding work in 16 Vayathinile.

Avar Enakke Sondham had 6 songs, and Devan Thiruchabai Malargale is the sparkling jewel in the iridescent crown. The song has a Yesudas version as well, one that goes ‘Devan thiruchabai malar idhu’. P.Suseela's alluring 'Thenil aadum roja' is the other bewitching creation that bestows upon the album the boon of immortality. The jaunty baila 'Suraangani' (Malaysia Vasudevan/Renuka) found instant favor with the youth of the time, and Radio Ceylon, quite understandably went to town with it. TMS too found place in the album- while the melancholic and meditative 'Kuthirayile naan amarndhen' was perhaps a characteristic TMS number, the uproarious 'Kabhi kabhi mere dil mein' captures TMS at his mischievous best- he makes merry in the swift classical passages culminating in a delightful dappankuthu! SPB's wry 'Oru veedu iru ullam' was another top draw in this unforgettable album.

* * * *

Poorani and Indira were regular singers in IR's troupe. In 1975, a year before Annakkili, Ilaiyaraja, along with his brothers, had come up with an album called 'Pop Hits of 1975'. Gangai Amaran had penned the songs. Along with TMS, SPB, Malaysia Vasudevan and R.D.Baskar, Poorani was the only female singer to feature in the album. After 'Devan thiruchabai malargaLe', it was GA who gave Poorani a few opportunities like 'Adi ennoda vaadi' (Oru Vidukathai Oru Thodarkathai), 'Vaanam poo sindhattum' (Malargalile Aval Malligai) and
'Vellam pole thullum ullangale' (KanavugaL KarpanaigaL). As for Indira, prior to 'Devan thiruchabai malargale' she had sung 'Dear uncle' in Uravaadum Nenjam. Poorani and Indira continued in Ilaiayaraja's troupe as chorus singers, and sang in his live concerts as well. Perhaps they are still part of Ilaiyaraja's chorus singers; 'Devan thiruchabai malargale' being their fleeting tryst with Tamil Film Music history.

* * * *

As a small boy in the late 70s, I was creating a racket at home when my parents had left me for a few days in the care of my grandmother and uncle. To give some respite to my paatti and to put a temporary end to my tantrums, my uncle, who had got in his medical college two tickets for Ilaiyaraja's show, took me to the Music Academy. I admit I didn't go too willingly and was fidgeting restlessly in my seat. But when the curtains were raised, and as the strumming of the guitars began in the dim light, I remember falling silent and sitting transfixed as the entire hall
listened in rapturous silence to 'Devan thiruchabai malargale'. As the violins faded in the end, the lights came on and the entire hall rose to give a standing ovation to Ilaiyaraja, Poorani and Indira. (This was the song that Ilaiyarja featured as the invocation in all his shows till 1982; he
switched over to 'Janani Janani' thereafter).

Whenever my craze for Tamil Film Music is the topic under discussion in the family circle, my uncle invariably recalls this incident! Looking back, I don't wonder at it, for the sheer magic of the song is such. The guitar which forms the mesmerizing mainstay of the song, the flute which beguiles at every note, the accordion which teases and tantalizes playing hide and seek, and the violins which seem to go berserk, albeit methodically in the postlude. What a masterpiece! And the church bells toll approvingly in divine benediction, lending the song an aura of heavenly intervention.

As a child I could not have surely appreciated the intricacies of this composition (not that I know much now!), but this song was probably my initiation to the enchantment of Tamil Film Music, and I have been hooked ever since!

Even now my fingers falter when I attempt to describe the excellence of the song. Mere sober words and meager labels are inadequate to the task; pompous terms, jeweled exotic phrases rise to the excited fancy. The song has the vivacious vagueness of art and the sharp precision of science. It quickens the blood and clears the head; it fills the soul with blissful well-being….

Male version by K.J.Yesudoss

POYYINRI MEYYODU - SARANAM AYYAPPA

- Saravanan writes:

Continuing our reminiscences on Chandrabose.

Thus CB made a noteworthy debut with madhura geetham and waited with
enthusiasm for further opportunities to pour in. He waited in vain,
though, for it was the time when Ilaiyaraja had burst upon the TFM scene
and Ilaiyaraja came, saw and conquered. Our Mellisai Mannar was also
churning out hit after hit on the other end, and Shankar-Ganesh secured
opportunities aplenty as well. V. Kumar, Vijayabhaskar and Shyam pretty
much divided the remaining work among themselves. In such a scenario, it
was of little surprise that a newcomer like CB was all but forgotten in
the aftermath of madhura geetham.

It was V.C. Guhanathan who came to CB's rescue once again, appointing CB
as the music director for all the projects that he was involved in
during the late 70s. Thus CB scored the music for Guhanathan's 'mangudi
minor' (1978), 'machchaanai paartheengaLa' (1978) and 'muyalukku 3 kaal'
(1980). 'mangudi minor' starring an upcoming Rajnikant along with
Vijayakumar and Sripriya was a remake of Manmohan Desai's 1972 movie
'Rampur Ka Lakshman' and CB lifted R.D.Burman's 'albEla rE albEla rE'
from the original for his 'kaNNan angE radhai ingE' sung by Vani Jairam.
The other 3 songs 'aNNaa neenga nenachappadi', 'yERu pudicha kaigaL'
(both by TMS) and 'en kaiyil iruppadhu' by P. Suseela were CB originals,
though. 'maampoovE siRu mainavE' the caressing Yesudas-Suseela duet that
CB composed for 'machchanai paartheengaLa' has reserved a place of pride
for CB in the annals of Tamil film music. The other songs in 'machchanai
paartheengaLa' (Sivakumar, Sridevi & Sumitra) were Janaki's breezy 'adi
maaman muniyaaNdi', 'ada kooRukketta pasangaLa' (Ceylon Manoharan, L.R.
Anjali & CB), 'dEsingu rajan' (TMS), and topping them all, the rousing
'engamma maharasi' (TMS, CB & chorus). For the full length comedy movie
boasting of a galaxy of comedy actors 'muyalukku moonu kaal', CB lifted
the 'bachna yE hasinO' track from RDB's 'Hum Kisi Se Kam Nahin' and
tuned it as 'kaadhal kavignan naan' (TMS, SPB, CB & Jency). The title
song by Janaki & Malaysia Vasudevan enjoyed brief popularity. CB's next
movie was Nathigam P. Ramaswami's 'madhavai vandhaaL' (1980) and 'maalai
muthu maalai' (P. Suseela & CB) and the title song by Seergazhi S.
Govindarajan are said to have won the approbation of the fastidious
Kannadasan who wrote the lyrics. 'avaLukkuL oru ragasiyam' was another
album that CB worked on 1980; the movie proved to be a non-starter,
though. And in the midst of these movies, CB also sang for Shyam in
'pancha kalyaaNi' (1979).

Another movie that CB composed songs for in 1980 was Dasarathan's
'saraNam aiyappa' (Amudeswari Films). Most of you would be familiar with
'Master' Dasarathan, the child artiste who acted in few movies in the
late 60s and early 70s. He grew up to be a staunch devotee of Lord
Aiyappa, and made 3 movies to propagate the greatness of the Lord of
Sabarimalai- 'saraNam aiyappa' (1980), 'aruL tharum aiyappan' (1987) and
'engaL saami aiyappan' (1990). Besides scripting and directing these
movies, Dasarathan tried his hand at composing the music as well for
'aruL tharum aiyappan' and 'engaL saami aiyappan'.

Released in the winter of 1980 to coincide with the annual pilgrimage
period, 'saraNam aiyappa' had in its cast Bhupathi, Jayabharathi,
Sumathi, Surulirajan and Manorama, with an added attraction of popular
artistes such as Kamalhasan, Jaishankar and Bhagyaraj appearing in guest
roles. Dasarathan got Yesudas to appear on screen as well.

CB came out with a stirring album for this devotional movie. 'sonnaal
inikkuthu sugamaai irukkuthu' is a lilting composition sung by SPB &
Raji. K. Veeramani has composed and sung many a hymn on the Lord, but
'malai meedhu maNiyOsai aiyappa' composed by CB and rendered by
Veeramani for this movie stakes claim to a place among the great
devotee's best songs ever. 'swami thinthakaththOm' by Seergazhi
Govindarajan & chorus became a mandatory inclusion in Aiyappan Poojas
all over the state. CB got Kamalhasan to sing a song as well and the
folksy 'aNNaa avada thambi vaada' found frequent airtime. The jewel that
glitters the brightest in this crown, however, is the SOTD, 'poyyindRi
meyyOdu' by Yesudas.

'poyyindRi meyyOdu' from saraNam aiyappa (1980/ Amudeswari Films)
Sung by K.J. Yesudas
Lyrics by Dasarathan
Music by Chandrabose


"At Sabari hills I do not consider religion. I offer my soul to the
Supreme Power. There is a greater search of self than of religions over
there!" says Yesudas (Conversation with Hari Kochat). It is Yesudas'
rendition of Harivarasanam that lulls the Lord atop the 18 steps night
after night. An ardent devotee of the Lord, Yesudas has brought out 26
albums on the Lord under his Tharangini label. And in the album
'kaaniponnu', the veteran singer has even written 2 songs in praise of
the Lord. "I always wished with all my heart to write a couple of lines
on the Lord. That too about a place known for unity, with no differences
in the name of caste or religion." Yesudas said.

Take the SOTD as a glittering instance of the singer's devotion. On the
subapanthuvarali canvas spread by CB, Yesudas paints a pensive paean of
polished brilliance. With the simple, evocative lines by Dasarathan
soaked in moving piety, the song captures a place of pride among the
finest devotional songs that have found place in Tamil cinema over the
decades.