This blog is centred on topics pertaining to Food, Astrology, Music, Sport, Stock Market Index and random ramblings.
I love exploring culinary food trails and like to give my unique perspective on diverse epicurean adventures. I am fascinated with the way universe works and hence inclination towards astrology. I adore good old school classical film music from bygone era. As for sports, I have a huge fetish for numbers and hooked on to it. And I enjoy tracking moves made by market indexes.
Love exists in multiple varied forms but when interwoven with the feature of purity, nothing really beats the Love that is associated between a mother and child. We celebrate Love stories of different kinds be it Romeo & Juliet, Laila & Majnu or even the likes of Radha & Krishna, Rama & Seetha but there are hardly any tales eulogizing the love that percolates between a Mother and child.
There need not be one particular day to celebrate as Mothers Day since they are in effect the backbone of our very existence. This is a relationship that transcends beyond the layers of Love and especially the term sacrifice can never be better defined than what a Mother does for her child.
On this Mother's Day, I am paying a humble homage to 2 compositions that visually depicts and decorate the role of a Mother in all it's splendour. Both these songs have touched the inner most of the soul and have left an indelible impression from within. Incidentally both these two songs feature Superstar Rajinikanth and coincidentally came about just months apart from each other with Thalapathi releasing on 5th Nov 1991 (Deepavali) followed by Mannan on 14th Jan 1992 (Pongal). The similarities don't end there as both these 2 lilting lullabies glorifying the mother were penned by Poet Vaalee and set to tune by Maestro Ilaiyaraaja.
A Mother's Day may come up just one day in a year but they deserve to be celebrated every day of the year. A Mother's Love is simply the greatest there can ever be. Dedicating a small portion of these 2 emotional tearjerkers to God's ultimate creation - "The Mother".
AR Rahman has this uncanny ability of coming up with gems from time to time. Many a time, it might be just a minor bit portion from out of the blue but he times it so well that it resoundingly goes out of the park.
This particular composition Kanne Kalaimane or Deewana Deewana has a small verse sung by Isai Puyal himself whose strains are so addictive that I couldn't but resist trying it out.
It is basically a swara portion sung as a sargam which comes interlaced within the interlude that adds a pristine touch to the composition. The alternative use of the Dhaivatams leading to a 3 phrase chromatics is truly the signature special of this tune.
The way it flows and branches to the main melody is simply sublime. It feels so tailormade and created exclusively for ARR to sing this composition and he has done full justice to this scorcher of a song. The man continues to conjure class since time immemorial.
The ragam Chakravagam evokes feelings of Pathos like no other. When used in its pristine format, it can simply make you melt and burn from the inside with emotions getting the better of you. The poignancy captures the pain in its truest sense.
I've picked up 2 Maestro Compositions in this Raga that have incited strange kinds of feelings that are hard to describe in words viz one from Kollywood and the other from Tollywood hinterland.
Nee Paathi Naan Paathi from Keladi Kanmani pricks your heart in such a way soaked with pathos oozing in from all corners. 'Eenadu Vidiponi' is a divine composition from the Telugu movie 'Sri Kanaka Mahalakshmi Dance Recording Troupe'. I recall being simply mesmerized when I happened to listen to it for the very first time many years back. It's pretty sad that this song probably never got the recognition that it truly deserves and remains an under the cover gem.
These two numbers exemplify the masterclass exposition in handling this raga by Maestro bringing out the flavours, taste and juice in all its esteemed essence. It's a wholesome package and the subtle nuances give it the requisite finer touches elevating the compositions to another level. This Raga incidentally is categorised as part of the Agni Chakra and how apt as it simply burns you with raw emotions fulminating in glowing fashion.
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.
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.
Some compositions are simply sheer joy and Jotheyali fondly falls into that exquisite category. It just caresses off in blitzkrieg fashion right from start to finish. The turbo galloping pace does not hinder it from being lardy-dardy which it so crystal clearly is.
Though this song has a version in every regional linguistic, it's the original Kannada version that takes the cake. The lyrics meld so well with the tune and the synchronization is magical. This one's an evergreen timeless classic and makes me reminisce the good ol' Bangalore days when invariably every bus used to hoot this in full blast.
And from a technical perspective, the pallavi largely employs a hitherto unknown janya raga called 'Katyayani’ which is a derivative of Natabhairavi. You would also notice an eerie resemblance to 'Shivaranjani' with just the Dhaivatam being different. However as it takes off, lustre is added in the form of plenty of alien notes which is a signature of IR.
Do also observe the rivetting trills (rapid alternation between adjacent notes) at ’Ooooo Endha Mathadidhe' and charismatic chromatics (three or more consecutive notes played back or forth) gliding along nonchalantly. All in all makes for a thrilling glissading adventure.
I just tried a wild shot at a couple of portions of this song. These are numbers totally beyond my reach but ultimately it's just the bliss of having attempted it. As the saying goes it's 'Nothing but joy' at the end of the day.
Note: From an astrology point of view, if one is interested to know what planetary positions help in playing the veena, I would say Jupiter and Saturn are most important. The reason is because you make you use of the index finger and middle finger a lot to play the instrument. The mount ruling the index finger happens to be Jupiter and the mount ruling the middle finger happens to be Saturn. Ideally both these planets need to connected with the 3rd house which is known for skills, activities performed by the hand. In my own case both Jupiter and Saturn happen to have aspect on my 3rd house of Leo. Strength depends on where these 2 planets are placed and how they are influencing your 3rd house and also not to forget the zodiac sign in which your 3rd house is falling into.
Nallai Allai is a recent earworm that has stuck on to me incessantly. Shankarabaranam based melodies always turns me on and this one's as smooth as a soufle and smothered with sugar in abundance. A saccharine sweet melody that gets you hooked on instantly. Feel the magic of this majestic composition by A R Rahman for Mani Ratnam's Kaatru Veliyidai.
This is a very humble attempt to try playing this song. I am just an amateur and play purely based on hearing the tone of the melody and I just jangled along using some own chords and movements. Please pardon me for the ignorance. Nalla irundha say, kevalama irundhalum tell.
Mothers are the most 'taken for granted' souls ever. They slog like crazy for the well being of children with absolutely no expectations whatsoever. A mother's love is the most purest in the world. One can never love their mother more than the way she will love you as there is some divine element which is so deep rooted and simply unmatchable. We are worth nothing if not for our mother.
It's been 2 and a half decades since this pristine composition celebrating motherhood saw the daylights and nobody better to depict it than Superstar and put to tune by Maestro who showcases the divinity through Kalyani raga infusing the sound of temple bells and employing heartfelt strings. Congrats to Dasettan for receiving the coveted Padma Vibhushan and his repertoire is in full play portraying the finer emotions so resplendently in this ever soulful rendition.
Phaser Effect is a technique used to create an extra effect mostly by modulation.Vamping is generally a repeated musical sequence or progression. These are techniques which drive a song making it extra special and giving the desired punchy effect it requires. As usual Raja's usage of these technique makes us go high in spirits. We shall see the employment of these techniques in some of Raaja's vintage compositions.
1) Bulbul Maine - Sandhyakku Virinja Poovu
Starting this thread with this miraculous malayalam composition rendered by KJ Yesudas which to be frank is a pretty unknown commodity. But wait till you give it a listen, as I'm sure you'll fall hook, line & sincer listening to the vamping and phasing touches beautifully caricatured by Raaja. It is flooded with unbelievable effects throughout the song. The guitar portions are especially mind boggling and out of the world.
2) Senorita - Jhonny
This is an evergreen favourite. The effects are in full flow right from the start and goes at a razor sharp pace accentuating the pep making the song listening experience a truly remarkable one. I believe scissors could have been used to create that effect. You would find lots of wacky sounds throughout but it just doesn't deviate from the flow of the composition one bit.
3) Naalo Chinukulatho - Darja Donga
I don't really have to say anything much on this. Just the opening bits itself transport the aural experience with fluid vamping effects. This composition also has a breezy bass touch to go on top of this and the pace of the song undergoes turbulent phases. A vintage classic from Andhra Land.
4) Aye Zindagi - Sadma
The Vamping appears just before the pallavi portion giving a trigger as well as a pulsating effect. The little bits complementing the singing also uses a bit of these techniques. A song for the ages.
5) Poo Malarnthuda - Tik Tik Tik
Poo Malarnthuda is a fantastic illustration employing these technique. The 1st interlude Violin is just freaking out at a frenetic level.
6) Netru Indha Neram - Tik Tik Tik
While speaking about Poo Malarnthuda, it is difficult to ignore the classic Netru Indru Neram also from the same movie. It has some Wowwww effects flooded especially interlaced in the 1st interlude. A kick ass funky song in all respects.
7) Manadhil Enna Ninaivugalo - Poonthalir
Now coming to a literal stunner in F Major Manadhil Enna, a song composed over 3 decades ago but even when you listen to it today it'll shake and stir you. Vintage Raaja of the highest order.
8) Summa Nikathinga - Thoongathe Thambi Thoongathe
A total riot of a song, an entertainer right from start to end. Check out the rippling sound created as soon as the singing starts of Summa Nikathenga which has a teasing kind of effect and you witness this through the whole of the composition.
https://www.youtube.com/watch?v=eaPWpVWJT-4
9) Paruvakalangalin - Moodupani
Paruvakalangalin has amazing effects interspersed all through the length & breadth of the composition. It is a bit sad that it never enjoyed a run time as much as its illustrious counterpart En Iniya Pon Nilave. A song that has always fascinated me. There are trademark Vamps appearing fleetingly, in fact the entire song has different guitar usages throughout. An ephemeral but everlasting song.
10) Endrendrum Anandame - Kadal Meengal
Probably a song known more for its complex cross rhythm patterns, it also has some amazing effects and Malaysia Sir has literally freaked out in rendering this. Kamal must have been upset that a composition of this magnitude was perhaps not pictured on him. Wah re Wah! - What a composition.
https://www.youtube.com/watch?v=UxAQOrkpBrk
11) Solla Solla Enna Perumai - Ellaam Inba Mayam
This is an absolutely sensational retro classic. Some wonderful vamping touches there appearing time and again with the rockstar SPB just pushing his limits to another level. Another song worth praising to the sky.
https://www.youtube.com/watch?v=W2phTrVo_X4
12) Irandum Ondrodu - Panakkaran
Ending on a high note with this composition from a Rajinikanth film. The song instantly signals your dancing instincts. Listen to the tonal quality and simply be beduffled. All these sounds just don't fall out of place and only enhance the crinkles even further.
