Read the full article on Film Companion, here: https://www.filmcompanion.in/southern-lights-illaiyaraaja-ilaiyaraaja-75-his-lesser-known-songs-for-tamil-heroes/
If you take Rajinikanth films, you’ve probably heard the ‘Guru Sishyan’ numbers, or the ones from ‘Veera’. But ‘Sodi kili enge’? Read on.
I wanted to write something to commemorate the Ilayaraja 75 concert, but I kept getting stuck. Given that an orchestra from Hungary will be playing, should I make a list of my favourite non-vocal parts (i.e., the preludes and interludes) from his songs? Should I make it even more personal, recalling how I used to record his songs on cassettes in five-year groups (because the ‘76-‘81 songs sound different from the ‘81-‘86 songs, and so on)? I thought about listing some of the popular songs that don’t work for me (like Vandhaal vandhaal rajakumari) and yet I admire at various levels, but that was negative-sounding and hardly celebratory.
And then, the recent Sid Sriram interview gave me the idea. He’s an entire generation removed from me, and when I asked him to talk about Ilayaraja’s music, he picked Kanne kalaimaane and Thenpaandi cheemayile. It’s fantastic music, of course – but it felt a little like remembering Beethoven only through the Fifth Symphony or The Police only through Every breath you take. It’s a bit of a paradox. The reason these songs/compositions spring instantly to mind is because they are so legendary, so defining, so popular – and yet, they “restrict” the perception of an artist (or a band), when the work contains so much more than just these Greatest Hits.
Take Kann Sivanthaal Mann Sivakkum. Everyone knows the fire-spewing anthem, Manidha manidha – but what about the gentler Vandhaale alli poo? (See clip below.) I don’t know if this is true for some of you, but the songs that are too familiar, the ones that you’ve heard some 5000 times, they are lodged in your mind in their entirety. Manidha manidha was such a hit during my schooldays, it was played so often that I sometimes feel I don’t need to actually listen to it anymore. I know its every bend, every nook and corner. And sometimes, you need to stay off a song – so that the listening gap makes it sound even better when you return to it. But the (relative) lack of exposure of something like Vandhaale alli poo, still allows for little surprises and discoveries.
Continued at the link above.
Copyright ©2019 Film Companion.
Baradwaj Rangan 
Madan
February 2, 2019
Nanri, nanri, brilliant initiative. If I could use the whatsapp icon for the hands folded Indian greeting, I would. Nariya paatu naanum kettudhilllai. Idhellam thirittu mp3 CD-leyum varatha padalgal.
Of the ones I recognise, big thumbs up for Adhikalai Nerame, Thulli Ezhunthathu (actually entire Geetanjali album is amazing), Kaalidasan (which I heard for the first time performed by PS in a live show) and Uravenum (super super song!). From Rajakumaran, I would also give a shout out to Kaatule. Kinda fits into the Raja jazz oevre, albeit with some rock too (esp chorus).
From Prathap Pothen, I think Eeravizhi Kaviyangal deserves a heads up too. Again because many of the youthu factor Raja fans like me came to know about it very late in the day. Esp this proggy, dreamy Yesudas solo:
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Madan
February 2, 2019
Another gem of Sivaji-Raja combo. Engengo Sellum. SPB-SJ. Beautiful, beautiful orchestration.
And yet another. This is slightly cliched/typical but still a beautiful melody. Kaalam Maaralam. SP-Vani. Here you can say SPB trying to adjust his singing slightly to get a TMS/Malaysia effect without losing his identity.
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Madan
February 2, 2019
Thanks for the heads up on Oru Pokkiri Rathiri. I have heard the super fun kuthu song from the same film – Folkunna Folkuthan. Mano really has a ball on that. But Oru is a satisfying reprisal of a time tested rural Raja formula that always works the same way that sakkara pongal always tastes great no matter you have the same old sakkara pongal every year.
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V
February 2, 2019
Wish you could hear me go “yay” everytime I saw a fav song of mine in the list. Some of these songs were overshadowed simply because Raja gave “adhukkum mela” superhits either in the same album or during the same period.
For instance, when there is Andhi Mazhai pozhigirathu in an album, would Vizhi Orathu Kavidhai stand a chance of getting played? Atleast Azhagu Azhagu Devathai got its due, but the pathos song is known only to those who bothered to watch the film (Kamal’s singing is a little laboured, but the emotional core is perfect).
For Sivakumar, I used to like the songs from Anandha Ragam (Oru Ragam padalodu and Megam karukkudhu) but dont hear them played anywhere now. (Or am I listening in to the wrong stations?!) Atleast Ponvaanam panneer thoovadhu gets played on Doordarshan during rains 🙂
For Karthik – amazing mentions there – Kanni Ponnu, Pothi vachiko, Vanam idi idikka. In addition to these, I used to listen to Keeravani and Ekantha Velai from Padum Paravaigal on a loop.
And for Prabhu – glad to see a fellow “kaattule kambangaatule” fan in Madan. While “Vennilavu kodhippadhenna” from Chinna Mapplei got its due, thanks to poonaikan Sivaranjani – this one just went unnoticed, unless one had the cassette (me!)
Vijayakant – Punnagayil Minsaram from Bharathan was my go-to song for a long time. Music & Banupriya & Captain – it was the original Jigujigujamjam song – Rowdy Babykku ellaam munnodi.
Then there were arbit songs like “Thalayai kuniyum thamaraye”, “Thendral ennai muthamitadhu”, “Ponmanai theduthe en veenai paaduthe”, “Ilavenil idhu vaigasi madham”, “Dhoori dhoori dommakka dhoori”, “Oh Vennilave vaa odiva” which keep flashing across my mind even now.
Even the now famous (thanks to Sarvam’s bgm) -“Mella Mella ennai thottu manmadhaa un velayai – kaatu ho” was unknown to most of my friends then. Thanks to Silk’s presence, the song was never aired on TV and “Kaalam maaralaam nam kadhal maaruma” shown on Oliyum Oliyum with a rotund Sivaji might have put people off the album forever.
This is just off the top of my mind. The instance I press the Post Comment button, my memory is sure to be flooded with many more of his unheard unsung unhonoured songs. Raja Rajadhaan…. (Wow…this was again a song from a Bagyaraj movie)
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Madan
February 2, 2019
Sorry I am breaking up what I want to say into so many posts instead of saying it at one go but I might not remember later…
I guess Raja is, apart from other things, a master of groove. What he does in Oru Pokkiri is he changes the mettu a little, giving it more syncopation than typical songs of the format. This is more drawn out and slow unlike say Arachha Santhanam which is the typical tempo he likes to use in rural songs. Slowing it down emphasises the romance of the song more. This also allows him to introduce a kickass riff in the intro. And as usual, he resolves it so perfectly you take it for granted but it’s so unusual…again.
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Madan
February 2, 2019
Another unheralded Karthik beauty.
As V puts it, “The instance I press the Post Comment button, my memory is sure to be flooded with many more of his unheard unsung unhonoured songs. ” – Exactamundo. Naal muzhukka can go on listing songs as they come to mind. Yappapa, like a never ending virundhu. Hands down the most exhaustive – and most exhausting to keep up with – back catalog of any artist from phillum music, raak and paapu I have heard.
Also @V, loved your mention of Punnagaiyil Minsaram. It COULD have been the Chikku Bukku Rayile song before Chikku Bukku IF Prabhudeva had danced in it rather than only choreographing it and IF maybe Suresh Peters had sung it. The singing didn’t rise up to the attitude of the music for me. But another example of Raja’s amazing dexterity as a composer. Manages to fit in some stylish solo violin in an out and out dance song. I usually dislike the songs he has done in that groove – Poongatre Idhu Podhum or Kallathanamai – but this one is very stylish and hits the bulls eye.
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V
February 2, 2019
Madan: Kallathanamaga was a nice song. 😁. I even like the Unaithaan nitham nitham adithen vattam, Oororama aathupakkam, Satham varaamal mutham kondadum, Adichachu lucky prize, Pazhaya Vilangu, even Usuko usakiya (enga thambi). Im 40 now – these were the songs I heard in school – so I could be partial too. Sadly no one in my class would even acknowledge the existence of these “other” songs. While Raja’s Thoongatha Vizhigal rendu, Andhi Mazhai, En iniya pon Nilave, Pacha mala poovu, Megham Kottatum, Sangeeta megham etc were staples in culturals, some of his janaranjaga songs were mocked a lot.
I remember my uncle commenting, that Ilayaraja has cast his entire troupe, when I was watching this song intently.
And that reminds me of Thuppaki Kayyil Eduthu (another song that was sniggered upon) and Kaatrodu Kuzhalin from Kodai Mazhai. And of course Koattaya vittu vettaiku pogum…This needs to stop somewhere. 🙂
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Madan
February 2, 2019
I love Pazha Vilangu. It’s got a hell lot of swag. I might love it more if IR had simply given it to trusty old SJ instead of Asha but it still rocked. The rest, it depends. Anyway, I agree though that the more ‘crass’, street flavoured dimension of IR has not aged well. Which is a pity because some, maybe many, of these songs are a lot of fun. I like Singari Sarakku :D. But I love Ola Kudisayile the most as it has a tinge of pathos to go with the fun.
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Voldemort
February 2, 2019
Looks like you had great fun writing this article, BR. It’s so fun to read and clearly shows you enjoyed every bit of it.
As for Thulli Ezhundadu Pattu, oh that’s such a wonderful wonderful wonderful song ! Love it to bits.
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Rahini David
February 2, 2019
Thank you, BR.
And Madan’s dedication to Raja is positively touching.
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Sriram G
February 2, 2019
Hi BR,
Apart from the songs listed by you and the other posters here, I wish to add one more to this list and this is for Suman.
The precision of the orchestration is amazing. Thanks to Madhura Sudha for introducing me to this.
His commentary (https://www.youtube.com/watch?v=EQAXNZiDUmA) from 13:40 on this song.
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Madan
February 2, 2019
I did not recall Adi Maana Madhuraiyila from the name but as I listen now, of course I have heard it and love this song too.
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Madan
February 2, 2019
“And Madan’s dedication to Raja is positively touching.” – Hahaha
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Madan
February 2, 2019
I actually thought Endrendrum Anandhame is a cult classic by now, else would have mentioned it too. Amazing song. Question for those who heard this song back when it released: how did you react to it? Did the wild arrangements and the polymeter throw you off? Or you accepted it because you had come to expect such experimentation from Raja?
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Sriram G
February 2, 2019
Madan: Infact I heard the song as recently as May 2018. Though in my late 40s I had not heard this song at all when it was released.
I rejoiced on hearing the song and I am awestruck at the amazing complexity of the orchestration. I never thought someone could pull it off. After reading about IR here and the various blogs, I have come to appreciate it. It has become one of my favorite pieces.
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Rajesh Balasubramanian
February 2, 2019
I am surprised to see these songs are in rare list Kungumam manjalukku, Adadada Maamarakiliye, Pothi Vachukko, Ennai thottu, Kaalidasan Kannadasan, Yerikkarai Poongaatre, Adhikaalai Nerame, . These were always in my playlists… Now I am afraid if I got older as BR.
You could have extended bit more with actors like Raghuvaran. Thalaiyai Kuniyum Thaamaraiye from oru nadhi odaiyaagiradhu
In Prabhu section, Kai veenaiyai endhi kalaivaaniye from vietnam colony
In Karthik’s section, Velli Nilave from Nandhavana theru
I know the list is endless…
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Tambi Dude
February 2, 2019
” Endrendrum Anandhame”
Oh boy, you took me straight back to 1982. My reaction at that time, IR is decades ahead of his Hindi counterpart (this is what RDBurman himself said at that time).
IMO the IR period of 1980-86 was phenomenal.
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Madan
February 3, 2019
Rajesh Balasubramaniam: I guess BR made the list for the consumption of those who have only heard the essentials. But even so, I had not heard many of the song he listed. Raja’s catalog is so vast that sometimes we just miss some songs for no other reason than that it’s hard to keep track.
I remember listening to Velli Nilave a fair few times on TV at the time of its release. I wouldn’t call it a rare song. But then, I am sure there are those who have not heard it, just the way I had not heard Oru Pokkiri before reading this article or Punnai Vanathu Kuyile before somebody on the IR forum posted it.
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Kay
February 3, 2019
One of my favourites. Found it in iTunes. Apparently the movie was not released.
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sai16vicky
February 3, 2019
@Madan: A small suggestion — could you write a piece on Raja’s different phases and the songs/scores you enjoyed in them? I have followed most of your comments on Raja and get a feeling that you have a lot to say about him!
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Madan
February 3, 2019
sai : It would be like trying to write Mahabharatam but I will try. I did write a blog post on how Raja gradually increased the role of machines in his music to streamline it and the effects on it, contrasting the meandering, rambling beauty of songs like Engengo Sellum with the almost cookie cutter efficient but still brilliant Hey Raja from Jhallikattu. Actually I sort of believe he prepared the Tamil music world for Rahman by modernising it as much as it could have been without changing its film music character.
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Enigma
February 3, 2019
Loved this article and the Raja nostalgia. Just wanted to mention Thyagarajan who was not a big star or even a second category one but he had couple of great Raja albums – Neengal Kaettavai, Malaiyur Mambattiyan. ‘Roja ondru muttham kaetkum naeram’ from Komberri Mookan is one of my favourites. Then there is ‘O vasantha raja’ from Neengal Kaettavai, an absolute gem.
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Enigma
February 3, 2019
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Enigma
February 3, 2019
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Tambi Dude
February 3, 2019
That Velli Nilave song from Nanthavana Theru was just out in late 1995 when I left India. Its antaras (pallavi) is a typical showcase of IR’s mastery of melody.
This is another beauty from a 1982 Aaradhani
The pallavi’s are just fabulous.
SPB – there can never be another one like him.
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Madan
February 3, 2019
TD: Velli Nilave has a similar approach to harmonizing vocals as Oru Myna. This is a trademark of IR. If he hits upon an approach that he likes, he will try it out in a few different songs and contexts.
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Tambi Dude
February 3, 2019
Are you talking about Oru Myna song from Uzhapalli (Rajni)? I never liked that song. Sound was terrible. IR was done by 1993 (IMO)
Now that you called the harmonizing vocals, I see that similarity with Velli Nilave.
Enigma: IR must be truly great. You me and Madan are on the same side 🙂
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Honest Raj
February 3, 2019
It’s hardly been a week since I stumbled upon a long forgotten song. I’m talking about “Amman Kovil Ellamey” from Rajavin Parvaiyilae (a film that I fondly remember for the evergreen Vadivelu-“Venniradai” Moorthy comedy track). I checked the tracklist and got instantly attracted to a song that I’ve never heard of before. I’ve been humming it like crazy ever since. 🙂 Miss our Vaigai Puyal so much!
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shaviswa
February 3, 2019
I am a 80s and 90s kid so grew up with Raja and then hatched on to ARR. I have a huge collection from both MDs.
However one grudge I am unable to shed about Raja was his excessive usage of S.Janaki’s keechu moochu voice. Her voice grates my ears and I feel many wonderful songs have been rendered un-listenable as a result. Wish he remasters these with Chitra or Shreya’s voices.
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Madan
February 3, 2019
“I never liked that song. Sound was terrible. ” – IR’s synth tones often went way off in the 90s. I am willing to bet KR had taken over that dept from the venerable Viji Manuel. OK maybe Viji was still stuck in the world of Fender Rhoades pianos but it’s a beautiful and timeless world so why not. One song from the post-ARR phase which seemed to have a Viji touch in terms of the ones was Vazhi Vidu Vazhi Vidu from Paatu Paadavaa, which also happened to nicely marry a typical vintage Raja melody and meter to his then new jazzy harmonic vocabulary (esp the prelude).
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Mahesh
February 3, 2019
Thank you BR. I am sold moment you mentioned “Vandhaale Allipoo ( I don’t think it is part of the audio and available only in the movie?), brilliant Varuvaai Anbe and “Ithu Ilamai Ilamai”.
I would add “Engengum Anandame” (Kadal Meengal), “Kaadhal oru Leelaiyaa” (by IR Japanil Kalyanaraman not there in the movie), How about Kaadhal ennum Kovil from Kazhugu? Even though you haven’t mentioned these actors – but Sollividu velli nilave (Sathyaraj), Kaathirunthen Thaniye (Prashanth) , Ival yaaro (Vijay)
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Enigma
February 4, 2019
Tambi Dude, LOL! Raja can do the impossible.
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Honest Raj
February 4, 2019
V: Raja Rajadhaan…. (Wow…this was again a song from a Bagyaraj movie)
It’s from Oru Oorula Oru Rajakumari. Up until very recently, I thought Bhagyaraj himself was the composer.
As for “Punnagaiyil Minsaram”, Prabhu Deva was the real hero. 🙂 The film had a terrific score though.
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Honest Raj
February 4, 2019
BTW, were “Neethaane naal thorum” and “Nandri sollave unakku” popular upon release?
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hari
February 4, 2019
I’m a 70’s kid, but still have not heard almost all of the songs, except for the famous ones you have mentioned.
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TambiDude
February 4, 2019
Madan: After ARR, I simply stopped listening to any new film of IR, unless I see a movie which songs composed by him. There was nothing new in his sound.
Remember the movie Kaalapani. I don’t remember one note of any song.
In 2004 on a trip to India (where I listen to Radio Mirchi Chennai ) I heard the song “oru pattampoochi” (Kadhalukku Mariyadhai) and loved the tune. But gosh, what a terrible sound. But he still showed traces of genius in the second interlude music. And that 80s sound irritating chorus.
BTW fans of Radio Mirchi Chennai in USA can listen to it here:
https://www.tamilradios.com/radio-mirchi-tamil-fm
Post 1992 I consider IR only in the following films:
1 – Hey Ram
2 – Mumbai Express
3 – NEPV
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TambiDude
February 4, 2019
Talking about Radio Mirchi and the new songs it plays. The main problem with that is that I can’t stand it after few days. There is something really missing in new songs, that , once the novelty wears off, there is nothing in it. I don’t subscribe to the theory that music one hears growing up stays for ever because of the subconscious bias. In the good old days of USENET groups, in rec.music.indian.misc where film music was passionately discussed, one Kishore Kumar fan wrote a long post on why he can’t stand any other singer because KK reminds him of his younger days. If that is the case I should have never developed a serious liking for Jazz, which I picked up only in my 40s. Actually never heard it until I was in mid 30s.
If I still gyrate back to IR, it is because he was FAR superior to the current crop.
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Madan
February 4, 2019
@TambiDude : 90s onwards I focus on songs rather than albums of IR. There may not be whole stellar albums but still plenty of interesting songs. Eg Kalvane from Megha album. Also Niram Pirithu Parthen from Time. Pattu poo poo from Veera.
I also agree that age is just a number when it comes to getting into a new genre of music.
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boredguys
February 4, 2019
One of the most uncommon Ilayaraja gems that I got to hear was ‘Oru naal unnodu oru naal’ from Uravaadum nenjam. Unfortunately no footage of the film exists in the internet (i hope not). Wonderful piece by BR.
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KayKay
February 4, 2019
Everytime you do these write ups on Raaja, B, either through your article or the comments section, I get to add a few more gems to my playlist:-)
Love it when you and Madan go all Indy Jones and excavate more treasures from the Vaults of the Master.
Although, from the point of view of a Malaysian who had access to exactly ONE radio channel dedicated to Tamil music in the 80s, some of those numbers don’t really qualify as lesser heard ones back in my little old neck in the woods.
Adadada Mamarakiliye was as huge a hit as the SPB-Susheela “Bus Song” from Chittukkuruvi.
Madan, Engengo Sellum got very frequent airplay. I think it was the sole hit from Pattakathi Bhairavan?
B, on the topic of Ilamai Kolam, this gem from Jesudass also went largely unnoticed
Although, the heavy classical nature of it probably kept it off repeat plays on radio. joining the ranks of “Vedham Nee” & “Amuthe Thamizhe” from Koil Pura and “Koondhalile Megham Vandhu” from Bala Nagamma as gorgeous classical based melodies from Raaja that didn’t get the love it should have.
One Raaja number that’s doomed to fall inside the cracks for all eternity is the lovely “Kaise Kahoon” from “Nandu”. I know it’s Malaysia Vasudevan’s breathy “Alli Thantha Bhoomi” that’s the bona fide hit from that movie but Kaise Kahoon is gorgeous on so many levels. That it’s a pure Hindi song in a Tamil movie doomed it never to get airplay in Tamil Radio or crack the Bolly charts.
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brangan
February 4, 2019
KayKay: Oh, all the songs of Chittukuruvi were blockbusters and got repeated airplay. Ponnula ponnula. Onna nambi nethiyile. Every single song.
So this piece is for those who are millennials and whose knowledge of Raja comes only from the few “quality” films they’ve seen. I’m pretty sure the Devaraj-Mohan oeuvre is FAR outside their ambit 🙂
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TambiDude
February 4, 2019
In Delhi we use to listen Radio Ceylon in short wave radio to hear tamil songs. When Chittukuruvi songs came out in 1978, its songs were played daily like Suprabhatam. That was the first time I heard people telling “tamil songs are once again good”. A clear reference to insipid sound of MSV-TMS era in 1970s, prior to the arrival of IR.
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Madan
February 4, 2019
“If I still gyrate back to IR, it is because he was FAR superior to the current crop.” – Yeah, I could not complete the earlier post but basically I am not convinced my lack of interest in the current crop has to do with my getting old (which I am not, ahem) and nostalgic (nostalgic for songs like Idhu Oru Ponmaalai written long before I was born?). It may have to do with my own change of tastes though. After listening to IR, I wanted MORE. More ambition, more complexity. And Tamil film music has largely progressed in the reverse direction after his eclipse from the mainstream. I may not listen to a ton of new or I should say recent releases but I do keep in touch with new….rock/prog/metal/even hip hop albums. Yes, Kendrick Lamar finds a place in my collection but not Anirudh and that’s just how it is. Besides, the release date is just a number on a calendar. Whether it’s new for ME is all that matters. I heard this fantabulous blues conversation between Gary Moore and BB King a couple of months back. Hope you have too:
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Madan
February 4, 2019
@ KayKay Naan Indiana Jones millennial na kuda millennial dhan. My sources were first Jain TV, then Sun TV in school days. Iniya Gaanam, Nil Nil, Velli Nilave, Mannakkum Santhaname all heard there; not counting Chembaruthi/Uzhaipaali/Veera type albums which got a lot of airplay. Ennai thalata varuvallo first time in Kodaikanal in a cab. Then by the time I returned from hols to Mumbai, my Tamil classmates/schoolmates were also singing it (film had become a big hit by then).
For oldies, I relied mainly on mp3/raaga.com and chance discoveries on Jaya TV. For a long time, Jaya TV used to play Raja songs from 9-10 in a programme called Then Kinnam. Then they dedicated it to the 60s and 70s and I had also moved on to degree college and morning hours so…
I finally heard Edhedho Sellum either on the IR fans forum or through a facebook friend.
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Madan
February 4, 2019
” I’m pretty sure the Devaraj-Mohan oeuvre is FAR outside their ambit” – Forget Devaraj-Mohan, even Mike Mohan beyond the Mani starrers, Payanangal (only because of Ilaya Nila) and Mella Thirandhadhu Kadhavu is doubtful. Many shit Mohan films had great songs. Naan Paadum Paadal for example is a fantastic album; Seer Kondu Vaa, Devan Koil and Paadum Vaanampaadi are brilliant while Paadavaa is decent if a tad overwrought. Even Nenjathai Killathe songs are a little unknown compared to Mouna Raagam/Agni and the other two films I mentioned.With Vijaykanth too, people would have heard Amman Koil Kizhakaale/Chinna Gounder/Kshatriyan but how many would have got to the magnificent Mayanginen Solla Thayanginen from Naane Raaja Naane Manthiri?
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sai16vicky
February 4, 2019
My cents on the relatively unknown songs would be:
‘Hey Raasathi Rosappo’ from En Uyir Thozhan
‘Vazhi Vidu Vazhi Vidu’ from Paattu Padava
‘I want to tell you something’ from Anand
‘Dilwale’ from Mahadev (Hindi)
‘Kannamma Kaadhalin Kavidhai’ from Vanna Vanna Pookal
‘Sithagathi Pookale’ from Rajakumaran
‘Mathru Bootheshwari’ from Ramana Geetham
‘Poovile Medai Naan Podava’ from Pagal Nilavu
and finally the symphonic overture from ‘Veetla Visheshanga’ (BR, you forgot Bhagyaraj!). I can’t offhand recall the number of times I’ve heard this overture. The flute and percussions make me go crazy!
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apala
February 4, 2019
Just during this new year trip to India, cleaning up my 400+ cassettes in my home in the native – I was listening to this cassette (believe me bought it only for Raja – as I never liked anyone other than Alwarpet Aandavar since 80s!! :-))
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TambiDude
February 4, 2019
Madan: Thanks. I will check that Blue piece.
” Idhu Oru Ponmaalai ” Oh no. ABout 2005 one day I woke up and concluded that I had listened to this song enuf in my lifetime. OTOH “Poongathavey Thaazhthiravaai” is a gem. The opening piece left me stunned for its creativity when I first heard it in 1981.
BTW in last night’s super bowl, one of the ads played the The Who Song “Paintball Wizard”.
The following is a gem from Who: https://www.youtube.com/watch?v=Vsses7ImwtM&t
I never heard this until few years ago. Just goes to tell that one can pick up new favorites any time. Unfortunately it comes with something to give up too. Like I gave up most of the Hindi songs of 70s and 80s. I am still biased towards 50s and 60s Hindi songs. Even in tamil, I stopped caring about lot of IR songs I was once crazy about.
Quiz: A line of the above linked song reminds a song from YSR.
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V
February 4, 2019
Honest Raj: Yess.. Poattadhellam vetri kollu from Bharathan was a cool number too.
This Neethaane naalthorum was from Paattu Vathiyar right? The movie was a washout, but people would associate this song with Edho oru paattu that released about 3-4 years later. Such was its recall value – though it was Rahman’s peak and Deva’s rule in TN.
The other one, Nandri Sollave unakku was played often on TV (Sukanya right?). So both the songs you’ve mentioned were proportionately popular… Those were the days of Oliyum Oliyum, Vivid Bharatiyin varthaga oliparappu (commercial broadcasting, i.e film music) from 8:15-10 am and casette recording shops (with signboards featuring a beaming Raja nonetheless) in every street. So you couldn’t miss these songs – at least the top 2 from a decent film/album!
For eg, my husband is an avid Hindi Film Music fan. Yet whenever, say, “Aarum adhu aazham illa” plays, he sings the song fully though he has never heard about the film (Mudhal Vasantham). Plus being from Madurai, he would sing songs like Sevvandhi Poo mudicha sinnayya (from 16 vayathinile) which was very popular there, whereas I would know Sendhoorapove and Attukutti muttayitu.
So, with Raja songs, one can never say – we may think so-and-so song wasnt appreciated much, but somewhere in TN (or world!), it would have been a rage. 🙂
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V
February 4, 2019
Kaykay: Shridevi en vazhvil – Superb mention. My mom had this recorded in her devotional songs cassette & I too thought it was a saami paatu. And Ilamai Kolam reminds me of Ilamai Kaalangal, another Mike Mohan beauty – Isaimedayil, Paada vandhadho, Ragavane – though Eeramana Rojave was the most popular.
Sai16Vicky: Nice songs there. Did you know they were very popular when they released, but as you said
, somehow they did not transcend to the millenium’s playlists!?
Apala: Something for you to cherish :: In yesterday’s Ilayaraja program, Rajni has ribbed him on stage, saying he has given great songs only for Kamal. Though Raja replied with Ramarajan, Mike Mohan examples, even I agree that he gave outstanding music for Kamal and good-to-great music for Rajni.
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vijay
February 4, 2019
My picks:
Suman – endrendum aanandhame(got decent airplay though, but thalaatudhe overshadowed it a bit)
Prathap – Ye thendrale ini (nenjathai killaadhe) – reminds me of MSV’s paartha gnyaabagam illayo, maybe a slight inspiration here
chandrasekhar(not quite a hero, but still.)- nandavanam poothirukkudhu from Illam. In that relatively dry phase(1987 or so), IR surprised us with this song
Ramarajan – thaana vandha sandhaname
Vijaykanth- vanna chindhu vandhu vilayaadum-kovilkaaLai. Despite Mano being the singer, the song soars and scores. Wonderful tune. IR was in top form in the early 90s
Sathyaraj – oru poonjolai aalanadhe or manamaalaiyum manjaLum – again these are popular amongst IR fans but maybe not in Sid Sriram’s gen.
Prabhu – almost ALL my dear maarthandan songs, especially the SPB numbers. One exuberant soundtrack. Try it on a long drive next time. My picks are ilavattam and oru paakku veththala.
Sarath Babu- sandha kavaidai from Metti, a glorious tune.Koondhalile from Baala nagamma as well.
Mohan – thendral varum from paaru paaru pattanam paaru.Wonderful veena-piano interplay in ludes.
ravindar- mouname nenjil naalum from urangaadha ninaivugal
Kamal – hey oraayiram/radha radha from meendum kokila.kaadhal un leelaiyaa(unreleased) from japanil kalyanaraman sung by IR in a subdued tone.
Rajni – theeradha vilayaattu pillai from netrikann,what a cracker of a song, that fits Rajni’s flirtatious character like a glove.SPB rocks it.
oh, and many more..you need a booklet really.
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Enigma
February 5, 2019
@Honest Raj, thanks for bringing up ‘Punnagayil Minsaram’. I am immediately flooded with thoughts of a sexy Bhanupriya doing some ridiculous moves with an overweight Vijayakanth for company. I was in high school and had the hots for Bhanupriya. Can’t believe that I went to that movie just to see Bhanupriya scorch the screen in that song.
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TambiDude
February 5, 2019
I forgot to add. Listening to old TFM songs is not my first choice. I listen to them only occasionally and prefer them to the new ones. Somehow I find decoupling of movies and its songs very difficult. In other words, a crap movie will take down its songs too.
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Mani
February 5, 2019
Some more.
movie – song
naan paadum padal – paadum vaanam paadi
enga ooruy kaavalkaaran – arumbaagi
gopura vasaililae – kaadhal kavithaigal padithidum
kunguma chimil – nilavu thoongum neram
poo vizhi vasalilae – chinna chinna roja poovae (one of the finest IMHO)
ilamai kalangal – eeramana rojavae (super classy)
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Arjun
February 5, 2019
My pick for Rajni would be Raasave unnain naan ennithaan. (Ok, technically it’s a female solo, but still….)
A folkish tune with an understated but funky rhythm guitar for accompaniment. Got eclipsed by Sandhana kaatre – a song that I don’t like very much.
@Madan: You’re right. I strongly feel Viji Manuel was key to getting THAT IR sound and feel that one associates with the early 80s, think the piano/synth work in Uravenum pudhiya vaanil.
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Madan
February 5, 2019
@Arjun Uravenum accents are wonderful. So much flavour in his playing.
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Rahini David
February 5, 2019
Somehow I find decoupling of movies and its songs very difficult. In other words, a crap movie will take down its songs too.
Sad. Some of Illayaraja’s best were from forgettable movies.
Not knowing what the video is like usually improves the song for me. I had no clue about who starred in “pattu unna ilukkutha” until I googled it a few mins back. Not knowing worked just as well.
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Madan
February 5, 2019
In the vast majority of Raja songs, the picturisation is terrible and mismatched with the music. Be it Ennathan Sugamo, Meenamma or Seer Kondu Vaa. So yeah, long ago stopped bothering about the movie which the song was part of.
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Honest Raj
February 5, 2019
V: I discovered the song barely four years ago. Despite being a big fan of captain and reasonably familiar with IR’s 90s oeuvre, I wasn’t even aware of the film let alone the song. I don’t remember any song from the film being played on TV/Radio anytime while growing up.
Enigma: You should thank V.
About Thyagarajan, IR gave some lovely melodies for him. And yes, “Roja Ondru Muththam” is an absolute gem.
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shaviswa
February 5, 2019
Raja’s best music was for directors – KB, Mani Ratnam, Panchu. to come extent Gangai Amaran’s films too.
Then for actors, it was Mohan, Prabhu, Kamal, Ramarajan and then Rajini. Even Endrum College Pogum Ilaignan Murali got quite a few good songs from Raja.
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Ravi
February 5, 2019
Sing Swing from MooduPani – by Dr. Kalyan – lyrics by Viji Manuel
Solla Solla Enna Perumai – Ellam Inba Mayam – SPB in full glory. This song got rediscovered a few years ago and became popular in YT.
Both available in YouTube
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V
February 5, 2019
Ravi – the only song I remember from Ellam Inba Mayam is Maaman voodu machu voodu – set to Ra Ra Venu Gopapala tune 🙂 😀
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Ravi
February 5, 2019
Solla Solla was quite a hit at that time. Also had Asaikiliye Barla barla (Kamal in Kannadiga guise) and Onnum Onnum Rendu Thaney – that album had variety.
Sing Swing is even more obscure
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shaviswa
February 6, 2019
Ellam Inbamayam was a nice album – Maaman voodu is one; solla solla enna perumai was vintage Raja. Aasaikkiliyae was real funny with SPB doing his mimicry 🙂
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Rahini David
February 6, 2019
Then for actors, it was Mohan, Prabhu, Kamal, Ramarajan and then Rajini. Even Endrum College Pogum Ilaignan Murali got quite a few good songs from Raja.
And Karthik. And Rajkiran.
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bart
February 6, 2019
This list can never feel complete. In early internet days (around the millennium), there used to be one” yahoogroups” called Maiyam (I think), wherein there was a discussion thread around IR’s lesser known / less-celebrated songs. It ran into 100s of pages. I made CDs at that time collecting those rare songs period-wise – 76 to 80, 81 to 85 and so on.
His work and range is too vast to be confined to any list. This discussion me realize that again.
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satishkvasan
February 6, 2019
Just realised how little I know of Ilayaraja!
Some songs from 90’s that didn’t get the credit it deserved:
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shaviswa
February 6, 2019
@satishkvasan
All those songs that you have provided were extremely popular back then 🙂
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Honest Raj
February 6, 2019
shaviswa: Raja’s best music was for directors – KB, Mani Ratnam, Panchu. to come extent Gangai Amaran’s films too.
How can you miss out BR, Mahendran, Balu Mahendra, SPM, Bhagyaraj, et al? 🙂 Even his collaborations with the likes of Suresh Krishna and Selvamani were quite successful.
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Honest Raj
February 6, 2019
My pick for Vijay na. It was eons ago that I listened to the song.
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Shankar
February 7, 2019
You all have covered a lot of ground…here are some more:
https://www.youtube.com/watch?v=ADmBMyZFDkk (What bass lines!)
As BR once said, IR makes us all archaeologists….the more we dig, the more we get! 🙂
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Shankar
February 7, 2019
I have often said how I love the bass lines in Raja’s songs…these examples are a testament to it. Raja invariably does not use bass as it is conventionally done by other composers. He writes detailed parts, simply put…bass is not a fill in! Bless the souls below who have attempted these….for our listening pleasure!
In the Anjali song link, there is a superb comment by Suresh Antonio. It’s long, pardon me, but beautifully encapsulates what bass means to Raja. Enjoy!
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Arjun
February 7, 2019
For Kamal, this is my pick. Overshadow by chinnanchiru from the same movie. The sheer exuberance in SPB’s voice here..
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Madan
February 7, 2019
“Raja’s best music was for directors – KB, Mani Ratnam, Panchu. to come extent Gangai Amaran’s films too.” – And Mahendran, Bharatiraja and Balu Mahendra. K Vishwanath didn’t collaborate much with Raja, otherwise him too.
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KayKay
February 8, 2019
“The sheer exuberance in SPB’s voice here.”
I love that song. AND…I’d expand on that statement to say SPB is the most immersive playback singer alive. In his ability to evoke myriad emotions through his rendition alone, the MAN is in a league of his own. He not only sings, but ACTS a song out.
By comparison, this is something I find lacking in Yesudass. A voice of sheer majesty and depth, and yet it rarely evokes anything other than a controlled pathos (making his sad numbers the most effective) or a studied detachment. There’s the odd “Vachukava” from Nallavanukku Nallavana and “Adi Kaana Karunkuyile” from Poonthotta Kaavalkaran where Yesudass seems to rouse himself to inject some joy into the numbers, but they seem the exception rather than the rule. Was language an issue? Then again, Tamil isn’t SP’s
mother tongue either.
Take for example, this number from Dharma Dhurai. It’s a sensual song (to hammer home the point, the scene features a couple lathered in oil making out in a cow shed. I’ve attached a scene-less link to spare your optic nerves the shock) and yet Dass-Ettan imbues it with all the passion of an accountant filing his tax returns.
On the other hand, check out one of my personal favorites (not sure if it was a monster hit). Raaja didn’t compose too many numbers in Hamsadhwani which makes this a special treat in of itself.
SPB knocks it out of the park as usual. Listen especially how he ends the first charanam with
“Varava…Tharava…Perava….Naan….Thodava” dragging out that “Naan” and landing beautifully on Thodava.
He makes the song ooze sensuality (no oiled-up torsos grappling required). Close your eyes and you can practically imagine a fire place, bear skin rug, dimmed lights and scented candles.
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KayKay
February 8, 2019
Not sure if this qualifies as a lesser known hit, but it’s one of those rare occasions where Shankar Ganesh managed to overshadow Raaja.
The movie was Kannil Theriyum Kathaigal. Which had the distinction of having 5 composers (TR Paapa, GK Venkatesh, KV Mahadevan, SG and Raaja),not to mention proving once and for all that Sarath Babu isn’t leading man material.
Raaja’s number is gorgeous (SPB as sublime as ever) as you can hear below (it wouldn’t be out of place in a period piece with it’s classical underpinnings), but it got trumped by SG’s melancholic masterpiece “Naan Unnai Nenaichen” from the same movie
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Rahini David
February 8, 2019
Personally I like it when videos links are given in the comments section (one) because i am too lazy to type it out in YouTube. And (two) because I like it when people introduce a good cover version which like the Bass videos in Shankar’s comment.
But the thread is only 75 comments strong and already taking much longer than a usual thread strong at BR’s. Is there any browser setting that user’s who are using weak mobile data should try? Can someone suggest something?
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Madan
February 8, 2019
“All the passion of an accountant filing his tax return” – ROFL Kaykay, knocked it out of the park as usual. I notice this very acutely in two duets with Chitra – Thendral than where she is in top form and he sounds like cheeni kum. Then, mazhai varudhu. Here Chitra also sounds like a nervous news anchor but when KJ sings Ilaya Thendral Thaalaatu Paadum /Iniya Raagam ketkum vaa he sounds neither Ilaya nor Iniya. 😀
SPB is the best in expression in Tamil and second only to Rafi and maybe joint second with Kishore.
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TambiDude
February 8, 2019
“By comparison, this is something I find lacking in Yesudass. ”
Best exemplified by the Agninakshatram song “Va Va Anbe Anbe” which I thought was a sad song until I saw the movie. That’s how bad he was in that song. Never liked that song. Of course he was very good in that other gem “Thoogatha Vizhigal” . Just look how he ended first charanam and how Janaki ended second charanam. SJ sounded like “kadavuLe matiNerne Elli” (rat stuck in door).
“second only to Rafi and maybe joint second with Kishore.”
Blasphemy!!!! Aurangzeb would have beheaded you for saying this. SPB is far superior to KK and in many ways I prefer him to Rafi. Rafi, for all said and done, didn’t have that much range as SPB and this I am saying despite being a big fan of Rafi.
What KK had it going for him was god gifted voice and ability to emote very well. I found him much better than Rafi in sad songs. Rafi use to over emote and spoil it.
The same criticism applies to SPB as well. Sometimes he over emotes (as they say in tamil “altikaran”). But what range and capability.
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V
February 8, 2019
SPB could breathe life into any song. Even in Petta, when he goes “evanda mela evanda keezha” with his trademark snigger in “evanda” – I could imagine how Rajni would go with “his” trademark half-smile and Arunalachalam-esque hand movement in the film. The rest of Anirudh’s “shokka nadandhu varaan, maassu maranam etc” were definitely notches below this kizhattu singam SPBs few seconds garjanai.
Ive never liked Mazhai varudhu mazhai varudhu – as Madan rightly says, it lacks energy / inimai / ilamai. Maasi Masam and Thendral thaan, on the other hand are amazing thanks to the female singers. Same with “Hey I love you” from Unnai Naan Santhithen (but nadigar Suresh more than made up for the singer’s staidness by adding extra glitz and glamour to his costumes and performance 😀 )
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Arjun
February 9, 2019
“Take for example, this number from Dharma Dhurai. It’s a sensual song (to hammer home the point, the scene features a couple lathered in oil making out in a cow shed. I’ve attached a scene-less link to spare your optic nerves the shock) and yet Dass-Ettan imbues it with all the passion of an accountant filing his tax returns.”
Hahaha. I think it was a horse stable though, which one could argue is marginally better than a cowshed (for reasons best left unsaid here). Anyway, another erotic song in the same raagam, but picturized in a .. er. more conventional romantic setting – https://www.youtube.com/watch?v=guNN-qVCo40
Both SPB and Janaki are breathtaking in this song. SJ even outperforms SPB IMO. Especially the charanams. Check out the lines “idhayam maariyatho ellai meeriyadho” in the 2nd charanam. Oozing sensuality.
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Arjun
February 9, 2019
Oops wrong video attached. I wanted to verify my memory – the horses look agitated btw.
Correct link – https://www.youtube.com/watch?v=dxieZAgB3wE
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Madan
February 9, 2019
” Rafi, for all said and done, didn’t have that much range as SPB and this I am saying despite being a big fan of Rafi.” – So how about Dekhiye Sahibo/Kisko Pyaar Karoon/Maine Rakha Hai Mohabbat/Maang Ke Saath/Rakhwale/Tu Mere Samne Hai/Jaag Dil E Deewana/Chahunga Main/Akele Hain Chale Aaon/Hai Duniya Usi Ki? Listen to all these songs (which I am sure you have as you are a fan too) and tell me that is limited range. And I have still only covered but a small slice of his vast oeuvre. SPB is good at changing voices and clowning like Kishore but I don’t think he has quite the multitudinous shades of fine nuance in Rafi’s singing that make even two superficially similar sounding songs very different in substance when you actually try to sing them. And that’s not a knock on SPB; he came up singing Tamil/Telugu where the requirement for so much nuance is less. Even Thalaivar has said in his vikatan interview that Hindi is a better language to compose in. So SPB had to work with those constraints and when he did sing in Hindi, his accent came in the way anyway.
For this reason, KK is also deceptively good at expression. It is not hard at all technically to nail KK but capturing the exact emotional nuance can be very elusive and that is why after so many years, HFM still hasn’t found worthy replacements to either Rafi or KK. It’s not just the voice but the profound internalisation of the lyrics (for which Raja hardly gave time to SPB to be fair to him; then again how much do you need to internalise maane/thene) and fine adjustments in singing style to suit the lyrics and the song as such. This concept is much less important in Tamil and esp in Raja’s music because the music takes care of 90% of the business.
“I found him much better than Rafi in sad songs. Rafi use to over emote and spoil it.” – Even Kishore has spoilt sad songs, especially Mera Jeevan Kora Kagaz which is unbearable for me. Though the king of this overubbal sad song genre is Vaikaraiyal Vaigai karaiyil for me. Paadi Parantha Killi also comes close.
All three – Rafi, SPB, Kishore – over emoted at times and were spot on at others (Tukde Hain Mere Dil Ke as a Rafi example) because they tended to affect the emotion whereas for Mukesh and Talat, esp Mukesh, pathos came naturally to them. Of course this also meant those two fine gentlemen made very happy songs sound sad and forlorn like Mere Humsafar/Aaha Rhimjhim! But I don’t think either of the other three – who ruled playback because they were so good at romance – could have done justice to Jaane Kahan or Mujhko Is Raat Ki Tanhaai or Phir Wahi Shaam.
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Madan
February 9, 2019
“Maasi Masam and Thendral thaan, on the other hand are amazing thanks to the female singers.” – Yes and speaking of which, we don’t talk about Swarnalatha so much but she was absolutely ace in expression. Very bold singer, loved the numbers she sang for Rahman too.
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RamG
February 9, 2019
Great article and great discussions. Few of my cherry picks:
Chittira sevvaanam sirika kandene,
Thogai ilamayil aadi varugudu,
Yedhilum ingu iruppan avan yaaro,
Paaruruvaaya( thaarai thapattai),
Nee dhane naal dhorum naan pada kaaranam,
Anbe vaa arugile yen vaasal vazhiyile.
And a rabid fan if his albums Nothing but wind and How to name it.
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TambiDude
February 9, 2019
“SPB is good at changing voices and clowning like Kishore but I don’t think he has quite the multitudinous shades of fine nuance in Rafi’s singing that make even two superficially similar sounding songs very different in substance when you actually try to sing them. ”
You are correct that Rafi showed a great range of emotions and on that no dispute.
The range I was talking about was the fluidity in notes and changing it rapidly. Rafi was quite flat in that. Better than KK does not make anyone a genius. Just like best Indian fast bowler means nothing when compared with greats from Aus or WI. In HFM only Lata and Asha were the main singers who could do everything what Rafi and KK could do and also had the ability to sing most complex songs. I won’t even bother listing the songs of Lata and Asha. Read Salil Chaudhury and R D Burman’s view on Rafi’s ability. Suffice to say, highly uncharitable.
SPB could effortlessly keep pace with the complexity of the tune. In fact the main reason why male songs of TFM was always superior to HFM was because they had main singers like Soundarajan and later SPB who could do justice to the demands. I am reminded of a comment by Salil Da that with a singer like Lata he could sit and compose any notes knowing full well she could sing it. KK took 17 retakes to sing
Try playing it in a keyboard and sing along.
Here is one of my fav song of SPB
At 1.08 suddenly the scale changes at “ilamai azhagai allEe”.
One more, from the dying days of MSV
Very difficult song to sing. Lovely song.
I am reminded of a lovely song by O P Nayyar “mein pyaar ka raahi hoon” in which Asha killed Rafi. I mean it was like watching VVSL’s 281 which also had Dravid’s 181 at the other end. I am yet to meet anyone who talks about that innings of RD. It was VVSL VVSL all the way.
Now if you could pardon me, I am exiting out of this. This is not politics for me to have my blood boil 🙂
By main I mean singer for big starts. Manna Dey was more capable in many aspects, but was never a dominating singer in any era.
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Madan
February 10, 2019
“The range I was talking about was the fluidity in notes and changing it rapidly” – Disagree again, there are many very intricate tunes of Rafi that bear out his talent and also that RDB/Salil simply held a grudge against him because their own favourites were Kishore/Talat respectively. Salil/Anil Biswas both disliked Rafi because he displaced Talat and for RD, Kishore fit his music like a glove so the discord with Rafi was inevitable. I readily grant the following:
(a) Being better than Kishore at handling intricacy doesn’t amount to much but that is not the comparison I was making anyway
(b) Yes, Lata/Asha were as good technically as Rafi. Asha was the queen of expression too for me, being able to go from the lonely Phir Tes Lagi Dil Ko to the intoxicated Aao Huzoor to the wild Lekar Hum Deewana Dil and even ghazals with Ghulam Ali. I was only talking about male singers here.
(c) Manna De was better at classical than Rafi and unfortunately, kind of like Yesu, could not mould his singing for romance which is a must in playback. At least was. I don’t find Arijit very romantic but he rules the charts anyhow, same as Mohit Chauhan or Atif Aslam earlier.
But from all this, I am not able to extrapolate the conclusion that SPB was better at intricate singing than Rafi. Now just to take a small example. The harkat at Dastaan-e-gham sunakar ro diye in Aapke Pehloo Mein Aakar is itself very, very tough to sing without losing pitch. I have not heard any comparable sanghidis from SPB. Which again is not to say SPB cannot sing sangidhis, of course he can. But of the two, it was Rafi who was the trained singer. A song like Kabhi Khud Pe is just one long harkat and yet he does it without sounding intrusive or distracting like Hariharan can. As for difficult key changes, Tumne Mujhe is quite tricky because the antara begins at a different place altogether from the mukda (like what Raja did on Ninaivo Oru Paravai) and Rafi executed it perfectly.
What RD (and also CR/Salil) disliked about Rafi was he took a long time to learn the song and repeatedly practice it until he got it just the way he wanted. They probably pressurised him and thus pushed him into mistakes which may have worsened his equations with them. I can relate because I just did a trekking activity as part of an outdoor team building session and got really pissed off at those impatient colleagues who were pushing me to speed up as I struggled with the grapelling.
From whatever I have learned, Rafi didn’t have the swagger of Kishore/Asha and was pretty sensitive to criticism. The ones who understood his talent and worked patiently with him like SJ, MM, OPN, SDB and of course Naushad got the best out of him. I THINK the volume of work they did with Rafi (along with many others like Roshan, LP, even Sonik-Omi) speaks volumes as opposed to the dissent of Salil/RDB which I tend to discount. They never understood that Rafi laboured over the song again and again to internalise it completely and to produce that elusive nuance which you cannot always nail in just the first couple of takes.
“Now if you could pardon me, I am exiting out of this. This is not politics for me to have my blood boil” – That’s too bad then. I was really enjoying this discussion. So maybe you just don’t know how to disagree, generally, on the internet.
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Madan
February 10, 2019
There’s no scale shift at Ilamai alli varum in idhazhil kadhai ezuthu. And the raga formation is broadly similar to Ek Shahenshah ne banvaye haseen taj mahal. There’s one trick SPB does in the last anupallavi, intentionally singing idhazhil from a different key and bringing it back. Brilliant but no, doesn’t sound like something Rafi would have failed at. I can sing that correctly and I am not trained. Why would a singer trained by Hindustani ustads have any issues with it.
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e,hari
February 10, 2019
This article took to me to the many visits to Moore Market and Lux corner in search of undiscovered masterpieces (a legend grew in my circle) of IR 70’s songs For once, they were all in awful movies with actors who were either in decline (jai shankar, Muthuraman, Sivaji) or to lesser known actors like Jai ganesh, Vijayakumar. in that pre-youtube/Mp3 times, every IR 70 song discovered were priceless and most of the 90mm tapes recorded did not survive my abuse. I still go back to these songs often in youtube.
Jai Ganesh
Geeta Sangeeta ( Anbe Sangeetha – JC/SJ)
devadhai our devadhai ( Pattaikathi Pairavan) – SPB/SJ
alagandra poojolia
Muthuraman
chitra chenvanam ( kattrinelea varum geetham) – JC
Oru Vananvile pole – JC/SJ
Chella pillai saravaanan – Penjenmam – KYJ/PS
Ravichandran
gangai nadjhi ooram – Varaprasdham ( KYJ/VJ)
This song considered as uncredited IR song ( IR was assisting R.Govardhan)
Jai Sankar
Engum nirandha ( KYJ.SJ)
Devan thirusabai malagarale – Avar enake sondham
Surangani – Avar snake Sondham
Sivaji – Pattaikathi Pairavan
Yaaro Nee Nanum Yaaro – SPB
Vijayakumar
Naan peso vandhen – Paletti valartha Kili ( SPB/SJ)
Vella nilavile ( JC/SJ)
Sivakumar
our kadhal devadhai – Kadavul amaitha medai ( SPB/PS)
Manjal Nilavuku – Mudhaliravu ( JC/PS)
thengai sreenivasan – chinna poora ondru – Anbe Sangeetha ( SPB) –
Sivachandran –
mandadhil enna ninavulagule – Poonthalir – SPB/SPJ
Sarathbabu – Nadihai thud vandha kadal
engoye edho – SPB/PS – precursor to IR 80’s sound
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sai16vicky
February 10, 2019
I agree with Madan on the SPB vs Rafi comparison. In fact, this comes out very well when SPB tries to sing some of Rafi’s classics. Some thing like ‘Deewana Hua Baadal’ or ‘Tere Mere Sapne’. You can see SPB straining on the notes to sound like Rafi whereas the latter sings them almost effortlessly. SPB is truly a great playback singer but Rafi is much much more. You wouldn’t get Rafi even if you roll SPB, Malaysia Vasudevan and P.B. Sreenivas into one.
Also, the note on Manna Dey and Yesudas is spot on. They were more like “hire-for-hard-song” singers. It’s interesting that Yesudas took off from exactly where Manna Dey left.
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e,hari
February 11, 2019
Sai16vicky – It is not a fair comparison. Hindi is not SPB’s mother language. If I picture Rafi attempting Aaiyram Nilave va or Sangeetha Jathi Mullai – let not go there. We should be grateful for SPB even trying to sing Rafi’s songs, not many singers would even attempt.
it all comes to personal preference – I am with TambiDude on this.
But it does not matter as both SPB & KJY have such a huge respect on Rafi, they would not even bring themselves to compare with Rafi.
Some what appropriate comparison would be taking songs being remade in multiple languages like Nanathale kangal minna minna t( TMS) Dil Pukare Aare Aare ( Rafi).
Another One between Rafi & Ghantasala
Song : Payaninche O Chiluka (Telugu)
Film : Kuladaivam (1960)
Song : Chal Ud Jaare Panchi
Film : BHAABHI (1957)
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Madan
February 11, 2019
@ sai16vicky : Exactly, Salilda introduced Yesudas in Hindi just around the time that Manna was starting to fade away a little.
Regarding Rafi, I think if people listen to him speaking in interviews, they will see how different he was from his peers. He had a very high pitched, soft and sweet voice and his manner of speaking was also very gentle. A masculine version of Lata basically. SPB and Kishore have big, heavy and baritone -ish voices. Most of our successful playback singers did. So if you have a big, heavy voice, you can adapt it to all these singers…except Rafi.
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Madan
February 11, 2019
ehari : It’s not about preference for me. If you ask me about preference, I would not want SPB to sing Aapke haseen rukh or Rafi to sing Kadhalin Deepam Ondru, as simple as that. I made a statement only and only about expression and I stand by it. Rafi uses a zillion micro inflections in his singing which are very hard to emulate and very easy to over sing. I don’t know how TD managed to conflate a point about expression with a larger comparison between the two singers but in any case Rafi was also technically better than SPB. SPB is better at rowdy /raunchy singing though and easily. SPB kind of straddles the middle between Kishore and Rafi, more technically accomplished and versatile than the former and more boisterous than the latter.
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TambiDude
February 11, 2019
E:hari (IIRC old rmim/rsc buddy :-)): The trouble with Rafi that he has some undeserved reputation of being classically trained when he had nothing to show for when compared to Lata. One should listen to Lata’s marathi songs composed by her brother to know what is meant by singing classical based songs. A classically trained singer should not take 11 retakes to sing the line “phir tujhe sang leke, naye naye rang leke from the song in maya (tasveer tere dil mein)
Rafi just couldn’t scale up while Lata did it effortlessly, pissing off everyone when failing repeatedly.
Once R D Burman told Raju Bharatan about the Teesri Manjil song “aaja aaja mein hoon pyar tera” : Only I knew how I made Rafi sing that song. HA HA.
So what if some one sounds better in a given song: KK sounded much better than Rafi in Tum Bin Jahoon Kahan (Pyar Ke Mausam). In Doosara Aadmi song “Kya Mausam Hai”, Rafi spoiled the whole song by his atrocious singing and KK was pretty good.
Look it is not a personal preference for me. I simply rate SPB better in ability and range. Just like I rate Lata far superior to Rafi. It does not mean Rafi wasn’t great. He too was and he has by far the largest number of my fav. songs in Hindi. Be it romantic song like “tumse kahoon ek baat” (Dastak) or the epitome of sad song “na kissi kee aankh ka noor” (Lal Qila). Rafi was excellent in conveying the mood.
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Madan
February 11, 2019
“: The trouble with Rafi that he has some undeserved reputation of being classically trained when he had nothing to show for when compared to Lata. ” – Two parts to this.
First, the reputation of Rafi being classically trained is not at all undeserved and rather can be validated by anyone with a discerning ear who doesn’t only go by the gossip mongering of opinionated columnists or sensationalising radio jockeys. The tonal quality that Rafi produces in his taans is clearly something that can only be obtained through years of riyaaz and beyond the reach of the brilliant but untrained Kishore or SPB. Though SPB does try admirably and acquits himself well in classical based songs. But I will meet your Idhazhil Kadhai Ezuthu or the somewhat laboured Ilanjolai with the imperious Sawan Beeto Jaaye. How would a singer with shaky pitch – as you allege – be able to sing those brigas with multiple rolls with so much confidence.
Which brings me to the other point, what Rafi had to show or didn’t as compared to Lata is not relevant as the comparison is with SPB. I therefore don’t feel the need to respond about the Tasveer Teri allegation or what RD supposedly said about Aaja Aaja (which didn’t stop him from hiring a way past his prime Rafi for Hai Agar Dushman which would clearly have been beyond his beloved Kishore da) though I do want to point out that if you are quoting Raju Bharatan on Aaja aaja where it suits your argument, you ought to also do so on Tasveer Teri where he sides with Rafi.
But back to SPB-Rafi. I can go on listing Rafi songs with very intricate and difficult brigas that clearly bear out his ability. The last briga on Hui Shaam Unka, multiple ones on Tu Mere Saamne Hai, Kabhi Khud Pe, Main Nigahen, aforementioned Sawan Beeto Jaaye, Naushad’s Sawan Aaye Ya Na Aaye. Semi classical is an extensive part of Rafi’s repertoire. That cannot be said about SPB. While he did have his semi classical numbers like the ones I mentioned and several others, Raja preferred Yesudas by far, more so than the rate at which music directors preferred Manna De over Rafi. So that’s as far as ability goes. As far as range is concerned, Rafi can go both higher and lower than SPB. This is not a question of preference or perception, it can be measured. What are some SPB songs with full throated bombastic high note climaxes like Mohabbat Zinda Rehti Hai or Rakhwale, please, would like to know.
You have forced me to write a lot unfavourably about SPB. He’s easily among my favourites in playback singing. But your assertion that he is a better singer than Rafi is unsustainable and based mostly on the griping of those music directors who did not get along with Rafi. In general and with the notable exception of the incomparable Balamuralikrishna, singers coming out of the Hindustani system have a better tonal quality and a more supple voice than their Carnatic counterparts because the latter sadly does not emphasise tonal purity and is more concerned with technicality. But technicality itself needs the foundation of perfect vocal production which is only rarely heard in Carnatic.
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TambiDude
February 11, 2019
For that matter it is impossible to prove that any singer is better than another one. You talk as if it can be scientifically proved.
If I say SPB was a better singer than SPB in range and ability, it can very well be my worthless opinion, just like your opinion. Leave it at that and move on. I am not trying to convince you and I don’t think it is even worth it.
“Raju Bharatan on Aaja aaja where it suits your argument, you ought to also do so on Tasveer Teri where he sides with Rafi.”
What is this suppose to mean? Rafi flunked the line “naye naye rang leke”. Plain and simple.
“based mostly on the griping of those music directors who did not get along with Rafi.”
You can do better than that. Read this
*
http://www.mohdrafi.com/meri-awaaz-suno/a-letter-to-raju-bharatan-on-rock-%E2%80%99n-roll.html/comment-page-2
“”But I’d rehearsed Rafi so often for Dada that I could go along with him so far, no further. It was so tough to get Rafi to amend something you’d already taught him!
“Take my breakthrough Asha-Rafi Teesri Manzil duet Aa jaa aa jaa.
Rafi wasn’t able to grasp the nuances of Aa jaa aa jaa at all! How Rafi struggled as Asha so exemplarily stretched the crucial Aaha-ha aa jaa aaha-ha aa jaa notes. Give me Kishore any time – he would’ve latched on to it in a trice.
“Only I know how I got Rafi to do Tum ne mujhe dekhaa!”
*
Salil Da called Rafi an unrefined singer.
But I am sure you know better than them.
However I do agree that the claim of SPB being trained in classical is a stretch. Sankarabaranam songs are full of apaswaram sounds.
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TambiDude
February 11, 2019
The Telugu version of “Thoongatha Vizhigal rendu” was sung by SPB and IMO no match to KJY’s version in tamil. Just goes on to prove that there is no singer who can be best in all.
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shaviswa
February 11, 2019
@Madan I think you are conflating tonal purity and singing quality. They are not necessarily the same. While I agree that Hindustani music singers have a better voice culture, that alone does not make them wholesome singers.
If we go by your definition, a Sanjay Subramaniam may not even qualify as a good singer But he is probably one of the most consummate artists to have come out of the Carnatic music stable in a long time.
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shaviswa
February 11, 2019
This is a song that is an excellent example of how SPB can display his range while also showing why he is a master – the song has a rustic flavour that SPB brings out brilliantly. And he also brings out the pathos in the song while also enacting the nonchalance that Rajinikanth’s character displays throughtout this film….that don’t-care-a-damn attitude.
I don’t think any other singer can replicate this.
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TambiDude
February 11, 2019
“What is this suppose to mean? Rafi flunked the line “naye naye rang leke”. Plain and simple.”
I will be clear. I am talking about his difficulty in singing that line while recording. The final product was just fine, after 11 retakes. Same with KK’s Annadata songs which was fine in the final version, after Mohd Ghazni like attempts.
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TambiDude
February 12, 2019
“While I agree that Hindustani music singers have a better voice culture, that alone does not make them wholesome singers.”
Seriously, is there anyone who likes both Hindustani and Carnatic. Most of the Carnatic music lovers dislike Hindustani as being boring. IIRC BR once mentioned HC as soporific 🙂
I grew up listing to Hindustani and hence biased towards it, specially vocal.
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Madan
February 12, 2019
“For that matter it is impossible to prove that any singer is better than another one. You talk as if it can be scientifically proved.” – Hello, you started it with calling blasphemy on me when I stated my opinion (and I will repeat, an opinion only on expression which you wildly inferred to be an opinion on the singers in general). So now don’t give me that opinion defence if you never had a leg to stand on with your over-vehemence. When one simply has an opinion, one respectfully says I disagree and moves on, one doesn’t say Aurganzeb would have beheaded you. I know you were jesting but if you too only had an opinion, what right do you have to make it appear as I am wrong and you are right? Be humble.
“What is this suppose to mean? ” – It means exactly what I said. You pull out what RD said about Rafi to Bharatan but leave out Bharatan’s own favourable assessment of Rafi w.r.t Tasveer Teri Dil Mein. So it sounds like you are selecting opinions that match your own.
“Salil Da called Rafi an unrefined singer. But I am sure you know better than them.” – I don’t have to know better than them. I trust the opinions of Naushad, SJ, OPN, MM and the many other composers (the vast majority) who worked heavily with Rafi and got the best out of him unless you want to say YOU know better than them. You choose on the one hand one composer who was always aggrieved with Rafi for upstaging his favourite Talat and the other, another who made his breakthrough as Rafi was already at the end of his peak and who again was more fond of Kishore, whose music also fit Kishore better and ignore the testimonials of those who worked with him on many,many songs through the 50s and 60s. It is not hard to see that when you cherry pick anecdotes from only such composers to form your opinion that Rafi was technically lacking, that you have a solid case of confirmation bias. You decided – maybe because you like SPB more than Rafi – that SPB has to be better than Rafi and these anecdotes came in handy to you. Also note how you keep citing what Asha or Lata did in duets against Rafi but you don’t have any counter examples from SPB himself (other than Ithazhil Kadhai which is not that hard and, no, Rafi would not have struggled to sing it).
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Madan
February 12, 2019
” I think you are conflating tonal purity and singing quality. They are not necessarily the same. While I agree that Hindustani music singers have a better voice culture, that alone does not make them wholesome singers.” – I didn’t conflate them, if you see the part where I contrasted the two, I also talked only about voice culture. The thing is film music anyway is not demanding enough to make singers cover the full spectrum of ability required in either Hindustani or Carnatic so voice culture becomes more important as it accentuates the aesthetic effect. It is not that SPB cannot execute brigas, it is just that Rafi sounds more fluid (or for that matter Lata or Asha).
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Arjun
February 12, 2019
I tend to agree with Madan that Rafi is better at expression than SPB (even if only marginally). But SPB is certainly the more versatile singer between the two. Rafi might be classically trained, but I don’t recall that many songs where he has sung elaborate swaras the way SPB has. Manna Dey certainly seems to have been the preferred choice for heavy semi-classical stuff with intricate brigas and swaras like in say pee bin soona jee –
To compare, almost all songs in kadhal oviyam have reasonably complex swaras. I also don’t think Rafi was as challenged in singing songs set in difficult beats – 5 or 7 beat songs, or with extensive syncopated patterns- as SPB. That is also partly to do with the fact that SPB sang so much for IR. SPB is also extremely skilled at western chord based songs, including scat singing – check out the scat singing in the last part of vaan engum –
Rafi OTOH , again beyond the odd tum jo mil gaye ho, not too many pure chord based songs spring to mind. Over and above all that SPB could also sing hip and modern stuff like kadhalikkum pennin and folksy tunes like uchi vagundheduthu. Certainly the more versatile in my book. Although when it comes to expression and tonal quality, Rafi probably wins.
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Madan
February 12, 2019
@Arjun The differences you mention are indeed the differences essentially between Carnatic and Hindustani and also between Raja and the others. For example, there aren’t many Manna De songs apart from Jhanak Jhanak where he calls out the swars. This is because this aspect is less emphasised in Hindustani than Carnatic. On the other hand Hindustani singing involves very intense rotation of notes on the Aa syllable. There is a specific term for this which I can’t recall off hand but all Hindustani singers giving recitals do this. In summary, I would say the pure virtuosity of Hindustani singers is higher on average while Carnatic prepares you better to navigate rhythmic complexity. Another way of putting it is Rafi is Malmsteen while SP is Larry Carlton. OK but maybe a tasteful and artistic version of Malmsteen.
I don’t think singing over odd chords is particularly hard. Even near non singers like Donald Fagen do it. But it is counter intuitive and has to be learned. In anything that would have to be learned, SPB would fare better than Rafi who generally took a lot of time to learn the composition. SPB even composed himself and I don’t imagine learning a song was ever a problem for him. But in anything depending on the pure natural or I should say physical ability of the singer, Rafi would do better.
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Arjun
February 12, 2019
“SPB even composed himself and I don’t imagine learning a song was ever a problem for him. But in anything depending on the pure natural or I should say physical ability of the singer, Rafi would do better.”
Probably true. That’s why I say SPB is more versatile. By most accounts, SPB and SJ would get their songs right in 1 or 2 takes max. The bottleneck was always the string section and guitarists (Viji Manuel and Flautist Napoleon being utterly impeccable). SPB’s live performances of Ilamai idho idho (of which there are several), which involves non-trivial scat singing (check 4:00 mins onwards here
and vaan engum (check 3:00 onwards in
are almost always flawless. I do think there are a few songs in these categories that – given the lack of evidence – I can’t assume Rafi could have executed as well. But like you, I don’t envision that Rafi would have had particular trouble singing idhazhil kadhai ezhuthum. In fact, I can think of a couple of songs where, assuming he got the diction right, he would probably have outdone SPB – vizhiyile mani vizhiyil, ore naal unai naan, seer kondu vaa for e.g.
P.S: I wonder if there are any interviews where Raja airs his views on Rafi, KK and the other male Hindi singers
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Madan
February 12, 2019
Arjun : I would love to hear Raja’s detailed analysis of the greats of Hindi playback. In Ilayarajavai kellungal, he mentioned Nat King Cole and Lata as the greatest voices he had ever heard (gonna take Ella Fitzgerald, thanks much) but that’s it. Just the one line.
About scat singing, Kishore showed his comfort with scat and clowning very early on and after that, there was no way the music directors were going to use Rafi for such songs when they already had Kishore. This dichotomy didn’t exist in the 80s since Yesu was more like Manna Da, so SPB straddled the whole gamut from the action oriented SPM -Kamal /Rajni songs to the uber romance or pathos of Mike Mohan. On similar lines, SJ got to sing a wider range of songs whereas Asha and Lata split along raunchy vs melodic lines.
That said, I made a point earlier that given similar sounding songs, Rafi was able to execute more variation compared to SPB. Choo Lene Do is approached differently from Jaane Bahar Husn and both are hindolam based songs composed by Ravi, even same tempo and meter. That’s just one example and Rafi approaches just about every solo differently and there are plenty of micro inflection tricks in all of them. So maybe he would have had more opportunities to explore his repertoire in fast songs in an 80s like market. But whatever the composers did make him sing, he executed it beyond reproach. And just as some styles or genres of SP were out of Rafi’s demonstrated repertoire, so too I don’t remember SP attempting something like Aja Re Aa Zara. I am not getting into very regional style based songs like Suhannallah (where again his singing is very different from Taarif which in turn from Kisi Na Kisi Se and so on).
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Madan
February 12, 2019
Back to IR and Viji Manuel, another song where Viji’s accents are brilliant. At the start of the first interlude…love how he drags that note:
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Madan
February 12, 2019
Another song that I remember hearing way back when sometime on TV. And found it today on Kadar Majee’s channel:
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e,hari
February 13, 2019
Madan -> About scat singing, Kishore showed his comfort with scat and clowning very early on and after that, there was no way the music directors were going to use Rafi for such songs when they already had Kishore
Are you saying Rafi could pull off scat singing, but these B…. MDs chose KK instead?
As TambiDude ( Good to see you still going strong my friend ) put it clearly there is no proven science behind Rafi > SPB or vice versa proclamations. so, here is mine – SPB is overall the best male singer in IFM ( Versatility, voice, emotion, singing prowess) by distance, and Rafi is not even second or third in the list. That is just my perception,
Going back to the original theme of this thread – This is a rare Rajani/IR 70 combo. If you can handle Rajani in Cowboy hat, horses and TL Maharajan voice, this is a nice brass driven IR classic
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Arjun
February 13, 2019
“About scat singing, Kishore showed his comfort with scat and clowning very early on and after that, there was no way the music directors were going to use Rafi for such songs when they already had Kishore. Are you saying Rafi could pull off scat singing, but these B…. MDs chose KK instead?”
That’s a stupid extrapolation. It’s natural for music directors to stick with a particular singer for certain types of songs if it has been found to work well with audiences. It’s nobody’s fault, just the way these things work.
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Madan
February 13, 2019
“Are you saying Rafi could pull off scat singing, but these B…. MDs chose KK instead?” – Look, I am not going to rise to your juvenile baits, so stop it. Those composers gave such songs to KK because he was the best at executing it by far among his peers, period. That is, even if they had recorded Rafi doing scat, it wouldn’t have been as good as KK. Same as how they were not going to bother making Kishore singing semi classical/qawali when they had Rafi and Manna De.
Now, about whether Rafi could pull off scat singing, can you listen again to the Vaanengum portion and tell me why exactly would you think it would be impossible for Rafi to sing it if he already did the naa-dir-thana portion in Madhuban Mein Radhika Naache? The principle is not different at all nor is the melodic formation particularly chromatic or anything. Even in Ilamai Idho Idho, only the growly portion right at the start of the interlude is what I don’t think Rafi would be able to sing. SJ made some other singer sing the Yahoo scream in Chahe Koi Mujhe Junglee. But the tha-ka-dha portion in that Ilamai Idho interlude is not difficult to execute in the least. Just giving it a label like scat doesn’t necessarily mean it’s anything like the real McCoy. Here’s some real hardcore scat from a great jazz singer. From 3:10 to about the 5 minute mark:
“there is no proven science behind Rafi > SPB or vice versa proclamations” – But I never made such a statement either. To recap, I made a specific statement about expression which TD conflated into a general comparison and you jumped in ignoring all context. Secondly, I did make an emphatic statement about octave range and technical ability because those ARE objective. I can’t help it if you would like them not to be so that you can hold whatever opinion your heart longs to. Octave range can be measured if you can play a musical instrument or can name pitch by ear. Technical ability can be observed and demonstrated. If you say one singer is technically better than another, show me the proof, describe it for me. If you think one is overall better, that is entirely subjective and I have no quarrel with that. Nor did I at any point make a statement of that kind. I prefer to say I prefer this or that singer as it avoids confusion and when I say better, it’s always w.r.t a specific aspect of singing.
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Madan
February 13, 2019
@Arjun exactly. Not worth the hassle for the composer to make somebody else also good at a genre where they have a ready-made champion. Asha missed out on so many semi classical or romantic songs she was fully capable of singing but for which the composers preferred Lata. Nobody’s fault, just how the wretched music biz works.
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TambiDude
February 13, 2019
“As TambiDude ( Good to see you still going strong my friend ) put it clearly there is no proven science behind Rafi > SPB or vice versa proclamations. so, here is mine – SPB is overall the best male singer in IFM ( Versatility, voice, emotion, singing prowess) by distance”
Appadi poodu. 100% agreed.
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Shankar
February 13, 2019
Guys, please take a timeout…sincere request! 🙂 The SPB-Rafi discussion has gone beyond a discussion, going personal now…let’s keep some civility please. This has been a worrying trend on this blog in the past couple of years now. Now, please don’t jump on me…I’m just trying to defuse the situation and get folks to move on! 🙂
Back to this post and music, what a lovely song “Vaanengum”…my, what a composition! And it’s so modern, even now, to think it released in the early 80s.
Here’s another one from the vault! I sincerely advise to ignore the original visuals and the lyrics…this was a song filmed on Ravindher. With the roles he was playing at that time, what could one expect in terms of lyrics! 🙂 However Raja tuned a superb song for this too…
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Shankar
February 13, 2019
Sorry, I meant to say in the previous post that it was filmed on Rajeev, not Ravindher. Also, the entire soundtrack of this film “Nizhal Thedum Nenjangal” is superb. Here are the other songs from that film:
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Madan
February 14, 2019
@Shankar Another thing about Vaanengum is the drum fills are so loose, esp first interlude, almost improvised. Only almost because saar sonna maridhan vaasikannam. In that song as well as others in albums like Ninaivellam Nithya or Nenjathai Killathe, he was able to capture a live band like feel.
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e,hari
February 15, 2019
Madan – Nothing personal, and I apologize, if it sounded that way. I appreciate your music preferences and you are a true music lover of all kind. I always enjoyed your comments and opinions in this blog. Please keep it gong.
I thought you started with your opinion on Rafi’s alleged superior ability in bringing very nuanced emotions better than other singers ( subjective) and dragged your heels deeper when challenged by TD and me. Let agree to disagree and move on.
I agree that in IFM, singers are at the mercy of MDs, directors/actors for getting the right singing assignments, it is decided by lot of factors including the prevailing market conditions. TMS, arguably the most dominant male singer in his own market place, ended up getting left over bread crumbs at the end of his career. Even SPB, in Mid 90’s still at the peak of his market domination ended up seeing his song ( Bharathiku Kannamma – Priyamudan) re-recorded at the insistence of the actor vijay by Unni K.
Personally, I rate SPB higher because for longer than most others, he dominated three main south language music scene and briefly in Hindi too as leading male voice for 4+ generations of MDS/actors covering all the possible genres in IFM. There are very few bad SPB songs ( Singng wise) and he never gave less than 100% for every song whether it is a big actor/MD or new MD/actor. You hear all kind of good/bad stories on every other great singer but I have not heard one single bad story or criticism on SPB. He is loved by every one he worked with across all the film industries.
personally I don’t rate his devotional songs on the same level as his film songs , as I feel it lacked the devotion required compared with TMS or SG.
I will end this discussion with the following
Two great songs, one great Composer, same melody with different tone and orchestration, two great singers showcasing their greatness in their comfortable home base – What is there to nitpick?
Finally – this is for the 5th generation actor and MD – Not many are blessed with talent and retain relevance enough to get the opportunity and still able to create a master piece – His voice had not lost a single ounce of youthfulness or sweetness he showcased 50 years back in Ayiram Nilave Vaa
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TambiDude
February 16, 2019
e.hari: Nanayam is a 2010 film. I agree that SPB sounded good even at that time.
Here is his Chennai Express (2013) song.
I think at that time it was mentioned that SPB was singing back in Hindi after 13 yrs (not counting dubbed ones). And he sounded so good.
By 1983 Kishore Kumar sounded jaded and lost the mojo. So was Rafi in the last few years of his career.
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Madan
February 19, 2019
Thoughts on the director sabha episode of Ilayaraja 75? Yet another Ilayaraja = Superman achievement recounted therein. Ilayaraja had 10 films lined up for Diwali release one year. 3 were absolutely must-do. So he set up three recording theaters in Prasad Studios to do all three films…simultaneously! Started off with the first at 7 AM. He watched one reel of the first film. Wrote the notations, quickly rehearsed the orchestra, conducting himself and thereafter asked his assistant to go for take. Went to the second theater and repeated this process for the second film. Then, third one. And THEN he comes back to the first theater and watches the second reel of the first film. He says he did four reels each of all three films by end of day. A reel is usually 20 min long or so. Almost frightening level of multi tasking going on there. How on earth do you juggle three films in your head and still produce a coherent BGM for each of them!
The other thing is IR said he found working on BGM difficult in his first few films immediately after Annakilli. Reason being there were lots of preconceived notions about BGM in the industry, like every new scene should open with a big, bang music theme. And being new, if he had not followed this convention, he would have been told he didn’t know anything about BGM (imagine that being said about Raja). And then,Pathinaru Vayathiniley happened and he could breathe easy. Though Bharathiraja himself wasn’t in the sabha!
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Arjun
February 20, 2019
” Started off with the first at 7 AM. He watched one reel of the first film. Wrote the notations, quickly rehearsed the orchestra, conducting himself and thereafter asked his assistant to go for take. Went to the second theater and repeated this process for the second film. Then, third one. And THEN he comes back to the first theater and watches the second reel of the first film. He says he did four reels each of all three films by end of day. A reel is usually 20 min long or so. Almost frightening level of multi tasking going on there. How on earth do you juggle three films in your head and still produce a coherent BGM for each of them!”
The musical equivalent of playing blindfold chess against several dozen players. Haven’t watched the show yet, though.
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Shankar
February 26, 2019
On Feb 7th, I posted a message about the bass covers of Raja songs and in the Anjali Anjali song link, mentioned about the comment by Suresh Antonio. I’m sorry to say, the original author of that comment was my friend and ardent Raja connoisseur Violin Vicky. Suresh Antonio shamelessly plagiarized that post, word for word. Terrible! Here is the original…
https://sites.google.com/site/violinvicky/the-boss-of-bass
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TambiDude
February 27, 2019
Why does this song still sound so great as it was 37 years ago!!! Hallmark of a great song is the longevity.
Not commenting on this particular version though. Mano is no match to SPB, though he did a fair job.
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Madan
February 27, 2019
Based off his performance of Rakkamma at Erode in Jan, I think Haricharan is a better sub for SPB as of today than Mano. In the 90s Mano could get pretty close to SPB but those days are gone. He has not taken care of his voice maybe or just generally rusty with few assignments. Whatever it be, he only has the natural likeness of voice now. Haricharan’s voice is not like SP but at least he captured the attitude on the Rakkamma performance and that is a lot more important.
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Madan
February 27, 2019
One of the things that makes Pani Vizhum timeless is the pristine tones. All real instruments and even a lot of acoustic guitar. Synth sounds have novelty value but also get dated fast. Maybe not since the 90s when the tech really matured and players could start producing beautiful sounds from the synth but before that yes. Even some of IR’s guitar tones from say 92 thereabouts sound weird to me, like Oru Myna or Ettaku buttakaana (Kalaignan). Too harsh (esp Kalaignan) but without any real meat in the riffs, almost like the metal guitar or whatever tone on a basic keyboard for amateurs. On the other hand, you have great guitar on Vazhi vidu vazhi vidu. Onnum puriyala…
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Thupparivaalan
November 3, 2020
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Thupparivaalan
November 3, 2020
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