Kadhal Kavithaigal - SPB's field territory!

Some compositions are just tailor made and feels like it's been composed exclusively for SPB to do full justice. And boy oh boy does he do a wondrous job of it by elevating the number a further notch through his energetic rendering. The song in question is Kadhal Kavidhaigal from the movie Gopura Vaasalile.

It's a love byte set to tune in Malayamalava Gowla ragam. The prelude begins with the lady conveying her excitement towards her lover through the words "I love this lovable idiot" and then gets taken over by a gush of violins galloping in a gorgeous gusto followed by the chiming in of the wind flute to add some chirpiness.

And when SPB begins singing Kadhal Kavithaigal Padithidum it's a chilling feeling with love abounding in breathtaking fashion. There is an extra zep in his soulful rendition that brings out the love pep brimming in full finesse. Chitra complements SPB beautifully but the out and out show-stealer of this riveting composition is the man with the golden vintage voice.

This song also touches upon the 'Thala' in a lovely manner. Normally when a melody starts with the beat, it's termed as 'Samam' but when it starts at a different point from the beat it's known as 'Vishamam'. When melody starts first followed by the beat it's called 'Athitha Eduppu' whereas if the melody starts after the beat it's known as 'Anaagatha Eduppu'. This song employs Athitha Eduppu by having the melody line starting ahead of the beat.

I attempted a small take on the veena beginning from the Charanam and then connecting it back to the Pallavi where SPB is in his true elements decisively lighting up and lilting the number to glory beyond uncharted territory. This is an evergreen love song for the ages that always leaves a smile on your face. Sharing this sizzling song as an ode to SPB as a remembrance on his birth month anniversary and on the occasion of World Music Day.

Kapi and Captivating!

Ilaiyaraaja is a magician when handling Carnatic Raga's as he knows how to bring out the inherent subtlety of it without diluting the essence one bit. Even if he adds an alien note or two, it just doesn't seem out of place at all. Prima-facie all this appears to be a mystery but the way he manages to do it is simply impossible to comprehend.

One of the Raga's where he has showcased his mastery time and again is 'Kapi'. Kapi is a derivative of the 22nd Melakarta Ragam Karaharapriya and uses a pentatonic scale on the ascendancy but on the descendancy it touches all 7 notes. It is a mood inducing raga known for it's twists and turns. Both the Nishadams (Ni2 and Ni3) are used judiciously and you'll see a leapfrogging texture that adds a distinctive unique quality to it. 

A majority of the compositions which Ilaiyaraaja has employed in Kapi ragam have been nothing short of astounding. He is literally seen toying with the ragam and since this is an experimental scale, you'll see pyrotechnics at play eventually resulting in an aural spectacle.

I have handpicked 2 masterful compositions of his in Kapi Raaga - one from Kannada (Sandalwood) and another from Malayalam (Mollywood) to showcase the prowess in using Kapi Ragam. 'Jeeva Hoovagidhe' has been a perennial favorite and is an evergreen iconic love composition sung by Dr Rajkumar & S Janaki. 'Thumbi Vaa' is a song which has been redone in multiple languages but nothing beats the original from the movie Olangal sung by S Janaki with chorus back up.

I've attempted a tiny lunge at both these songs trying to intersperse one onto another to show the delightful curvy flavour that is Kapi. Began with the middle portion of Jeeva Hoovagidhe which gets transported back to the starting portion. From there picked up on the Charanam of Thumbi Vaa and traversed along to the opening bits of the song finally ending with a touch of the famed 'I Love You' line from Jeeva Hoovagidhe.

Coffee comes in many different flavours and the decoction plays a role in determining the firmness of it. It can be light, medium, strong or whatever. Similarly Kapi ragam like it's drinking mate has a quality where the concoction that is thrown up decides the variety of the outcome. And IR is simply a kingmaker in knowing how to handle the mix as seen from these 2 captivating Kapi numbers.

Poongatru Pudhidhaanadhu - Entranced Trance!

There are some compositions which are very hard to decipher and "Poongatru Pudhidhaanadhu" from Moonram Pirai (1982) falls in that esteemed category. The song has always haunted me with the way it's been structured. It probably could be classified under the genre of 'Trance' but irrespective it's a number that has always entranced beyond imagination.

It gives the impression initially of being a hard hitting number with the fast paced beats opening up the prelude and then the actual Pallavi kind of takes a pause and goes in a slightly slower trajectory but the eeriness continues unabated. The second stanza slows down majorly and has a beautiful melody interlaced crooned by the incomparable KJ Yesudas. If you split the song in parts, you wouldn't think the pallavi and anupallavi are from the same number based on the construction. It becomes even more hard to fathom when the opening prelude bit is played.

In effect, the song follows a pattern and yet portions of it go on in it's own individual patterns but the unison generated is perfectly synchronised and falls in place nonchalantly. The composition appears to be largely set in the Sindhu Bhairavi ragam and can be described as a mystical composition transcending the magic across waves of intricate layers.

I just gave a stab at this masterful composition as I've always been fond of wanting to try that opening bit which tends to reach a crescendo with the beats gushing in full furore. Tried a portion of the opening portion and also the middle part which lowers the tempo of the melody and gets backed by the beats of the Tabla. It's just a basic try but more of an exploration unravelling the beauty of this musical wonder. The composition is over 40 years old but continues to enthral.

Raasathi Unnai - The Timeless Masterpiece

This song is literally a gem in every way. It has such a surreal confluence of folk infused with carnatic classical that makes it mighty special. It's hard to coin this into a specific genre as the template doesn't really give a picture of a genre perse but however the end result makes this composition truly stand out as a certified classic.

There is a legend which gets associated with this song whereby it's beleived that elephants used to assemble outside the theatre at the village of Cumbum in Kerala standing there with their trunks held high as the song was getting played.

Throughout the song one will get to hear lovely strumming at the background beautifully accompanying the vocal chords along with some lilting arpegio passages. The singer Jayachandran has given his heart out in rendering this number and you can feel the full strata of emotions in the vocal undertone.

My favorite part of this vintage number is the Charanam portion which dances along gregariously and connects back to the Pallavi. This incidentally was also the portion which I tried on the veena. Not sure if I was able to do justice but just even attempting to play this timeless masterpiece gives unbridled joy and happiness.

Running riot - Valai Osai

This song is a riot from the very inception. The way it picks up pace and gathers momentum throughout the course of the composition is something to behold. Though Lata Mangeshkar had sung a couple of songs before this one, it was Valai Osai that imprinted the stamp of her voice in Tamil Language

If one looks at Raaja's ouevre in terms of ragas touched, he would have virtually tried his hands at everything there ever was but if there is one raga that stands out then it's certainly Sindhu Bhairavi. The majority of numbers from a percentage terms composed by the Maestro would include this incomparable raga that is almost like a template design for breathtaking song constructs. 

If ever one feels demotivated, it's a tip to listen to this one as it can pep you up in an instant with it's high octane energy levels. A landmark number in every way with 4 legends Vaalee, Ilaiyaraaja, Lataji and SPB joining in to create a timeless eternal masterpiece. 

Attempted a portion of this song right from the interlude and then latching on to the charanam and clawing back on to the Pallavi. Just hope I've been able to capture a minute essence of this remarkable composition to the best of my ability.

Kaapi Konashtai and Breezy Bass - The magic behind Naguva Nayana/Paniyil Nanaiyum

'Naguva Nayana' is an iconic composition when viewed from the Kannada hinterland. Pallavi Anupallavi was the first movie that ace director Mani Ratnam helmed and this also happens to be the first ever pairing of the famed Mani Ratnam-Ilaiyaraaja duo who combined to produce sensational stunners from around the mid 80s till the early 90s. Almost every song from this combo sparkles with ecstasy and steeped in musical monarch. 

Around the mid 2000s, I heard that there was a Tamil version of this song and remember searching feverishly across erstwhile sites such as cooltoad, sukravathanee.tk, mohankumars etc but to no avail. Then finally I got to source it from a gentleman abroad who procured it once I described about this song and movie. I recall it was such a blissful experience listening to 'Paniyil Nanaiyum Malargal Rendu' for the first time though it was in it's dubbed avatar. 

This song has always remained a perennial favorite and I absolutely love the freshness that this song infuses every time you listen to it. You tend to mirage a verdant lushness to it that feels so invigorating and refreshing. The ebbs & flows of Kaapi ragam is handled so delicately and the way the bass breezes through is simply riveting. 

Just attempted a portion of this magical song. This beauty also happens to be one of my most favorite romantic duets rendered by SPB and Janaki/Chitra (former Kannada and latter Tamil). An evergreen number for the ages!.

The Dazzling Damsel - Azhagu Azhage

This song has been written as an ode to describe the captivating beauty of a women. The same can also be depicted for the song in question as it's in every way as breathtaking as a beautiful damsel. The curvy overtures, the subtle nuances, the alternate notations add such a dignified stance that makes you go all awww and admire the piece in it's full splendor. 

This song is difficult to describe with respect to the raga pattern it follows but it utilizes both the gandharams and dhaivatams in such an elevated manner leaving you go all awestruck. The gentle manner in which the song meanders along makes it feel serene and gives such a soothing effect. Though Andhi Mazhai is the torch bearer song of this movie, there is a certain refined elegance to this one that is sure to make you fall in love with it. 

I just attempted a bit of the veena piece that originates in the middle of the interlude giving way to the Charanam and then back to the Pallavi of Azhage Azhagu Devathai. I hope my minimal strive was able to capture a glimpse of the magic that this composition is gloriously dipped all over with.

A Magnum Opus masterpiece - Poo Malaye Thol Serava

I was introduced to a major part of Maestro's music only much into the 2000s and one of the initial compositions that completely blew me bonkers was Poo Malaye Thol Serava from Pagal Nilavu. All sorts of pyrotechnics were happening and it seemed too unreal to be true.

This song taught me the meaning of counter point and how call & response lines should blend so bewitchingly. It feels like a western symphony smothered with a native element and the output created is nothing short of histrionic. 

Have always been awestruck as to how these counter melodies keep going side by side with the harmony uniting to create such a picture perfect unison. This is song construction at such an astounding level. The song IMO can be used as a typical illustration to teach a finance student the effect of how synergies are construed from the various layers at play. 

Today being World Music Day and all, I just tried attempting the prelude, postlude and interlude of this jaw dropping composition. This was difficult for me personally as it's way beyond my scope as the notes gallop and throttle around all over the place. But the sheer joy of attempting is what makes it worth it at the end of the day. #WorldMusicDay

'Kalyani' with a Twist - Sundari Kannal Oru Seyidhi & Nee Oru Kadhal Sangeetham

Whenever Raaja touches the raga scale 'Kalyani', there is an eerily divine human intervention that is so magical and totally transports you to experience an elevated phenomenon that simple feels out of this world. Every stroke of it is seeped in mastery that exudes magnificence. 

The thing with Kalyani songs of Ilaiyaraaja is that they also tend to be experimental at times. Kalyani is a very pure ragam and used to denote auspiciousness especially. It doesn't really offer scope for twitches as it can go woefully wrong when not handled in the right fashion. But that's not applicable to the Maestro at least.

He has used it in it's most pristine form as well as broken the mould to convey various emotions through this mellifluous ragam that harps largely on the Prati Madhyamam (second Ma). The two songs showcased are not refined Kalyani's by any stretch of the imagination but yet the base of the ragam comes out in full furore due to the strong foundation created.

'Sundari Kannal Oru Seidhi' uses an alternative phrase of Ga and changes to 'Kosalam' for a wee bit which is a pretty rare ragam especially from the film songs parlance. 'Nee Oru Kadhal' breaches upon the Hindustani angle and borders on something called 'Shyam Kalyan' which has a robust Kalyani pedestal yet infuses it's own independent flavour. 

Just attempted a little portion of the charanam of these songs that can be christened exceptional experimental 'Kalyanis' with a twist. The music played maybe pretty amateur but the brilliance is certainly unquestionable.

Kanmani Anbodu - Undefined, Unfiltered, Unadulterated Love ❤

Certain compositions are pure love and this one gets cobbled, cuddled and coated with g(h)lee aplenty the way it strokes the senses with it's indefatigable melody lines. Such a simple sounding souffle soaked with staunch silver lining solitude igniting all evergreen epic love feels. 

The charanam portion is the one that gets me intrigued every time as the flow suddenly enhances consisting chirpy phrases that strikes the center of the heart chord. These weaving melody lines act like a beautiful passage as it rolls down back to the pallavi in such a scintillating fashion. This is just a mild attempt at this wondrous classic trying at best to capture these saccharine sweetened vintage bits. 

Revel in this rivulet of this reposeful rendezvous that's called Kanmani Anbodu!

Song : Kanmani Anbodu
Movie : Guna (1991)

Chinna Chinna Vannakuyil - A Mastery touch of Bass!

This was one of the earliest tracks that completely baffled me especially with respect to usage of Bass. The bazooking harmony which goes in parallel with the main tune has some sort of magical tonic and has always left me in bewilderment with the cohesion effect of how everything unifies and creates a picturesque synergy. This again is just one among a bunch of tip of the iceberg creations that involve the bass component. Many of Raaja's vintage compositions sprinkle bass in profusion and though these tones more or less play a supporting role, they elevate the content of the main melody by a significant notch. They sound so rich simply stand alone and when combined with the song reaches proportions of enormity that emanates a feeling of ecstacy when listening to the number.

This particular song apart from the employment of the trademark bass, Janaki Amma also does an astute job touching all the right chords and traversing on a merry ride along the way. The soundtrack is studded with treasure in abundance and this song surprisingly is the underplayer. However in terms of class it well and truly deserves itself to be held in high esteem.

I attempted a portion of the song beginning from the Charanam portion and connecting back to the Pallavi. There are some lovely little phrases which are a bit difficult to render but just attempted whatever I could to the wee best of my ability. This is a small labour of love to the creaters of this masterpiece who both happen to celebrate their birthdays on the same day - Director Mani Ratnam and Musical Wizard Ilaiyaraaja.

Ilaiyaraaja 75 Concert Musings!

It was a seductive Sunday soiree (extending to the wee hours of Monday) of one of a kind at the mammoth YMCA grounds as we were all transported musically to a medley of gorgeous love soaking, foot tapping and heart wrenching numbers from yesteryear. The orchestra stole the show with it's mind blowing belting by bringing out the distinguished features of the exquisite layers hidden in plethora of IR compositions.

The carving out of the uncovered elements hidden from the treasured repertoire certainly gave the silver streak sizzle to many a Raaja fan. The singers also did a good job by holding forte and seldom going off track. It was wonderful to witness a full blown concert without any sort of minus one gimmicks and actually feel the spiral caress down the spine in stomping fashion. Few of the talks hindered the progress quite a bit no doubt but eventually it was the music that was in full sway right throughout the evening.

Although one need to recollect events from specific songs to know the exact zenith points, some instant highlights from the show include the mind blowing violin virtuoso in Ananda Ragam, full octane energy of Madai Thirandhu, the string ensemble from Sundari Kannal, the flitting yet fleeting interlude of Poove Sempoove going about in a glorious serenade, the initial hymn of Kadhal Oviyam transporting you to a mystical heaven not to forget the backing chorus, the hard hitting impact of Ram Ram Hey Hey Ram resonating in reverberation. The jive of Rum Bum Bum got the audience enthralled and Kanne Kalaimaane made one starry eyed. The pep of Thanni Thotti got everyone hooked on and Rakkamma Kaiya Thattu's intricately mysterious layers unraveled by the orchestra team left us gasping for breath.

Luminaries with folded hands showered encomiums on the legendary music composer. The funny banter between Rajini and IR that the latter always provided better songs for Kamal made for interesting listening. The reverberation of 'Ram Ram' from Kamal right from the seating arena gave goosebumps. The sounding was as sacrosanct as it could get and the marvel of music mesmerized in a mellifluous manner.

Also on an auspicious note, when the concert got underway the constellation that was rising in the sky poignantly happened to be 'Abhijit' which literally translates to 'Victory or the one who cannot be defeated'. The music that unfolded during this period truly stands testimony by shining like a super star with the melodies delightfully engraving the heart and soul.

List of songs from the event:
- Janani Janani
- Om Shivoham
- Ilamai idho idho
- Ninukori Varnam
- Poove Sempoove
- Vegam Vegam
- Ananda Ragam
- Idhayam Oru Kovil
- Oliyile Thezhivadhu
- Poove Ilaya Poove
- Madai Thirundhu
- Ram Ram Hey Hey Ram
- Ninaivo Oru Paravai
- Unnai Vida
- Raja Raja Chozhan
- En Iniya Pon Nilave
- Naan Porandhu Vandhadhu
- Thendral Vandhu Theendum
- Ennule Ennule
- Kanmani Anbodu
- Vanitha Mani
- Rakkamma kaiya thattu
- Kanmaniye Kadhal
- Margao Margao
- Oh Butterfly
- Kadhal Oviyam
- Hey Unnai Thaane
- Sundari Kannal
- Rum Bum Bum
- Thanni Thotti Thedi
- Kanne Kalaimaane
- En Jodi manja kuruvi
- Kaatu Vazhi
- Thenpandi Cheemayile
- Medley of Singari Sarakku, Adi Yen, Aatha Aathorama

♪ ♫ ♬ 30 musical years of புன்னகை மன்னன் ♪ ♫ ♬

Today marks 30 years since the release of Punnagai Mannan (1st Nov 1986). As a movie, it didn't really set the box office on fire but the soundtrack of this film is easily one of the finest to have graced the annals of Tamizh Cinema. After showcasing his carnatic prowess in KB's earlier Sindhu Bhairavi, this was a chance for IR to portray his skills in a diverse multitude of genres and the result produced was nothing short of mind boggling.

♫ Enna Satham Indha Neram : The quintessential evergreen all time ultimate melody. Lyrics accentuate the tune further and with the Sindhu Bhairavi finesse and SPB's sonorous vocals, does one have to even say anything further?

♫ Yedhedho Ennam : A honey dripping composition suffused with an abundance of nectar sung resplendently by Isai Kuyil Chitra. The touching of alternative alien notes in the charanam's gives it so much of soul and the way it branches to the Pallavi is sheer magnificence.

♫ Vaan Megam : Just a couple of months ago in the same year 1986, was composed one of the best ever rain songs in the form of 'Oh oh Megam Vandhadhu' from 'Mouna Ragam' also starring Revathi. IR went a notch higher with this awe inspiring number sprinkling bass in profusion to give the perfect rain effect. It's pure ecstasy listening to this and by default brings your childish instincts to the forefront.

♫ Mamavukku Kudumma : One of the peppiest numbers ever. Get your dancing shoes and do the pirouette to this tribute song to Charlie Chaplin.

♫ Kavidhai Kelungal : Just absorb the reticular mind zapping this song unfurls at you. A motley of ragams, Graha bedhams (scale changes) and all sorts of mind blowing tapestries happen in this one not to undermine Vani Jayaram's proficiency in transcending vocals across octaves.

♫ Singalatha Chinna Kuyile : A foot tapping romantic melody which undergoes tremendous transitions. The seeping flute bit in the interlude is delightful and the way the song slows itself down in the charanam gives it a completely different complexion from where the original began with the jingling Jingala Jinga in full flow.

♫ Kaalakaalamaaga Vaazhum : Don't the violins just communicate everything here? Violin virtuoso in the spotlight highlighting it's veritable verve and valour.

♫ 1234 Now : A good old full on English composition with Boogie elements. Hip-hop and groove your way to glory!.

♫ Punnagai Mannan Theme song : This paved the way to open the door for 'theme music' in Indian cinema. The advent of computer music and an all time favourite ringtone. 30 years have passed and seldom has a better instrumental piece been composed.

Each of the compositions are like 'Navaratnas' etched with radiance and steeped in brilliance. It's hard to find one album rivaling this where virtually every composition is studded with 24 carat gold. It's a pity the pairing of Ilayaraaja & Vairamuthu never worked together again but what they created was their own little 'Mount Everest'.

Purely from a standalone soundtrack perspective, the sheer virtuosity and versatility of this musical ensemble called 'Punnagai Mannan' deserves every bit of extolling and can be enshrined as one of the torch bearer musical albums of Indian cinema.

25 years of a Magnum Opus - Michael Madana Kama Rajan (MMKR) ★★★★★

There are only some movies which can claim to be downright rib-ticklingly funny on so many counts. Michael Madana Kama Rajan (MMKR) is one for the ages and can never be replicated.The kind of all round performance on virtually every front makes it firmly etched as one of Tamizh cinema's greatest creations. Seldom have films been so everlastingly entertaining and MMKR rightly falls into the place of all time great cinema.

It's been a quarter century since its release on Diwali day - 17th October 1990 but even to this day references are made with regard to the characterization's and dialogues. MMKR chestnuts are one of a kind and every now and then you would inevitably associate a fleeting presence of this movie in some form or the other sometimes even acting as an ice-breaker.

There are just too many things to marvel about MMKR ranging from the spectacular performances, timed to perfection dialogues, scintillating screenplay causing confusion aplenty, story with plethora of twists and turns, direction at pace with the events and the brilliant music and BGM. The subtlety and poise in each of the quadruplet roles portrayed by Kamal is breathtaking and each of the artists induce so much life to the characters and add to the fun quotient. The humorous dialogues and wordplay never ceases to invoke the funny bones, remember - Yaarukku kalyanam? Nekka? Nokka? Nekkum nokkumaa?, Indha Avinashi oru visuvaasi, Thripurasundari illai thiruttu sundari nee etc to just name a few. A pulse racing story line backed up a gripping screenplay and deftly handled direction causing nerve wracking excitement to go along with the pot boiling mixture of chaos, mayhem and hullabaloo over mistaken identity. And what fabulous array of songs in different dimensions making it such a memorable soundtrack and one cannot shy away from mentioning the precision of the re-recording which reigns supreme in elevating the scenes to a higher pedestal. It's seriously hard to pinpoint one flaw.

The synergy effect works perfectly in Michael Madana Kama Rajan where every individual in the movie is a hero but the movie ends up becoming the biggest hero of em all. A comic caper catering to the masses and the classes and to the young and old, this one's a cult classic in every way. Many of us grew up in the 90's with this film and for many of the movie buffs this laugh riot remains one of the most watched movies ever. One won't be surprised even if it has been seen over a triple digit times as it offers so much unlimited entertainment guaranteed.

25 years has passed since the saga of Michael Madana Kama Rajan and it's place as one of the undisputed comical giants of the silver screen will forever remain. Remembering everyone's favorite MMKR for completing a landmark silver jubilee. There are great movies and there is Michael Madana Kama Rajan - a riveting laughathon like never seen before and perhaps never ever after!.

Some tit-bits & trivia on MMKR:
● It was the second association of the Kamal Hassan and Crazy Mohan combo after the immensely successful Apoorva Sagotharargal (1989).
● MMKR was a Diwali release of 1990 and incidentally there were 5 other films releasing the same day with Ilaiyaraaja as the music director - Amman Kovil Thiruvizha, Mallu Vetti Minor, Puthu Paattu, Chatriyan and Sirayil Sila Raagangal
● Sundari Neeyum song was picturized by playing the song at twice the original speed in order for Kamal and Oorvasi to lip sync correctly.
● The song Sundari Neeyum was supposed to be sung by KJ Yesudas but dates played foil eventually leading to Kamal singing himself. Infact in an interesting tale, YG Mahendra actually congratulated Yesudas on the song and when KJY quipped that credit should go to Kamal, it left the former completely stumped.
● MMKR was perhaps the first Tamil or even Indian Film to feature a laptop as early as 1990.
● It was the first film to have 'Face Morphing Technology' in Tamil Film Industry.
● The Bheem boy character who is the body guard for Kamal Hassan is played by Praveen Kumar Sobti, an Indian athelete who was 6'7" and a Double gold medalist in discus throwing in the 1966 and 1970 Asian Games.
● There were 2 songs in the movie which were not shot but part of the audio records viz Aadi Pattam Thedi sung by Mano, Chitra & chorus and Maththa Poovu Oru Penna rendered by Chitra, both penned by Vaali.

Remembering 24 years of Anjali (1990)

Anjali is a special film in many ways. An emotional tearjerker showcasing the plight of a family dealing with a special child. The subtleties, poignancy and undercurrent prevailing are all wonderfully captured on Motion Picture. And the way it portrayed the community/colony style of living makes every child growing up in the 80's and 90's to really connect with the movie.

Above all it is the music which gives life to the scenes. The title music leaves a lump in your throat and is so powerful to even move a precipice, the end score shatters and breaks your heart into smithereens and all the pieces which come in between are so precisionly scored and timed elevating the movie viewing experience to another level. A masterpiece of a re-recording worth celebrating for eons, listen to the full Background score and relive the experience of the magical force behind this motion picture.

Remembering 24 years of Anjali which released on 12th July 1990!

Truly Goosebumpy Raajaish Moments !!

A myriad of emotions are experienced when listening to IlaiyaRaaja songs.
Some of the feelings you get are innermost to your senses and so deep that it is really hard to describe them in words.

I often tend to think Goosebumps has become a very common and often over rated word and generally used at will to describe different feelings.
I myself am guilty on occassions but there are portions/parts in certain songs which makes you inexplicably get a Namalukku Ariyamalaye Vara feel.

Somehow more than the musically histrionic numbers , it is those simple folkish songs mostly in 3 beat cycle which gives that உணர்ச்சி.

Here are some of my truly Goosebumpy Raaja moments :

1) Oorelaam Un Paattu Dhaan - Oorelaam Un Paattu
Am a big fan of Swarnalatha's version of this song. There is so much of soul ingrained all over this number that you just can't help but falling in love with it..Especially that Charanam portion when she renders 'Aalam Vizhudhugal Pole Aadum Ninaivugal Pole' with the violins backing up in arrangement , pppppaaaaahhhhh that’s all you want to say.


2) Thaana Vandha Sandhaname - Ooru Vittu Ooru Vandhu
Another folkish beauty based on the Karaharapriya scale , this one is a total stunner every way you look at it ..The way the word "Thaana" is illuthified giving such a nice variation and the heavenly violins in the 1st interlude is complete Pularippu..
But the truly defining moment is in the Charanam area when SPB renders 'கொத்துமல்லி கொண்டையிலாட குளிர் பார்வை வண்டுகளாட
புத்தம் புது செண்டுகளாட புது தாகம் தோணுமே' - what an impact he generates by traversing from one octave to another twice back and forth (Ri--->Ri , Ni---->Ni) , totally out of the skin singing by Balu leaving you stumped.


3) Kuyil Paattu - En Rasavin Manasule
Another Swarnalatha favourite folkish number based on the monstrous Shivaranjini.Here the sound of the flute feels like the chirping of the birds. The true moment of reckoning arrives during the portion 'mannavanum pOgum paadhaiyil vaasamulla malligaippoo meththai virippaen'
You just feel this line appears suddenly out of the blue and parallelly with the violins at the background communicating the desired emotion leaves you with a lump in your heart. Totally unexpected and out of the box.


4) Raasave Unnai Nambi - Mudhal Mariyadhai
Example of feel good is defined in this song .. Avalo oru mey marandha feel kudukkum indha paattu. Janaki Amma kudukara feele thani .. Edho pannum especially andha portion 'Unakke vachirukken moochu Ethukku intha kadhi aachu' giving the perfect tranquil ambience.


5) Indha Maan - Karagatakkaran
Personal favourite - a song which transports you to another world. Vayathu ellaam kalakkum when the violins are injected in the first interlude Uchchathukku pora feel when Raaja sings 'anname ahhhh (alaap) anname endhan swarname' adhukku mela additionally oru violins movement apdiye vera ulagam koindu poyidum that very moment.


6) Malligaiye Malligaiye - Periya Veetu Panakkaran
A song very close to my heart - thaana oru palpable excitement varum whenever I listen to it. The starting violins tell you whats in store and the portions that follow just blows you away.
However the defining moment of awesomeness happens during the takeover of the flute in the first interlude , the way it carries the interlude on top of the Tabla rhythm and leads towards the Charanam is simply mesmerising. Napolean sir at his real best , this bit just makes you jump with joy. Used to have this bit as my ringtone - Sarasangi Bliss
Ringtone :
https://soundcloud.com/skrajiv/malligaiye-flute-interlude
Song :


7) Madhurai Maarikozhundhu Vaasam - Enga Ooru Paattukkaaran
A feeling of துள்ளல் comes in whenever you listen to this song making you sway away to the quintessential Ta Ki Ta rhythm.
What a delight it is to listen to the violins unfurl briefly before being subjected to the introduction of Shehnai piece suddenly giving a totally different color and again paving way for the violins to finish off in style.
Then comes the Charanam and when you feel the song to be moving in one direction , a sudden burst of energy is witnessed when Chitra renders 'vettu adhu unakku mattum dhaanaa' going on a full throttle jump forward to the next octave giving such a wonderful rippling effect making you feel relished.


8 ) Maanguyile Poonguyile - Karagatakkaaran
Speaking of folk , one just cannot ignore the gargantuan Maanguyile .. Eppo indha paattu ketaalum oru thani sugam.
The employment of flute , violins , Nadaswaram , Thavil etc make it a grand orchestral spectacle but not for a moment does it compromise on the soul of the song which is truly rustic and native.These are things which mind boggle you about Raaja as to how he paints the perfect caricature in his own inimitable style according to the desired setting not diluting the essence at the slightest.
The most bamboozling part of this song however is the twist in the Charanam when SPB sings 'yaereduththu paaththu yemmaa neereduththu ooththu' - where a new note (Periya Gandharam) is introduced for the first time creating an unexpected sparkling chiaroscura making you completely bedazzled.
This note is not introduced till that part and when it is what a marvellous transmogrification it brings to the table enhancing the song to an alltogether different level.


9) Shenbagame Shenbagame - Enga Ooru Paattukkaran
This song in Sindhu Bhairavi ragam is inundated , soaked and embellished completely with soul in abundance , just the initial Alaap by Asha Bhosle gives such a magical feel and on top of it the portions of flute resonate and the violins tug at your heart strings stirring your emotions.
When Ashaji finishes the Charanam by singing 'ennoda pattu satham serum unna pinnale eppodhum unnathottu paadaporen munnale' , such an ineffable feel is generated making you truly lost for words.


10) Un Paarvaiyil - Amman Kovil Kizhakaale
Ennavo oru power irukku indha paattula , every next time you listen the more you tend to fall in love with it.
Raaja dumbfounds by taking a Hindustani based scale for a village setting and the output he creates is simply bewitching and breathtaking.
Every part of the song just makes you go bonkers but if you have to pick that one hair raising moment it is that flute portion in the second interlude.It just automatically brings a smile to your face and you just don't know what to say but if you have to describe this beauty in a single word maybe you can say its supercalifragilisticexpialidocious.
Another flute bit i pride on having as a ringtone.
Ringtone :
https://soundcloud.com/skrajiv/un-paarvaiyil-oraayiram-flute
Song :


Its unbeleivable to think how Raaja impacts and transcends our lives by churning out songs which truly touch the soul.
He is not just a composer but a Vaggeyakara and a rare breed.
Whether one is a Pati Thotti Rasigan or a musical connoisseur , Raaja connects everyone through his soul infusing music.
There is that amazing power in his music which just makes you forget yourself and be completely hypnotised to his music.
And thats precisely the most significant reason which makes his music truly special and in a league of its own.
#RaajaConnect #Goosebumpy

Redux of Aatama Therottama song in A Totally New Different Avatar !!

One is lengthier in duration , other is short
One is fast paced , other is slow
One is zestful and energetic , other is soulful and sweet
One is in Chatushra Nadai , Other in Tisra Nadai
One is a song , other is a BGM bit
Despite the diversities they happen to be one and the same

They both happen to be the song Äatama Therotama" from the movie "Captain Prabhakaran".
The former is the actual popular song which can be listened from the below link
https://www.youtube.com/watch?v=IlBVLXaslHU

The latter is a small re-recording bit which appears as part of the movie.
Link to listen to the BGM portion
https://soundcloud.com/skrajiv/aatama-therottama-bgm-bit

Penn - A memorable Tamil Serial

Penn is an old tamil serial (1991) evoking very strong childhood memories.Each of the episodes directed by Suhasini Maniratnam is a gem in its own unique way.
The lilting title music by Ilaiyaraaja and the image of the cute little child takes you back on a journey back to the glorious early 90's. The brilliant performances , dialogues laced with a pinch of Tam Bram touch and the breathtaking background music makes you connect instantly with the characters and storyline.
Those days those days only !!

Links for watching Penn and reviving the glorious era

Penn (1991) - Episode 1 - Hemavukku Kalyanam
http://www.youtube.com/watch?v=96dip9Hv4wU

Penn (1991) - Episode 2 - Appa Appadithan
http://www.youtube.com/watch?v=Az8tXNkwzkk

Penn (1991) - Episode 3 - Appa Irukken
http://www.youtube.com/watch?v=-3AreE_cav0

Penn (1991) - Episode 4 - Mrs Ranganath
http://www.youtube.com/watch?v=e8RlWsOJwR4

Penn (1991) - Episode 5 - Kutti Anand
http://www.youtube.com/watch?v=Vs66UaLXVfs

Penn (1991) - Episode 6 - Love Story
http://www.youtube.com/watch?v=XeTNxd3mKjM

Penn (1991) - Episode 7 - Raji Mathiri Ponnu (Part 1)
https://www.youtube.com/watch?v=AwoLDJx_LDU

Penn (1991) - Episode 7 - Raji Mathiri Ponnu (Part 2)
https://www.youtube.com/watch?v=nhU60wX1sUI

Penn (1991) - Episode 8 - Vaarthai Thavari Vittai (Part 1)
https://www.youtube.com/watch?v=Ak02-rYbUDI

Penn (1991) - Episode 8 - Vaarthai Thavari Vittai (Part 2)
https://www.youtube.com/watch?v=CxwlyBsZrzE

East meets West !!

A melody in Indian style showcasing the Mohanam ragam very beautifully via Flute + Tabla first followed by a friendly banter between the Tabla + Jalatarangam with Tabla again for company.
The mood gets all dark suddenly with the strings in the background expressing the tense situation prevailing and then from nowhere you have a WCM (Western Classical Music) treat with violins in full fury unleashing its brilliance indulging in a mix of call and response and counterpoint music.
So many varied emotions all communicated and captured via music.
East meets West !!

Portion of My Dear Kuttichathaan BGM Score
https://soundcloud.com/pon-janahan/isai-gnani-ilaiyaraaja-kodai

My Dear Kuttichathaan Full BGM Score
https://soundcloud.com/nagsnathan/re-recording-my-dear

Music truly indebted to Maestro Ilaiyaraaja !!

2 Parallel melodies alternate between each other , the piano flows freely and traverses across octaves whereas the notes of the flute stick closely to each other communicating an emotion of a different scenario.
This is counterpoint music at its best , 2 totally unrelated melodies going their own way but when blended reach proportions of enormity.
As a music lover , you really dont know which to concentrate more as they both are so hypnotising and powerful in their own ways.
The spellbinding experience just doesnt end there as you observe a minor variation at 00:36 which oozes soul all over and to boost an arpegio style play between 0:50 to 0:53 which gives more added colour to this spectacle.
Wait , theres more treat to the ears. The contrapuntal melody gets over at 01:11 and then you are unleashed to a Mouna Ragam style musical style mayhem.
Listen to it closely , the way its structured , the complications and patterns woven around it elevates it much further than the Mouna Ragam theme.
2 & a quarter minutes of sheer musical monstrosity and bliss combined !!
Music is truly indebted to Maestro Ilaiyaraaja !!

Vanna Vanna Pookal Title Score Music
https://soundcloud.com/kameshratnam/vannavannapookal-title-bgm-ir

Vanna Vanna Pookal Full BGM Score
https://soundcloud.com/navinmozart/illayaraja-vannavannapookal