The Raaja of Erotica

[Bala (Karthik)]

Let's indulge in the pleasure of merely talking about and exchanging views on a category that Raaja owns - Erotica. Of course, this is an umbrella thread for discussing the sub-themes : Kuthu/Item/TASMAC/Stoner genres

1. Let me start with an unlikely place to find an item song: Sri Raghavendra - "Unakkum Enakkum"

Black Eyed Peas didn't let the original down with their remix but of course, the original is magic with just tabla for percussion (superb rhythm). What a mean bass line right throughout the song.
One differentiator in Raaja's item songs is the fidelity and melody of the tune - the briga in "Killi paarthaal" and "aao aao" (aavo aavo :lol: ) at the start of the charanams is a wonderful case in point.
Another Raaja trademark in the song is how SJ and MV fill the first line of the pallavi with "Unakkum Enakkum Anandham-dham vidiya vidiya sondham". Its as though they can't resist humming the bass line as they song along :lol:

2. "Nethu Raathiri" - Sakalakalaa Vallavan
How does this man conceive this?! A naughty raunchy number in Vakulabharanam, with the works.
The violin bit in the prelude is just a perfect symbolism of his audacity and mark of irreverence and genius. (He will continue this spirit with Shanmugapriya later and how)
And as one will see as a pattern in Raaja's songs in this category, he just lets the bass lines loose.
[To my paamara ears, Vakulabharanam sounds similar to Subha Pantuvarali. Are they similar in terms of swara sequence?]

3. "Ponmeni" - Moondram Pirai
SJ amma cements her place as the queen of erotica in TFM :lol:
Here, as in many other Raaja songs, the bass doesn't merely support the tune/song/rhythm, it leads along with SJ, right from the very first note. And what a rousing rhythm throughout the song....
The unflinching focus on the strength of the melody (simple as it may be in cases like these), is highlighted in the charanams.
Though the flute carries both the interludes beautifully, the second interlude is a treat dished out by the interplay of the flute, bass/acoustic guitars, not to mention the flanger effects

4. "Kaadhal Kasakkudhayya" - Aan Paavam
This is an absolute classic. Talk about subversion, irreverence, genius - this song has it all (Junior attempted something in that darrty-even-by-this-thread's-standards "Naatu sarakku nachunnu dhaan irukku from Thulluvadho Ilamai). And anyone with reservations about Raaja's singing should definitely listen to this number.
"Indha kaala ilaignar seyyum kaadhalukku, Ilaiyaraaja endhan paattirukku" :notworthy:
I'd recently posted a video of Anna University students performing a medley of this song and "Maraindhirundhe paaarkum marumam enna". The fun they have while performing this is infectious

5. "Adiye Manam" - Neengal Kettavai
Everything. The quintessential bible, geethai, quran of kuthu
...

Looking forward to your karuthu....

[kid-glove]

To my paamara ears

Understatement of the year.

Nice description by the way. Except for the bit on Vakulabharanam, Subha Pantuvarali. I don't know all that, so didn't get it. :cry:

[jaiganes]

This is gonna be a perma thread.
The list you have mentioned is not strictly erotica.. There are those 'Om Namahas' and 'Meendum meendum vaas' waiting to thump this list down and make it longer and ever longer.
Beyond the mukkals and munagals and exaggerated voice acting that needs to accompany any Silk Smitha or Jayamalini number, Raja goes bonkers with his instrumentation. It gets zanny, splits and mixes genres and oozes a kind of sensuality that is possible when there is a biologically active man and woman in the appropriate mood.
Classic example #1: Vaazha vaikkum kaadhalukku J - the prelude will tell even an alien with just ears what is abt to follow.
Classic eg.,#2: Sivaraathiri - thanks to the days when all the saffron activists were not active - a word sivarathiri was let off - not anymore folks..

Classic Example #3 - the most classy of them all - use chaste carnatic for a very dicey situation in a bedroom - Thalayai kuniyum thaamaraye from Oru Odai nadhiyaagiradhu - Reethigowlai finds its ultimate use in bedroom except for the female voice everything in this song is meant for one single purpose.

Classic Example #4 - from the same movie - Thendral ennai muththamittadhu - very delicate loaded melody sung by krishnachandar - the use of carnatic arrangements mixed with rockish elements in the right doses strangely does the trick - This stuff should be patented for its valuable medicinal use.

[ajithfederer]

Maasi maasam aalana ponnu

[K]

Adi Raak Kozhi Koovum Neram from Magaraasan

[Shank]

Ada Machamulla from Chinna Veedu...amazing song.

[Sureshs65]

Karthik,

This makes me to go listen to a couple of songs. To get in the mood. to get in the mood to post :) (What were you thinking?!) Will do that soon. Have a couple of songs in mind which I need to listen to again once before posting.

I don't think there is any link between Vakulabaranam and Subhapanthuvarali. Vakulabaranam sounds very close to Mayamalavagowla. In fact to my ears, it almost sounds the same :) (I generally can't make out Vakulabaranam and go in the route of 'it sounds like MMG but isn't, so must be VB.)

[Bala (Karthik)]

This is gonna be a perma thread.
The list you have mentioned is not strictly erotica..

:exactly:
Wanted this to be an Erotica thread but then wanted to bring the other payaluga also in this classification. I have not even scrateched the surface.
Om Namaha, Meendum Meendum, Vazhavaikkum Kaadhalukku - wonderful choices


Beyond the mukkals and munagals and exaggerated voice acting that needs to accompany any Silk Smitha or Jayamalini number, Raja goes bonkers with his instrumentation. It gets zanny, splits and mixes genres and oozes a kind of sensuality that is possible when there is a biologically active man and woman in the appropriate mood.

:yes:



This stuff should be patented for its valuable medicinal use.
:lol:

[Bala (Karthik)]

Maasi maasam aalana ponnu
What a song. Lovely chords and the Sudhadhanyasi carries the sensuality beautifully. One sagaa had posted a voiceless version of this song, which accentuates the superb counter offered by the violin in the beginning and end of the song

[ajithfederer]

Actually i somehow read as what a girl :oops:

The song is fantastic. KJY and the female singer were fantastic.


Maasi maasam aalana ponnu
What a song.

[raajarasigan]

Engengo Engengo from Valli - Damn hot :thumbsup: :wink:
Pon Vaanam Panneer from INNN

[equanimus]

I had written a post some time back that a full-on dissertation is waiting to be written on Raaja's oeuvre of (what may be best referred to as) "matter songs." But Google isn't helping.

Anyway, my idea then was to focus on seemingly modest (even lowbrow) and overlooked songs rather than songs that are evidently ambitious and/or have sealed their place in pop culture.

Off the top of my head,

1. kattikkidalAm kattikkidalAm (pUvarasan)
2. veNNilavu kodhippadhenna (chinna mAppiLLai)

[PraveenC31]

Etho moham (Kozhi koovuthu)

Surprised tat noone has mentioned tat yet... :o

[Sureshs65]

Finally got to listen to the two songs that I wanted to.

The first one is from the movie 'Oru Odai Nadiyagiradhu'. Jai has mentioned two other songs from this movie. The obviously erotic one is 'en deham amudham'. Very sparse instrumentation. Janaki freaking out. Observe something which only someone like Raja can do. Janaki's voice is accompanied by the tabla and the cymbals, the same cymbals that are generally used in devotional bhajanai. (I had pointed a similar usage in the Telugu movie 'Shambu' for a raunchy 'Singapore Santallo'.) Now this is what I call experimentation :) The bass is absolutely top drawer stuff. The other two songs from this movie probably got more famous but this is a cracker of a song.

Thiraipaadal link for this film: http://www.thiraipaadal.com/albums/ALBIRR00450.html

The next song I want to bring to notice is from the film 'Anbullale Malare'. The song is 'daeham pondaegam'. Sung by, who else, Janaki. If you observe the other erotic songs, Raja almost always uses a rhythm which is not free flowing. Technically he doesn't prefer using the chatusram or 4x4 gait. It generally is a gait like 5x4 or what we call the kanda nadai. The gap in the beats and a sort of asymmetry reflecting the unsteadiness of the mind during times of passion. Think of 'ponmeni urugude', 'sviarathiri', 'nethi raatiri' etc. This particular song breaks that mold and the rhythm is a free flowing one (though the song is not!!) The rhythm in this song accentuates the desire of the singer. The rhythm goes constantly and with an urgency. The tune doesn't move smoothly but instead moves in a sort of start and stop manner. And this creates the necessary tension in the song. The bass guitar with the drums starting the proceedings with the mridangam, synthesizer and the lead guitar joining in. This is an excellent example of an outstanding team performance. Everyone, the bass and lead guitars, synthesizer, drums, mridangist and Janaki are in top form. This is orchestration to die for. I am sure people like app_eng and shank, who love this sort of sounds, are ecstatic about this song. Will we ever get back such ensemble performances? (Unfortunately thiraipaadal does not have this song. If some kind soul can upload it or link it, I am sure there will be many who will shower their blessings on him / her.)

The next in line is another amazing creation. 'daham edukkura neram' from 'Enakkaga Kathiru'. The rhythm, if you observe, is similar to what I told earlier. Uma Ramanan does not sing with the same abandon that Janaki sings. Usha, when she featured one song of Uma Ramanan, said she sings with a sort of fear, 'bayam'. This song can be taken to the expression of passion of a girl who is afraid of that passion. As with other Raja creations in this genre, the instrumentation is sparse and appropriate.

'Vaidhehi Kaatirundal' is about unfulfilled passions and will there not be a passionate song in this movie? 'azhagu malarada' provides another dimension to passion, that of unfulfilled passion. The kanda nadai, the shenai in the interlude, the jathis, everything conveys this burning unfilled passion. The lyrics in the second charanam beautifully capture this feeling. The other song from this same movie is about expectancy. 'megam karukaiyile' again talks of passion but is subdued because the singers know that consummation will happen soon!!

[Sureshs65]

Another movie where passions play an important part is 'ilamai unjaladugiradhu.' Given such a title and appropriate situations expect Raja to come up with some great numbers. 'thanni karuthidichu', for a change is the expression of passion by a male. Again note the rhythm. A very rustic song of passion. Even in this small genre observe the variety provided by the king.

If 'thanni karuthidichi' is an unabashed call of the male species to its female counterpart, the more sophisticated passion is expressed in 'kinnathil then vadithu' and who else but Jesudas for expressing that sophistication. Janaki is like a chameleon, morphing herself to match Jesudas in the sophistication. This is the passion of genteel lovers.

[Sureshs65]

Raja shows that he is still in form wrt this genre. In recent movies there were a few songs in this mold. 'nilavu varum neram' from Jaganmohini was one such. A good job done by Shweta and Ujjaini in this song. This song has a more steady beat and the instrumentation adds to the passion and the urgency. From the same movie, 'poothadu poovu' is again a lovely passionate number. This song calls for SPB and Janaki. If you hear the song you can instantly realize the value that SPB and Janaki would have added to it. In 'Kannukulle' there is the song 'pachameni' in this genre. Again a good song which would have become better with someone like Janaki.

[Sureshs65]

Hmm. Looks like some topics inspire you more than others :lol:

I remember RS posting a good writeup about this subject some time back. As usual forgot which thread it was in. Hope RS sees this and jumps into the fray :)

[Bala (Karthik)]

Suresh,
Adhaan ya adhe dhaan. Keep the posts coming.
Can't respond right now. Idaipatta gap-la oru quick question (i'd posed this in the ROS thread also)
"Unakkum Enakkum" (Raghavendra) enna ragam?

P.S: Yes, RS's contribution is very much expected

Equa,
That's a good point about highlighting the little known gems but in addition to that, my intention was to talk about the brilliance in even the popular songs, which are somehow taken for granted as "just item/matter" songs, like we tend to view 'comedy' films. Neenga sonna rendu paatta kekkanum. Recently got a good collection of Raaja discography, what a treasure that is

[tvsankar]

paatu arambicha vidham ennamo indha topic ku vara madhiri irundhadhu,.

paatai kaetal - MVD and Uma Ramanan - rendu perum
porupa paadi , oru Disciplined song a maathitanga...

paatoda composition um - Disciplined aga than iruku.

apo singers enna seiya muidyum.
:lol:

Manam karukudhu - Neethaqna andha kuyil.

Patoda Guitar work is simply suuuuuuuuuuper.
Inspired a lot.

Headphone la keulugo.......

[Plum]

Actually i somehow read as what a girl :oops:

The song is fantastic. KJY and the female singer were fantastic.


Maasi maasam aalana ponnu
What a song.

"adhaiyellAm kandukkapadAdhu, EnnA idhu vAliba vayasu"?

AF, no offence, idhai epdiyAvadhu quote paNNidaNumnu rendu vaaramA chance thEdittirundhEn, nInga mattinInga :-)

[Plum]

I'd like Bala to listen to "Roja ondru ullangaiyil poothadhu" from ????? and post a few comments on it. Very sophisticated - I suspect the presence of rock elements.

I think Cambli wrote a one liner on this long back. I wanted to bring this to Fala Garthig's attention for long - this is a good opportunity

[Aalavanthan]

nilA kAyudhu nEram nalla nEram.
nenjil pAyudhu kAman vidum bAnam

excellent song from Malaysia and Janaki.. The beauty of the pallavi is whenever Malaysia finishes his line there is an " aa" in between to add "erotic" sense to the song. Janaki ellam idha paadum podhu siri siri nu sirichirupaanga.. Just wondering how Raaja would have asked her to say "aa" "oo" etc.

Ofcourse, thalaivar and Ambiga added more spices to this song.. oh.. we are talking only abt Raaja here.. sorry :oops:

The best of the lot is ponmEni urugudE .. enna song-ya. I love the beats of the song and its a easy for any drummer or even a bench tapper to get the beat right. .. again Janaki - excellent

Glad, atlast I have something to post on IR section :lol:

[Shank]

Plum, Roja Ondru is from Oh Maane Maane.

[priya32]

How could I stay away from this topic!

I'll get back with a big list of IR's appropriate songs! :P

[Sureshs65]

Plum, Shank,

Very coincidentally when I read your post 'roja ondru' is playing on my system. The CD I have has 'manidanin marupakkam' and 'o mane mane'. Lovely songs in both of them.

[Bala (Karthik)]

To my paamara ears

Understatement of the year.


No Thilak, its 100% a matter of fact. Was it Golda Meir who said "modesty kaatra alavukku ellam nee periya aal illa" :lol:

I just go by pattern matching approach, not by a formal knowledge of swaras for each raaga etc

[Sureshs65]

Bala,

I think it was probably Bette Davis who said it. Not sure. Anyway Hollywood attributes all quotes to Bette Davis, I heard :D

BTW, when I see the list of topics it say, "Raja of Erotica (Bala (Karthik)). Didn't realized earlier that you were advertising your powers :lol:

[ajithfederer]

:lol:


Actually i somehow read as what a girl :oops:

The song is fantastic. KJY and the female singer were fantastic.


Maasi maasam aalana ponnu
What a song.

"adhaiyellAm kandukkapadAdhu, EnnA idhu vAliba vayasu"?

AF, no offence, idhai epdiyAvadhu quote paNNidaNumnu rendu vaaramA chance thEdittirundhEn, nInga mattinInga :-)

[Vivasaayi]

Apart from the songs mentioned already

1.Edho mogam comes under this genre I believe.

2.Siva raathiri - MMKR

3.Isayil thodangudhamma - Might come under this genre

4.Pudhu saathu nadu saathu - sethupathi IPS - Meena factor added!

5.RakkOli koovum - maharasan.

6.vaalibathin - aboorva sagodharargal

[ajithfederer]

Kaatule kamban kattulae - Raajakumaran (??). Not a bad number i think. Idhu raaja paatu illainnu sollidatheenga.

[Plum]

It is a Raja song. Btw, inime aNNan fala garthig-ai raja of erotic-nu dhAn kooppidanumnu oru sattam iyatrumaaru, hub aatchi nirvaagigaLai kEttu koLgiraen :lol:

[priya32]

Pardon me if I'm including the songs that were mentioned earlier!

ஒரு நாள் உன்னோடு ஒரு நாள்
உறவினில் ஆட புதுமைகள் காண
(உறவாடும் நெஞ்சம்)

நெனைச்சதெல்லாம் நடக்கப்போற
நேரத்திலே வாடி என் காதல் ராணி
(உறவாடும் நெஞ்சம்)

அர்த்த ராத்திரி ஓ மாமா மாமா மாமா
ஆளைத்தேடுறேன் ஓ மாமா மாமா மாமா
(உறங்காத நினைவுகள்)

இதழில் கதை எழுதும் நேரமிது
இன்பங்கள் அழைக்குது
(உன்னால் முடியும் தம்பி)

ஒரு நாளில் வளர்ந்தேனே
மலர்ந்தேனே தேவனே
(உன்னைத்தேடி வருவேன்)

வேற வேலை ஓடுமா இந்த நேரம்தான்
சேலை மேல வேணுமா ரொம்ப பாரம்தான்
(நான் சொன்னதே சட்டம்)

இதுவரையில் முதலிரவு கனவுகளில்தான்
இனி மலரும் பல இரவு உறவுகளில்தான்
(தூரத்து பச்சை)

பூபாளம் இசைக்கும் பூமகள் ஊர்வலம்
இரு மனம் சுகம் பெரும் வாழ்நாளே
(தூரல் நின்னுபோச்சி)

ஒண்ணா ரெண்டா தாமரைப்பூ
நம் வீட்டினில் பூத்தது ஏராளம்
(தழுவாத கைகள்)

விழியே விளக்கொன்று ஏற்று
விழுந்தேன் உன் மார்பில் நேற்று
(தழுவாத கைகள்)

அன்பே சிந்தாமணி இன்பத்தேமாங்கனி
பொங்கும் தேனாறு நீ
(தரையில் வாழும் மீன்கள்)

ராசாவே உன்னை நான் எண்ணித்தான்
பல ராத்திரி மூடல கண்ணத்தான்
(தனிக்காட்டு ராஜா)

அடுக்கு மல்லிகை இது ஆள் புடிக்குது
ரெண்டு தோள் துடிக்குது
(தங்க மகன்)

மன்மதன்தான் விட்ட அம்பு
பண்ணுதடி இந்த வம்பு
(தலையணை மந்திரம்)

இன்னும் என்னை என்ன செய்ய போகிறாய் அன்பே அன்பே
என்னைக்கண்டால் என்னென்னவோ ஆகிறாய் முன்பே முன்பே
(சிங்காரவேலன்)

மஞ்சப்பொடி தேய்க்கையிலே
என் நெஞ்சைத்தொட்டு தேய்ச்ச புள்ள
(செண்பகமே செண்பகமே)

ஒண்ணே ஒண்ணு கண்ணே கண்ணு
மாட்டேன் மாட்டேன் கன்னிக்குயிலே
(செல்வி)

இள மனது பல கனவு
விழிகளிலே வழிகிறதே
(செல்வி)

பாதி கள்ளில் மயக்கம்
மறு பாதி காதல் மயக்கம்
(ஷங்கர்லால்)

இளங்கிளியே இன்னும் விளங்கலியே
என்னைத்தழுவிட அருகினில் வந்தாலென்ன
(ஷங்கர்லால்)

என் உள்ளில் எங்கோ ஏங்கும் கீதம்
ஏன் கேட்கிறது ஏன் வாட்டுது
(ரோசாப்பூ ரவிக்கைக்காரி)

ஏ அலங்காரி என்னை சீண்டாதே
ஓ குளிர்காலம் என்னை தூண்டாதே
(ராகங்கள் மாறுவதில்லை)

முதல் முத்த மோகம்
இது என்ன மாயம்
(புதிர்)

கட்டிக்கிடலாம் கட்டிக்கிடலாம் கட்டினதுக்கப்புறம்
வச்சிக்கிடலாம் வச்சிக்கிடலாம் முத்து இதழ் ஒத்தடம்
(பூவரசன்)

கண்ணில் ஏதோ மின்னல் அடிச்சிருச்சு
காமன் வீட்டு சன்னல் திறந்திருச்சு
(பூவிலங்கு)

சூடு ரொம்ப சூடு
இந்த பாலு செம்பு பாலு
(பிக் பாக்கெட்)

கோணாத செங்கரும்பு
கூடாது உன் குறும்பு
(படிக்காத பண்ணையார்)

ராத்திரி பொழுது உன்னை பாக்குற பொழுது
அடி வேர்த்து கொட்டுது வார்த்தை முட்டுது
(ஒரு ஓடை நதியாகிறது)

என் தேகம் அமுதம்
மார்கழி ராத்திரி பிரிவது பாவம்
(ஒரு ஓடை நதியாகிறது)

ரெட்டைக்கிளிகள் அன்றாடம்
பேசும் கட்டில் கதைகள்
(ஒரே ஒரு கிராமத்திலே)

உலகம் முழுதும் பழைய ராத்திரி
உனக்கும் எனக்கும் புதிய ராத்திரி
(நூறாவது நாள்)

எடுத்து வச்ச பாலும்
விரிச்சு பாயும் வீணாகத்தான் போகுது
(நினைவோ ஒரு சங்கீதம்)

கட்டில் பாட்டொண்ணு பாடு
ரெட்டை தாப்பாளை போடு
(நேரம் நல்ல நேரம்)

(வா)மானம் கருக்குது மழை வரப்பாக்குது
மல்லியப்பூ மணாம் மனசையும் மயக்குது
(நீதானா அந்தக்குயில்)

கண்ணத்தொறக்கணும் சாமி
கைய புடிக்கணும் சாமி
(முந்தானை முடிச்சு)

வா வா வாத்தியாரே வா
வஞ்சிக்கொடி உன் கொஞ்சும் கிளி
(முந்தானை முடிச்சு)

மஞ்சள் நிலாவுக்கு இன்று ஒரே சுகம்
இது முதல் இரவு முதல் உறவு
(முதல் இரவு)

மாமா தள்ளிப்படு
மெதுவா நீ சொல்லிக்கொடு
(மனைவி சொல்லே மந்திரம்)

ஆள அசத்தும் மல்லியே மல்லியே
தூக்கம் எனக்கு வல்லியே வல்லியே
(கன்னி ராசி)

நீர் வீழ்ச்சி தீ மூட்டுதே
தீ கூட குளிர் காயுதே
(கண்ணே கலைமானே)

எங்கெங்கு தொடுவது
எங்கெங்கு இடுவது முத்தங்கள்
(கண்ணத்தொறக்கணும் சாமி)

நேரமாச்சு வா புள்ளே
ஈர மூச்சு வாங்குதே
(கண்ணத்தொறக்கணும் சாமி)

ஏ தண்ணி நீயும் நீராட நான் மீனாக
மேனியெங்கும் தீண்ட நானும் கொஞ்சம்
(கடவுள் அமைத்த மேடை)

பூப்போட்ட தாவணி
போதையில் ஆடுதே
(காக்கிச்சட்டை)

பல ராத்திரி போச்சு தூக்கம் தூக்கம்
சிவ ராத்திரி ஆச்சு நித்தம் நித்தம்
(இரவு பூக்கள்)

ஆஹா இருட்டு நேரம்
ஆசை வெளிச்சம் போடும்
(இளையராஜாவின் ரசிகை)

தேன் குளத்திலே குளிக்க வா மிதக்க வா
பல வித்தை இதில் புரியும்
அட வெட்கம் என்ன இனியும்
(எழுதாத சட்டங்கள்)

ஆலங்கட்டி மாமழையாம்
ஆணிமுத்து பூமழையாம்
(எழுதாத சட்டங்கள்)

இச்சென்று இச்சென்று முத்தம் பதிக்கும்
இன்பத்தின் துன்பங்களே
(எனக்கு நானே நீதிபதி)

பூவாடைக்காற்று வந்து ஆடை தீண்டுமே
முந்தானை இங்கே குடையாக மாறுமே
(கோபுரங்கள் சாய்வதில்லை)

முத்தம் போதாதே சத்தம் போடாதே
ரத்தம் சூடானதே நாணமே நாணுதே
(எனக்குள் ஒருவன்)

குங்குமத்து மேனி
கொள்ளை இட வா நீ
(நான் சிகப்பு மனிதன்)

ஜாமம் ஆகிப்போச்சு
என் மாமோ மாமோய்
(சின்ன வீடு)

வா வா சாமி
மோட்சம் காமி
(சின்ன வீடு)

அட மச்சமுள்ள மச்சான் நான் புதுவித ரகம்
கைய வச்சா உள்ளே துள்ளும் நீ நினைக்கிற சுகம்
(சின்ன வீடு)

ஊட்டிக்குளிரு அம்மாடி போர்வையும் வாங்கவில்லே
போத்தி படுக்க நீ வந்தா போர்வையும் தேவையில்லே
(ஆயிரம் நிலவே வா)

போனா போகுது பொடவ பறாக்குது புடிச்சிக்க
தானா கனிஞ்சது வீணா போகுது எடுத்துக்க
(நான் அடிமை இல்லை)

நீயா அழைத்தது என் நெஞ்சில் மின்னல் அடித்தது
சிலிர்க்கிறேன் வெந்நீர் ஆற்றில் குளிக்கிறேன்
(அலை ஓசை)

ஏகாந்த வேளை இனிக்கும்
இன்பத்தின் வாசல் திறக்கும்
(பாடும் பறவைகள்)

மாமா மாலை நேரம்
உனது யோகம் ஆனந்தம்
(அம்பிகை நேரில் வந்தாள்)

இதழில் அமுதம் தினமும் பருக வா வா
கொடியில் உறங்கும் மலரே எழுந்து வா வா
(அன்பே ஓடி வா)

காதல் தேகங்கள் பொன்னூஞ்சல் ஆகாதோ
வானம் வாழ்த்துக்கள் கூறாதோ
(அன்புள்ள மலரே)

அலைகளில் மிதக்குது நிலவொண்ணு குளிக்குது கைகொடு
குளிக்கின்ற நிலவுக்கு முதுகினில் அரிக்குது கைதொடு
(அந்த ஒரு நிமிடம்)

வா மாமா
வசமாத்தான் மாட்டிக்கிட்ட வா மாமா
(பாயும் புலி)

பொத்துக்கிட்டு ஊத்துதடி வானம்
நீயும் ஒத்துக்கிட்டு கூட வர வேணும்
(பாயும் புலி)

சாமக்கோழி ஹே கூவுதம்மா
ஆசையுள்ள சேவல் ஊருக்கென்ன காவல்
(பொண்ணு ஊருக்கு புதுசு)

குளிக்கும் போதிலே மனசு கேக்கலே
நினைக்கும் போதிலே மயக்கம் தாங்கலே
(24 மணி நேரம்)

இதுக்குத்தான் எல்லாமே இதுக்குத்தான்
கிறுக்குத்தான் உம்மேல கிறுக்குத்தான்
(யார்)

கோழி கூவும் நேரத்துல கோலம் போட்டு பார்க்கலாமா
நல்ல நாதஸ்வரம் ஊத வச்சு மேளம் தட்டி கேட்கலாமா
(வண்ண வண்ண பூக்கள்)

Did I get carried away?

Will fill in the rest when remember the songs!

I think I've written most of these songs' lyrics on www.dhool.com

[jaiganes]

sollaayO vaai thirandhu from moghamuL - borderline mood creator...

Uravugal thodargadhai - Aval Appadiththaan.

pattukkannam thottukkoLLa - ?

Kaadhal parisu had two songs - oru kaadhal maharaani and another one.

Ofcourse Vikram had that 'vanithaa mani' erotica mixed with thrill mixed well in the interludes...

we can add 'Andha nelaavaththaan kaiyyile pudichu' from mudhal mariyaadhai too in this list.

[Sureshs65]

Priya,

Great list. You have now given me homework. I have not heard some of the songs. Need to catchup on them.

Plum,

I second your proposal regarding Bala (Karthik).

[raagas]

Great list. You have now given me homework. I have not heard some of the songs. Need to catchup on them.


Either someone here must teach me tamil :) Or take some pain to generate the list in English font :)

[Plum]

Ok, instead of listing multitude of songs, one by one velAvAriyA pEsalAmA?
I'd like to add a very unusual candidate from Raja in this genre: pani vizhum iravu from Mouna Raagam.

A lonely flute starts off pouring viraham right away, and the percussion joins in setting the tone with a bang. Percussion holds fort for a few seconds before the female chorus lets out a yearning "lala"....then SPB and SJ take over. Shorn of the infamous mukkals and munagals, the song charters through the hesitant attraction with its gentle flute and violin, with the contrasting lusty shenaignans of a bearded beaver and Kala master(or a derivative thereof) with the thunderous percussion.

One moment worth recalling is when the choral violins play a descending set of notes in one of the interludes representing a gradual thaw in Revathi's countenance - just as Mohan covers her with his shawl seeing her shivering. Music cannot represent emotions-nu solravanga gavanikka vEndiya kattam. Whether Raja scored it per planned picturisation or vice versa, this is clearly music scored to match emotion. Naysayers:( You know who you are!) :evil:

[tvsankar]

priya,
small correction.

Thoorathu pachai - IR music ilai.

Vera velai oduma - not Naan solvadhae sattam.

film - Unakagavae vaazhgiren.

[Plum]

இள மனது பல கனவு
விழிகளிலே வழிகிறதே
(செல்வி)

priya32, have you seen this song? :-)

[priya32]

Plum,

Rajesh(Actor) & Rasi (Actress)...irukkuRa andha song thaanE?

paarththu irukkEn! :)

கூட நிறைய நாய்கள் நடிச்ச பாட்டு தானே?

[Plum]

Plum,

Rajesh(Actor) & Rasi (Actress)...irukkuRa andha song thaanE?

paarththu irukkEn! :)

ungaLukku Rasi pidikkAdhunnA sollunga adhukkAga ipdi "Dog's wife"-nu thittalAmA? ;-)

[priya32]

avasara pattuttInga Plum! :banghead: :rotfl:

brain-ai kasakki pizhinchu think paNNappO naay nyaabagam vandhadhu! :P

[priya32]

Ushaji,

தூரத்து பச்சை-க்கு இசை இளையராஜா இல்லைன்னா, வேற யாரு? :think:

இங்கே போய் பாருங்க...

http://forumhub.mayyam.com/hub/viewtopic.php?p=1734132

[Plum]

Plum, Roja Ondru is from Oh Maane Maane.
Thx Shank. I havent seen it but it is fairly obvious that it is a song relevant to this thread. Link kedaikkumA?
Fala - kEttuttu sollunga

[music man]

Katti Vachiko undhan anbu manasa-En Jeevan Paaduthu...

Lovely song...Great orchestration...Great singing by MV and SJ..

How did you guys miss it??

[priya32]

Plum, Roja Ondru is from Oh Maane Maane.
Thx Shank. I havent seen it but it is fairly obvious that it is a song relevant to this thread. Link kedaikkumA?
Fala - kEttuttu sollunga

Are you guys talking about 'ரோஜா ஒன்று உள்ளங்கையில் பூத்தது' - ஓ மானே மானே (or) 'ரோஜா ஒன்று முத்தம் கேட்கும் நேரம்' - கொம்பேரி மூக்கன்?

Though both songs could be relevant to this thread, my pick would be 'rOjA onRu muththam kEtkum nEram'!

[Shank]

A song I mentioned earlier got drowned in all the other discussions...Ada Machamulla from Chinna Veedu. I think it's an outstanding song...the rhythm patterns are truly unique...besides the great funk.

[Bala (Karthik)]

Plum,
Ketten aana first time, konjam underwhelming-a irundhuchu (relatively speaking)! Thalaivar's "Pon Maanai" vera irukku adhe albuthula...

[Aalavanthan]

One song which comes to my mind when we talk about erotica.. no no this isnt human erotica but a nature's one..

malayaala karaiyoram thamizh paadum kuruvi

anu pallavi, pre ludes with flute, a bit of violin followed by Mano's arguably sweetest voice. The interludes have some good use of violins and flutes.. then enters tabla in the saranam and carries over the song..

a lovely song on a nature's genre 8-)

[Plum]

Plum,
Ketten aana first time, konjam underwhelming-a irundhuchu (relatively speaking)! Thalaivar's "Pon Maanai" vera irukku adhe albuthula...

Ok, appO nAn cambli-kku PM pOttu nomination thAkkal pandrEn :-)

[rajkumarc]

Pon Vaanam Panneer Thoovudhu from Indru Nee Naalai Naan may fit into this category. A beautiful song sung by SJ.

[C2]

hi frnz....
i remember one song by S.janaki...

nalla neram neram
nalum yogam yogam
vetri malaigal soodum
kanavugal ellam nanavuglagum
......
adavar kangalukkendru
en adayil jannalum undu...

i don't remember the name of the movie... but
IR music.... can any one name the movie and give the link to download the song....

[baroque]

நல்ல நேரம் நேரம் நாளும் யோகம் யோகம்
வெற்றி மாலைகள் சூடும்
கனவுகள் எல்லாம் ......அந்த ஒரு நிமிடம்.....ஜானகி

ஸ்ரீ.இளையராஜா's same tune yaarigaagi.....kannada film Bharjari bete

http://www.divshare.com/download/10246607-37f

check out the youtube.
rakshita amazing work!
Bala always admires Ilayaraaja!
Susheela enjoys the little girl's singing! :thumbsup:

http://www.youtube.com/watch?v=fupz8OGMh3Y
vinatha. :)

[C2]

hi baroque.... thanks a lot for reminding me about this song... :cheer:

[baroque]

:)

[eagle]

இது வரைக்கும் இந்த thread la யாராவது சொல்லி இருக்கிற மாதிரி தெரியல அதுனால விரக தாப பாடல்களின் உச்சமாக நான் கருதும் இந்த பாடல் இதோ "நிலா காயுது..நேரம் நல்ல நேரம்" இரண்டாவது இடையீட்டில் வரும் முக்கல் முனகல்களை தவிர்த்திருந்தால் இன்னும் நன்றாக இருந்திருக்கும். அட்லீஸ்ட் நான் சத்தமாகவாது இந்த பாட்டை கேட்க முடிந்திருக்கும் :)


ரொம்ப வருங்களுக்கு முன்பாக ஒரு செய்தியில் இந்த பாடல் மேற்கிந்திய தீவுகளை சேர்ந்த ஒரு நகரத்தில் நைட் கிளப்பில் பிரபலமாக இருந்ததாக படித்த ஞாபகம்.... amazing starting... excellent tune...

prelude ல் வரும் இசையை கவனித்தால் ஒரு ஆண் சட்டென பெண்ணை தொடுவது போலவும் அடுத்து வரும் flute இசை பெண் நாணுவது போலவும் பிறகு இருவரும் இணைவது மாதிரி தோற்றமளிக்கும். என்னுடைய ஒரு அவதானிப்பு ராஜாவை மாதிரி யாருமே இந்த உணர்வுக்கு subtle ஆக இசை அமைத்ததில்லை என்பது. அவர் ஒரு master of handling the subtle emotions. ஜெகத் கஸ்பர் அதை கிலாகிதிருந்தார் அப்போ :)

முன்பு இந்த பாடலை கேட்கும்போதெல்லாம் இந்த மொட்டை வெளியில சாமியார் மாதிரி இருந்துகிட்டு என்ன மாதிரி பாட்டெல்லாம் போடறார் என்று தோன்றும். :D

Its one of my all time favorite song.....

[Sanjeevi]

eagle

I wanted to post about நிலா காயுது song. :thumbsup:

Chinna Veedu padathula oru scene varum paarunga

[Sureshs65]

eagle,

A nice writeup about the song. As you correctly point out, no one captures these subtle nuances as Raja does.

[tvsankar]

vaa kaathiruka neramilai - SPB and SJ - vaa kathirka neramilai

[tvsankar]

Margazhi parvai paarkava

[tvsankar]

Jivvu jivvu -Enga ooru kavalkaran

[19thmay]

Ilamayennum poongaatru? :?

Varudhu Varudhu Ilangaathu - Bramma

Meendum Meendum Vaaa - Vikram

Sandhana Maarbile - Nadodi Thendral

Oru Mandharappu - Chinna Jameen

Maarugo Maarugo - Sadhileelavathi :huh:

[tvsankar]

Sama kozhi - ponnu ooruku pudhusu

[Sureshs65]

From all the posts you can realize that Raja has dealt with more forms of 'eroticism' than any other MD before or after. On one hand are the obvious songs of intense passion like 'pon meni' and 'nethu rathiri'. On the other hand are the more subtle ones like 'sandhana marbile', 'ilamai enum poongkatru' , the folkish one like 'tanni karuthidichu', funny ones like 'maarugo maarugo' and 'onna renda aasaigal and many more such divisions. So how do you think we can classify the sub genres? That will help us in analyzing how Raja has used his skills effectively in each of the sub genre to provide us with some timeless classics.

And btw, why is RS still hiding? We are waiting for your post in this thread. 'ungal sevai indha threaduku thevai'.

[irir123]

From all the posts you can realize that Raja has dealt with more forms of 'eroticism' than any other MD before or after. On one hand are the obvious songs of intense passion like 'pon meni' and 'nethu rathiri'. On the other hand are the more subtle ones like 'sandhana marbile', 'ilamai enum poongkatru' , the folkish one like 'tanni karuthidichu', funny ones like 'maarugo maarugo' and 'onna renda aasaigal and many more such divisions. So how do you think we can classify the sub genres? That will help us in analyzing how Raja has used his skills effectively in each of the sub genre to provide us with some timeless classics.

And btw, why is RS still hiding? We are waiting for your post in this thread. 'ungal sevai indha threaduku thevai'.

small correction - Raja has covered MORE SITUATIONS COMPOSING FOR ALL KINDS OF SITUATIONS THAN ANY OTHER COMPOSER PAST OR PRESENT

I cannot think of anyone else who has composed to situations strictly keeping in mind the context of the film/mood/character/script etc - thats where IR stands heads and shoulders above anyone else past or present, and has often merged his song soundtracks with the BGM and the storyline, that not only do they all become one, but without the context of these, its difficult to understand several of his compositions!

[Sureshs65]

irir123,

Fully with you on that. As Plum had once said, it is the mark of a great genius that he has chosen to work strictly within the context of the film and the situation and yet come up with such amazing experimentation!! I was trying to highlight that even within a genre like 'erotic' he has given so many varieties. (Some may ofcourse argue that this is the genre which has the widest variety :lol: )

Now we are waiting for you to come up with some 'erotica' :lol: Where is your list and analysis?

[tvsankar]

Manasu mayangum - Sirpikul muthu

[tvsankar]

Ichendru Ichendru

[tvsankar]

Raathiriyil thookamillai - Unnai solli kutramillai

[tvsankar]

PUnnagiayil minsaram

haaaaaaaaaaa. Ethanai type of expressions......

[raagas]

Visiting hub after a brief gap. There are many songs in which he excelled in this genre.The one i can recall from the top of my mind is "Siva Raathri" from MMKR or even "Nela Raaja" from Surya IPS. Both have that subtle overtures and incidentally both are in Sindhu Bhairavi scale. Never saw any other composer using that raaga for this flavour :)

[Sureshs65]

raagas,

I wanted to earlier post about Sindhu Bhairavi when I quoted the 'Anbulla Malare' song. I was also surprised that Sindhu Bhairavi was being used for an overtly erotic song. Raja has used ragas like Subhapanthuvarali and Chakravagam, usually associated with sadness, for love duets.

[raagas]

thats right suresh... he even used 'Sivaranjani' for a duet with doses of mild aggression (in the rhytm..) in the song "Va Va Anbe Anbe" (Agni Nakshathram). One of the many reasons i relate to IR's music is the way he pulls a thread from characters of the film into a layer in music. Look at the characters Karthik/Nirosha in that film... they display that raw aggression of youth. it is not mature graceful romance, but pulsating aggression of youth. And IR brings in that layer in that song very well, using Sivaranjini. Damn!

[Bala (Karthik)]

Pon Vaanam Panneer Thoovudhu from Indru Nee Naalai Naan may fit into this category. A beautiful song sung by SJ.
What an absolutely outstanding piece of brilliance and experimentation this song is.

To go to a battle, the first step is to be well prepared - SJ Amma. (Gowrimanohari - is there a special mood this scale is associated with? In any case, any such definition is rendered useless by Raaja anyway :lol: )

The rest is Raaja magic.

I wonder how the bass guitar was played to get that sliding sound. Haven't heard anything like this before or since. And every time the bass slides long in the pallavi, check out the lovely piano stroke in the background
(It'd be great to see someone write about the chords in this song - acoustic guitar and piano)

In the charanam, the line is broken as follows:
"Mazhai Pookkale" - tabla
"Odhunga idam paarkudhe" - tabla + mridangam
"malar ambugal" - tabla
"uyirvaraikkum thaakkudhey" - tabla + mridangam

And the brilliant Flanger effects start on the guitar in the background when SJ goes "idhu kaadhal aasaikkum kaaman poojaikkum neramaa..." and continues till the end of the charanam.

All these elements, note for note just superbly bring out whatever was intended in the script but was nightmarishly portrayed on screen

[Bala (Karthik)]

One song which comes to my mind when we talk about erotica.. no no this isnt human erotica but a nature's one..

malayaala karaiyoram thamizh paadum kuruvi

anu pallavi, pre ludes with flute, a bit of violin followed by Mano's arguably sweetest voice. The interludes have some good use of violins and flutes.. then enters tabla in the saranam and carries over the song..

a lovely song on a nature's genre 8-)
Strictly not allowed in this thread :razz:
Neenga solradhu "louu", nature etc...

[Querida]

I have a feeling no one has mentioned these songs...but I wouldn't a bit surprised to be wrong:

Aayiram Thamarai - Alaigal Oyvathiley

The three songs from Mudhanai Mudichu

Andhi Mazhai Pozhigirathu - Raaja Parvai

Enna Saththam Intha Neram? - Punnagai Mannan

Mounamaana Neram - Salangai Oli

[jaiganes]

ippo saathu nadai saathu - from sethupathi IPS.

and kokkarakko kozhi from kalaignan..

[tvsankar]

Apadi pakaradhuna vendam - Ivan

kadhal ennum kovil - kazhugu

[kj]

Angel Aadum Oonjal

Paadum Vaanambadi

[tvsankar]

Thathi thathi thaavidum

Ponmani ponmaniku naanae - Annanuku jey

REallllllllly gives decent love moods.....

[jaiganes]

Isai medayil from iLamai kaalangal.
The tune and the accompaniments are a perfect treat.

[tvsankar]

Tamil songs la matum dhana...

wat about other languages.......

[complicateur]

Well, since there request is for non-Thamizh songs - Here are two illustrations, and two of my favorite I might add. Each is representative of entirely different ideologies when it comes to sex in relationships.

KuLirAdunnu MAnaththu (http://www.youtube.com/watch?v=yxtHpGK1988) - Essentially go-with-the-flow. Sex is, at best, a nice consequence, an interesting interlude, in the multitude of events that constitute a functional relationship. And then everything - including the meter and melody of the song - go back to the regular rhythm of life.

OkatE AsA (http://www.youtube.com/watch?v=1loFlSvCfDI) is however very much a male fantasy. Vamsy sets up the mood with overly lit hallways and suggestive wall accessories. The protagonist is dreaming of a woman who satisfies his every need, to the point where one wonders if he is looking for a mother or a spouse. Here, the sex is the entire 'point'. The song is of course equal parts comedic and playful until it finally gets to the point during the second interlude.

The technique utilised is the same and yet the emphasis is vastly different.

[tvsankar]

compli,
naan nenachen. Neenga solliteenga........

:shock:

Naalo chirukulatho

Yem Debba

[Sanjeevi]

OkatE AsA (http://www.youtube.com/watch?v=1loFlSvCfDI) is however very much a male fantasy. Vamsy sets up the mood with overly lit hallways and suggestive wall accessories. The protagonist is dreaming of a woman who satisfies his every need, to the point where one wonders if he is looking for a mother or a spouse. Here, the sex is the entire 'point'. The song is of course equal parts comedic and playful until it finally gets to the point during the second interlude.


deivamE :notworthy:

intha pAtta thAn thEdi kittu irunthEn since I saw this song accidently in a telugu channel 6 months back. Bala vazhga :)

[sakaLAKALAKAlaa Vallavar]

Sivaraathiri ?!?

[tvsankar]

Sivaraathiri ?!?

solliyachu..

[tvsankar]

Naan pooveduthu - Nanum oru Thozhilali

[ananth222]

"Oru koottil chinna kokilam irandu" from Kolangal
very different type of song

[tvsankar]

Kozhi koovum nerathilae - Vanna vanna pookal

[Sanjeevi]

"Oru koottil chinna kokilam irandu" from Kolangal
very different type of song

Agreed

[Plum]

aNNan pAlA garthig-ai pala nAtkaLAga kANavillai?

[jaiganes]

http://www.thiraipaadal.com/albums/ALBIRR00070.html

Hey mama from Azhagiya kanne.
true blue erotica...

[Raj4376]

One of the most romantically beautiful songs is 'Yem Debba Teesavura' from 'Ashwamedam'(telugu).

The orchestration, arrangement and the tune transport us to a surrealistic world.Janaki is at her best(and SPB of course!).

A melodious Dharmavathi shifts to Chakravagam in the charanams.

Please read this post where I have tried to describe 'Isaiyil Thodanguthamma'(another erotic number) and 'Yem Debba':

http://rajamanjari.blogspot.com/2009/09/ilaiyaraaja-musician-nonpareil.html

[baroque]

nee paartha... is the ultimate erotica in HEY RAM.
The piano, humming, chanting, flute and the strings....sets the SLOW, SMOOTH mood.
(Ilayaraja did not pay attention to Asha B. She should be singing அகலாத நினைவு சொல்லும் நன்றி நன்றி .. NOT aganaadha)

http://www.oosai.com/oosai_plyr/playerWin.cfm?list=126

some days... like this morning,
joyous ilayaraaja is more special to me than yearning ilayaraaja with lust(ஆத்தாடி பாவாடை.....that bell sound is lust ) THIS ILAYARAJA STAYS IN MY BLOOD LONGER சுகமா ! :musicsmile:

the strings, guitar strumming, the flute and humming/chorus.... ever caressing LOVERBOY entices in ilamaiyenum poongkaatru....is joyous erotic ilayaraaja.
Prelude ding ding along with wind and the strings.. the பரவசம் he sets , I got it even today .

http://www.raaga.com/player4/?id=103&mode=100&rand=0.8918043489073795

to bring out the 16yr old in me...

சோலை பூவில்......வெள்ளை ரோஜா
lilting tune and the strings... FOREVER LOVE BALA

http://www.youtube.com/watch?v=T3RxQPaY0d8

vinatha. :)

[irir123]

"etri vacha neruppinile" from Aalapiranthavan - the lyrics are bad but vintage IR melody

[tvsankar]

moham ennum - sindhu biavi

Carnatic singer in erotica...

This is Raaja....

nice no.

http://www.youtube.com/watch?v=FJp2KqnGg4w

[thumburu]

"en uLLil engo" from "Rosaappu Ravikkaikaari" will find its pride of place as a timeless
classic among TFM lovers. As this was my last song heard, I thought of posting it in the
relevant thread, but then felt it more appropriate here .
"ManjaLai poosiya megangaLe
Malligai mullai maalaigaLe" - all metaphorically indicating her at the brink of springtime bloom with its fragrance all over her.
She desires to quench her longing that runs as a musical strain , a torment , deep down her heart, which she alone could hear. Unable to find solace in the arms of the man they chose for her, her husband , she is not sure even if the new friend could provide her the succor. Her vacillating mind is aptly brought out in the prelude "tun tun" strum , guitar lead , stream of violins and then the flute lead. The second bgm is particularly the handiwork of a genius . That grahabedham foretells her treading the road less travelled , breaking away from the shackles of fidelity in pursuit of pleasure. The deluge of sitar following that ,
depicting her unbridled emotional fervour, passion, that threatens to engulf her .
Raja opts for Dharmavathy for another erotica "meendum meendum vaa", but somehow this Dharmavathy with so many sublayers of intrigue and anticipation interwoven is more captivating than the act itself

[naarayanan]

Maasi maasam aalana ponnu
What a song. Lovely chords and the Sudhadhanyasi carries the sensuality beautifully. One sagaa had posted a voiceless version of this song, which accentuates the superb counter offered by the violin in the beginning and end of the song

there is 'ri' in the avarohanam in this song. so it is not suddha dhanyasi. it is a rare raga agnikopam.

[naarayanan]

i wrote this in my blog 2 yrs back.
http://narayananswaminathan.blogspot.com/2008/10/musical-narration.html
//
you cud have heard raja talking abt s.d.burman. raja narrated how dada (sd) wud ask for details before composing a tune. the tune so composed will have all the details the director told for the situation.

u cud have even heard director mysskin talking abt raja asking for the details before composing a tune for nandlala. that is how great composers work. they can tell the entire story in a song with just music.
swathi muthyam - 'sippikul muthu' the story of the movie goes like this.

there is a simpleton in a village. he comes across a widow with a child. he cud not bear her pathetic situation. out of childlike love and sympathy he ties a marriage knot to her. surprised at this first, the woman slowly understands his love for her and makes a man out of him. the man narrates this story in flashback to his sons and daughter-in-laws after her demise.

in this movie, there is a song 'manasu mayangum'. this song comes when the woman accepts the simpleton, who is just like a grown up child, as her husband and they mingle.

the song first starts with a humming in high pitch, denoting the high of emotions. followed by a beautiful stream of swaras played in the veena in the raaga abheri, very apt for love, indicating the flow or harmones. then the song starts.

'manasu mayangum mouna geetham paadu' sung by the woman. here comes raja's genius. usually in love man makes the first move. the woman accepts it. this is universal. eventhough the woman has feelings towards the man she does not explicitly advance. it is the job of the man to make the first step. the rest will be taken care by the woman.

in this story, the man does not know anything. so the woman makes the first move, indicated by the first line sung by the woman. he follows suit. here also he sings the same line as the woman. that is, she teaches him, he learns.

vairamuthu also aptly understanding the situation, has written some beautiful lyrics. the teacher instructs the learner, 'idhazhil thodangu enakkul adangu, sugangal iru madangu'.

the first interlude, has violins, tavil , flute and veena. tavil used for auspicious beginning. the violins narrate the happenings ' so it happened u know'. then the flute and veena have some dialogues. denoting the words of lovers.
the charanam begins. 'maarbil undu panjanai, madigal rendum thalaiyanai' is sung in the madhya sthayee by both female and male voices. 'neeril neruppin vedhanai, anaithu konden thalaivanai' still each line is repeated by the male voice after female voice.slowly the song travels to higher notes, phrase by phrase, indicating lovemaking.

'idhayam mariyadho ellai meeriyadho' is still higher on the scale. 'pudhiya paadam, viraha dhagam' is sustained in the higher notes. 'bodhai yaeriadho' reaches the highest note in the range and is sung in a beautiful crescendo only by the female voice, indicating the climax, leaving silence for a while. wow!!!

now, the best part comes. the male voice resumes the song with 'manasu mayangum', and the female voice follows indicating the simpleton has become a man, he has learnt about life, understanding its nuances and how nature works and is ready to support his wife leading from the front.
vairamuthu shines in yet another line 'kaadhal inge pala vagai, unaku mattum pudhu vagai' explaining the supracited.


wow! what a composition, i have never heard such a song rich with subtext. after the initial veena in aberi, it is mostly in sudha dhanyasi. raja raja daan.

this is how a song shud be composed. summa nakku mokka, mooku dokka-nu paatu panravanga shud notice.

abheri and agnikopam are very similar ragas. the slight difference is given below.

abheri s g m p n s / s n d p m g r s
agnikopam s g m p n s / s n p m g r s . dha missing. both from karaharapriya.

actually i thought the initial veena was in abheri. after playing the sequence, i came to know that it is agnikopam.

http://www.dishant.com/jukebox.php?songid=25715

http://in.youtube.com/watch?v=iOoy6pWoujI
//

[naarayanan]

priya32,

yaar music by v.s.narasimhan.

[Sureshs65]

thumburu,

A lovely writeup on 'ennullil engo'. You have described the music very aptly and this is one song which is very difficult to express in words and everything you say is inch perfect. A lovely song sung well by Vani Jeyaram.

[Sureshs65]

naarayanan,

K Vishwanath and Illayaraja combination was pure magic. Given that KV gives good situations and loves good lyrics, Raja would also ensure he got the very best. Wish there were more directors like KV who loved their language. Not in the militant way but in a very literary way. Difficult to find that nowadays.

[irir123]

naarayanan,

K Vishwanath and Illayaraja combination was pure magic. Given that KV gives good situations and loves good lyrics, Raja would also ensure he got the very best. Wish there were more directors like KV who loved their language. Not in the militant way but in a very literary way. Difficult to find that nowadays.

therefore I eagerly await "THYAGAYYA" from this combo!!

[venus05]

[tscii:070f2660dc]thumburu,
"Enulli Engo" one of my all time favorites. Thanks for writing about this song.
Raaja talks about this song in the Italy CD and he sings a hindi song by SDB, I guess; expressing the feeling, longing.
When I started identifying the instruments used in this song, array goes like guitar, solo violin, group violins, flute, santoor and what not?. Whenever, I hear the call-response arrangement in the second interlude. I will forget mei, poi and everything including the raaja's genius. To me, the tabla section is very much like MSVish, especially the rolls at the end of VJ's alapanai. Again, VJ brought the feeling in me that only she could have brought out the emotion like this. Normally, when the artists perform at the highest level, they bring this feeling into the listener.

Digression:

For me, there are few Raaja songs in which the tabla playing style remained me of MSV like 'Thiru therial varum silayo', 'Udhayageetham paduvan".

End digression

I heard, from one of the internet radio stations, about Meendum Meendum vaa and Manasu mayangum (Narayanan, nice writeup) and how this thalam pattern "Thakita Thakka Dhimi" is used. Nice start. Right. When I was about to think that mmm. Raaja saves this pattern for the "Erotica Longing", bang... I heard "Kannae naan Annan alla unnai eendra annai nane (SPB)' and 'Noorandum kalangal nee vazha veedum (KSC)' with the same pattern to express motherly love. Big time lesson..... how silly of me...after keep hearing Raaja’s songs for years now…with my limited knowledge I tried to predict Raaja's pattern..I will not do it again though.

My mind goes "Ganagai Vellam Sangukullae Adangi vidathu..again…one of my all time favorites by great combo MSV/SJ and of course..KD.
Thanks.
[/tscii:070f2660dc]

[Sureshs65]

venus,

Nice observations. The Hindi song that Raja sings about longing is the Shankar Jaikishan song, 'yeh pyar ki tanhahiyan'.

You observations about the patterns are spot on. It truly shows what Raja believes in. The unity of music. A misra chapu or kanda gathi can express love or longing or philosophy or anger or what not :) It is indeed very difficult to predict what sort of ragam / thalam will be used for which emotion. In other words, every sort of ragam / talam combination is used for every occasion. This will be a PhD thesis by itself.

[Sureshs65]

irir123,

Is Thyagayya by KV? Is he still making movies? I am not sure how much scope will be in such a movie for Raja's music given that they have to play the krithis of Tyagaraja. Lets wait and see.

[Punnaimaran]

1. வாட வாட்டுது - சக்களத்தி
2. ரொம்ப நாளாக - என்னடி மீனாட்சி
3. ஒரு நாள் உன்னோடு - சிட்டுக்குருவி
4. நினைத்தால் இனிக்கும் - கல்யாணராமன்
5. நிலவு நேரம் - அன்னை ஓர் ஆலயம்
6. செவ்வரளி தோட்டத்துல - பகவதிபுரம் ரயில்வேகேட்
7. வெண்ணிலவில் - அதிரடிப்படை
8. தண்ணி கொஞ்சம் - ஜூலி கணபதி

[jaiganes]

irir123,

Is Thyagayya by KV? Is he still making movies? I am not sure how much scope will be in such a movie for Raja's music given that they have to play the krithis of Tyagaraja. Lets wait and see.
I think Thyagayya is by Singeetham

[Plum]

irir123,

Is Thyagayya by KV? Is he still making movies? I am not sure how much scope will be in such a movie for Raja's music given that they have to play the krithis of Tyagaraja. Lets wait and see.
I think Thyagayya is by Singeetham

NallA thread choose pandrAngaiyyA idhai discuss paNNa :lol:

[Sureshs65]

Plum,

:rotfl3:

[tvsankar]

ஒரு நாள் உன்னோடு - சிட்டுக்குருவி

ilai PM. padam - uravadum Nenjam.

[tvsankar]

ADi Raakozhi kovum neram - Maharasan

Beats - Paatai porupaga gavanika vechadhu.......

[tvsankar]

Aadhamum yevalum pola - Mardhu pandi.

[tvsankar]

sempoovae poovae naan - Siraichalai

[tvsankar]

Sandhana katre - Thankikaatu raja

[tvsankar]

Oru pokkiri raathiri - Idhu namma boomi

very niceeeeeeeeeeeeeeee..

ennoda favourite ragam - Brindhavana saranga????????????

[Sureshs65]

'nilu nilu' from Dhanush.

http://www.thiraipaadal.com/albums/ALBIRR00111.html

In another thread Venkiram has spoken about such songs where the male lead calls the female and she is not interested. Venki had pointed out about this being a 'neydhal' type of song and the rhythm being different. This song would also fall in that category. Here Raja mixes up different genres effortlessly. The song is based on "Suddha Saveri', not really associated with erotic feelings. The beats add to the fun element of the song and the singing is nice as well. A very enjoyable song. I don't think the movie was released.

[venkkiram]

பெரிய குடும்பம் (1993) என்ற படத்தில் வரும் "தத்தி தத்தி தாவிடும் (http://www.thiraipaadal.com/albums/ALBIRR00487.html)" என்ற பாலு-சித்ரா குரலில் வரும் பாடலையும் இந்த ரசத்தில் சேர்த்துக்கொள்ளலாம். நல்லதொரு இசை.

அது என்னவென்றே தெரியவில்லை. சித்ராவின் குரல் இதுபோன்ற ரசங்களுக்கு எடுபடவே மாட்டேங்குது. காம ரசத்திற்கு என் தனிப்பட்ட விருப்ப, பெண் குரல்கள் - ஜானகி, சொர்ணலாதா, வாணி ஜெயராம்.

[raghus555]

Guys,

How could we forget the song "Mandhiram Idhu" from the movie "Aavaram Poo". Its a great song rendered by great KJ Yesudas. The lyrics will be so erotic but dealt subtly with Carnatic base by IR.

[crvenky]

--- deleted ---
posted in a wrong thread

[tvsankar]

Thappu thanda - Per sollum pilai - SPB and SJ :oops:

[tvsankar]

Aathu metulae - Ponnumani - SPB and SJ

[thumburu]

Suresh and venus, thanks for your kind response. venus, I feel the tabla in songs like "ennuLil", "azhage azhagu", "maalai nera kaatre" give a ghazal touch to these songs.
Punnaimaran, "romba naaLaaga" is by ShankarGanesh. Suresh, I remember that Dhanush album was trashed by most of the hubbers when it released in 2003. Good that you remember it. "thathi thathi thaavidum" is an interesting, unusual song with SPB bringing out the right mood

[srimal]

oru kili urugudhu.... anandha kummi

maybe someone has already posted it ??

[srimal]

vikram la ...

kannae .. thottukava, kattikkava,

[Sureshs65]

While it is good to get a list of the erotic songs, it will be much better if each one posts as to why that particular song impressed them. Why do they find it erotic and what in its music sets it apart? thumburu and venki have written their views. It will be great if others do that as well. If you are not used to long posts dont worry. Raja will ensure that you find the way :D

venki: Agree with you on Chitra and the erotic songs. Janaki was unmatched in this regard. '

[jaiganes]

ee daaha ee moha from Mathu thappidha maga (or barjari bete) - 70s club dance erotica - idhu oru separate sub genre to group all silk,disco shanti, jeyamalini songs. Strictly no youtube links pls.

[Sureshs65]

Jai,

Is this song in one of these films or is it in some other film. Can't remember this from these films. Maybe not part of the tape that I have. Need to check again.

[jaiganes]

Jai,

Is this song in one of these films or is it in some other film. Can't remember this from these films. Maybe not part of the tape that I have. Need to check again.

I got it in a collection of kannada mp3s long time back. My kannada is only at the level of speaking and understanding - no writing and reading - so I cant make out from which movie this song is - but a rocking song nevertheless.
In barjari bete or mathu thappidha magaa - there is a song by SP.Shailaja and Sjanaki. it starts like ammmammma mmma mmma
hejjege kai kottu - it is one of the early village dabbanguchi erotica songs.
unfortunately I have to do some research to find the movie name of the song.

[Sureshs65]

Let me also help in the research!! I will also try and find out regarding this song.

The 'ammammammma' song I remember instantly. As usual Janaki does a fab job in this song. Initially I didn't like 'Barjari Bete' too much but as it always happens ....

[Punnaimaran]

ஒரு நாள் உன்னோடு - சிட்டுக்குருவி

ilai PM. padam - uravadum Nenjam.
நன்றி உஷா. பல வேலைகளை ஒரே நேரத்தில் செய்ய முற்படுவதால் வரும் பிழைகள். :oops:

[tvsankar]

no issues PM.

[tvsankar]

Onna vida - Virumandi

song gives the night mood.
expresses their love and affection.......

ITs a Real journey......
(Interludes gives the feelings.)

IR's compositon gives a musical journey.........

Singers' rendition is soooooooooo nice..........

[tvsankar]

Adho mega oorvalam - Eeramana rojavae

1.Mano's Rendition

2. Composition

3. LYRICS......


nimaiyana ilakiya kavidhai.......... who is the lyricist?

[rajasaranam]

Thanks to nithyanandam, Ranjitha and nakheeran. more precisely to nakheeran team for the thoughtful gesture of adding 'Ada machamulla machan' & 'Chittukuruvi' songs from 'Chinna Veedu' for this scandal video :lol:

Explicit Scenes Warning
Partial video (http://cinema.nakkheeran.in/Talkies.aspx?T=328)
Full Video (http://www.millionitechnology.net/webtv/nithyanantha.wmv)

Socio-Politics apart lets come to the music ;)

'Ada machamulla machan' oozes of eroticism all the way. The playful orchestration laced with comedy elements to suit the characterization of Kbhagyaraj is simply brilliant. This should be the grandest orchestration for a 'matter' song by Raaja. Beginnning with Om kamasutraya Namaha, Om Vatsayayanaya Namaha, Athi Veera Ramapaandiyaaya ( kokkogham fame!) Namaha itself states that for Raaja nothing is holier than 'Music' - Music for situation if demands he will never stop parodying even Om/Namaha (Reminded of Ithayathati thirudathey here) which are revered by many. The Racy nathirthinna thirannanna 'jathis'
& interludes create an atmosphere for confused yet driven by desires of the main character. It is astonishing as to how Raaja is able to paint such soundscapes for different actors and different characters. (Tired of this statement :|).

The rhythm section of this song is one which we will fall in love with. The rhythms of mrithangam for backing & Drums for ludes (2nd lude especially) are simply ahead of its time.

Last but not least its SPB, Janaki and Shailaja's game anyway. This should be a difficult song for any other current generation singers but these 3 carry the song with much ease. If there is a genre called 'funerotca' this song tops in it :notworthy:

Having 'listened' to this song for the more than 20 times now, Iam very much convinced that Rahman had taken his inspiration or a small idea for 'thakidathathum athini sithini' of 'Thenali' from this song. :huh:

[jaiganes]

enna signature paa adhu - yaarukko badhil seppara maadhiri?
Ithana naala onnai kannu vechen vechen from sembaruthi is one more fun erotca song that somes to my mind...

[tvsankar]

enna signature paa adhu - yaarukko badhil seppara maadhiri?
Ithana naala onnai kannu vechen vechen from sembaruthi is one more fun erotca song that somes to my mind...

SEmbaruthi la ipadi oru paata? theriyalaifyae...... :?

[Sanjeevi]

enna signature paa adhu - yaarukko badhil seppara maadhiri?
Ithana naala onnai kannu vechen vechen from sembaruthi is one more fun erotca song that somes to my mind...

Oru Oorla Oru Rajakumari?

[Sureshs65]

Jai,

Vetri, vetri. You finally got Rajasaranam to post in his favourite thread :lol: and he does a good job as usual. Some things inspire people more than others :lol:

A nice coinage there, 'funerotica'. 'asai madhana' from 'Jyoti' would fall in this category as well.

[tvsankar]

Idhu dhan - PUlan visaranai - IR

[rajasaranam]

enna signature paa adhu - yaarukko badhil seppara maadhiri?


Venkkiram'kkuthaan. Avaru Signature'la shaji's quote of Mozart to Attack Raaja irukku :D

[crvenky]

RS thala,
Andha song pre-prelude'ai vittuteengale - Naan athini, naan sithini, naan padmini. :wink:

[P_R]

Does சாலையோர சோலை, with its lazy elegance count ?

[raagas]

Thambi Pondaatti - A brilliant album in the early 90s.

I was listening to one of my favourites "Kannan Vandhadhaaley", a beautiful composition sung by Uma Ramanan and I decided to check other songs. i came across this stunner of a song "Un Ennam". The song definitely has an erotic dimension to it. Probably because of the sound of percussion. However, i felt the fast pace of the rhythm was intruding into feel of the song. I mean, it would have sounded better and more justifying if the pace was reduced to half may be. The mood and the song's feel is very sublime at one end and the rhythm's pace (or movement) is bit fast, this intruding into the listener's experience of digesting the mood/feel of the song. Neverthless, it is a phenomenal composition. The bassline is simply terrific.

http://www.thiraipaadal.com/albums/ALBIRR00629.html

[Plum]

kalayA nizama from Coolie #1.
IR-Suseela, a very unlikely pair for the song. IR is good, although many telugu friends do not like his voice or diction in the song.

[Sureshs65]

Plum,

Aaah. You reminded me of that lovely song. Surprisingly I didn't hear it when 'Coolie No 1" was released. The hit song then was 'kotha kothaga' (remake of 'puthiya poo idhu'). I heard this song when I went to US once !!! My colleague had a CD with some Raja songs and I used to insist that he play this regularly. Whenever we drove in his car, this used to played.

'Chandamama Raave' from 'Mallepoovu' reminds me of this song.

[raagas]

kalayA nizama from Coolie #1.
IR is good, although many telugu friends do not like his voice or diction in the song.

well, actually yes. I somehow feel he shouldnt have sung it. Even SPB once admitted it. Apparently, SPB told IR itseems, that it wasnt a right song for IR to sing, but IR didnt relent itseems :) But then, bottomline is, people accepted the song and enjoyed it, though most of them crib about the male voice. even i do :)

[Plum]

Actually, a pretty complex song to sing. It needs to go through the ROS analysis grinder here - there's a lot of melody and technique in the charanams, especially. I am just not articulate enough to explain it.

In one of the episodes of pAduthA thIyagA, one of the contestants was singing a Raja song (prema ledani possibly) and sung two successive lines in the pallavi exactly alike, inviting immediate rebuke from SPB, who said
"Raja will never structure his song like that to have two successive lines exactly like. Edho oka sangathi pedathAdu different-gA"

[Sanjeevi]

தானா வந்த சந்தனமே (http://www.youtube.com/watch?v=o1a1ovlSwsg)

[jaiganes]

Does சாலையோர சோலை, with its lazy elegance count ?
no - aey aaththa aathoramaa vaariya with its robust lack of elegance counts.

[Bala (Karthik)]

Does சாலையோர சோலை, with its lazy elegance count ?
no - aey aaththa aathoramaa vaariya with its robust lack of elegance counts.
Not under erotica but under 'item'/'kuthu' yes IMO

[tvsankar]

Kadhal ennum kovil - Kazhugu

Beach la irukara feelings.. adhuuvm Night la ,
thaniya lover kuda irukara feelings..

Beautiful Rendition by Murali...

Lyrics impressess me a lot.....

Nee illamal naan illai

then ilamal poo illai - Ethanai modulation..

idhu Raaja.........

Inum enna vendum.........

[tvsankar]

Thavikudhu thayangudhu oru manadhu - Nadhiyai thedi vandha kadal

Guitar gives some moods...

Singers' rendition.........

[tvsankar]

Oru naal andha oru naal - Devathai - SJ

gives some haunting moods.

Soulful compostion..........

[tvsankar]

Oh unnalae naan - En arugil Neeirundhal - Uma ramanan and Mano......

Flute did some majic... creates love moods.......


Style of Rendition - gives some values......

[raagadeva]

I was waiting some one will post the following songs in this section..

Malliayppo - Enna petha Rasa... who can made suseela to sing like this much erotic..other than Raja.

[tvsankar]

Day by Day - Honest Raj..



wat a song........ Solid guitar.......

Beautiful wind instrument.........

indha Raaja vai gavanikamal miss panni iruken.

Ipodhum solven. Epodhum solven...

Raaja padalai kaetka, konjam knowledge varum podhu,
andha sugamae thani dhan.......

Thedal irukum varai katral endra seyal nadakum....

katral - indha seyal nadaka nadaka, ovoru Raaja padalum

pudhiya padaluku samamae....
Wat a Music Man He is.........

[tvsankar]

kaathirundhen thaniyae - Raasa magan

nice mohanam. this song gives the evening mood........
velicham poi , irutu start agumae,,, andha time......)

[tvsankar]

Muthamizhae muthamizhae - Raman Audhulah

Singing style of SPB and KSC..

Head phone il kaetkavum..... mutham satham .... adhu kuda oru rhythmic a..... this is IR.... :oops:

[raagadeva]

Kaathu ootha Kaathu from en purushanthan enakku mattumthaan..one of the best of Mano.


I belive the female singer is lalitha sagari..she used sing mostly for chandrabose..

[tvsankar]

Manja podi - Senbagamae Senbagamae

wat a composition.... wat a rendition.....

All gives the love moooood.........

[raagadeva]

kadhal un leelaiya - Jappanil kalyana raman....


ilaiyaraja nammai avarudaney kooti sellum paadal....iravu velaigalil ketpatharkku yetra paadal.

[crvenky]

I dont know if this song was mentioned earlier.

Pothukittu oothuthadi vaanam - Paayum Puli (MV & PS)

What killer beats begins the song and runs throughout!! Mirudhangam is the highlight of this song.

Link: http://www.thiraipaadal.com/albums/ALBIRR00471.html

[tvsankar]

OOdha kathu veesaiyilae - Beatiful.........

Simple Guitar......... but so sweeeeettttttttt.............

[tvsankar]

Varuvai anbae - Garjanai...

80s GEM....

Femae singer and the Male Singer - rendu perum
same line aiyae repeat seivanga...

adhula arambikum - avanga understanding.........

HUmbleness ku - oru compettion ae nadakum...
unnai vida naan humble and understandable gra madhiri...

interludes are also expresses the feelings....

indha madhiri Feel panna vaikum indha paatu....

[tvsankar]

siru ponmani - kallukul Eeram

tells a lot........

love... afection......... romantic expression.....

not only from the singers...... From the instruments also.....

[tvsankar]

OOr urnagum nerathil - kanna unai thedugiren

Hariharan version............

Iravil, ellarum thoongiya pinnadi,Room jannal kite,
lover padara madhiri oru feelings - instruemtns gives............

Hariharan '
s Exprression is very nice......

Head phone il matuame kaekanam.......

[kameshratnam]

I saw Aditya 369 today

What a song and what lyrics

Rasa Leela Vela........SPB and S Janaki.....

[Sureshs65]

Just heard 'ippodenna parvai' from 'Makkal Atchi' as the discussion on the raga was happening in the other thread.

This is a perfect song for this thread. The typical Raja's uneven beats to convey passion, the whole tune oozes erotica. Chitra underplays this to the required level so as to convey the intimacy. Ofcourse Chitra converts this into more of a melody that eroticism but I am not complaining :)

[Sureshs65]

Digression

Kamesh,

Aditya 365 had some superb numbers. That olden times tune 'jaanavule' is something to die for. Gangai Amaran in one program said that Raja took the inspiration from 'O Devadas' (C Subbaraman the MD) and created 'janavule'. Wonderful number.

[Plum]

Jaanavule follows IR's template for invoking old time songs - I don't know why he used to fix it that way - naan sirithaal, paarijaatha poovaae have very similar stucutre and feel. Raagams same?

[Sureshs65]

Plum,

I think 'jaanavule' and 'naan sirithal' are both derived from Subbaraman's 'O Devadas'. They are both the same raga and the structure is almost the same. But if you see 'madana moha roopa sundari', he seems to derive from the other Tamil MDs of earlier era like G Ramanathan and the structure in that song is different with MV resembling C S Jayaraman.

[tvsankar]

Udal thazhuva thazhuva - Kanmani

Instrumentation tells a lot....

Singers............

Lyrics...............

but..... very complecated pitch........... Aatharam illamal, paaduvadhu pola oru composition....

Excellent loop work is done.......

(oru insrument sound mudiyum munnae, (half of the portion of the previous instrument),another instrument starts to play.......)

This gives such a romantic mood......

[raagadeva]

Thanks. I did not listen this song with focus on the music arrangement, will do that..as per the lyric..song also kind of nazhuvi pora madhiri irukkum...when you listen it.

[tvsankar]

RD,
INdha paatuku picturisation - think of that.....

Science theirnju, IR ai purinjavanga picturisation ai nalla seiayalam..

Ennoda imagniation for this song is,

Moon la poitu vandha videos parthu iruken..

andha madhiri irukanam indha paatuku picturisation......

Land aga mudiyamal, weightless aga float ara madhrii.....

apo dhanae, ipadi iruka mudiyum..

edhaiyum touch panna mudiyadhu.. Hold panna mudiyadhu......

IR oda composition ai nenaithu parkiren.........

En Nenjam inikindradhu.....

Ennoda Imagination Picturisation to this song - am very much enjoyed....

hahhahahaha.....

[raagadeva]

Film: Echil Iravugal
Song Poothu Nikkuthu Kaadu
Singers : MV and Jency

IR knows how to use MV and I believe IR is the only person bringing night environment on his interludes.. wind sound, frog sound etc..,

I am not able to find the link in the internet.

[tvsankar]

Sempoove - Siriaichalai

Composition gives the night mood.

Satham illadha thanimai - Nichayam Raaja is Great.........

Lyrics............ Dubbing version aga irundhalum, gavanamana lyrics......

[jaiganes]

http://www.thiraipaadal.com/albums/ALBIRR00670.html

Salasalakkum katre and thudikkudhu are sensational erotic numbers and the album stumps us with absolute kid stuff in the rest of the song - I just wonder what kind of movie can have absolute adult material song in 2 and kids stuff in the rest.

No wonder the producer is not able to release the movie.
however barring the first few songs, the last four songs are absolute delight!!

[jaiganes]

http://www.thiraipaadal.com/albums/ALBIRR00043.html

anbulla Malare has a song 'Kaadhal Dhegangal' that is erotica and much much more - This is a mother song from which some 5 to 6 classics can be identified - Remarkable - Phenomenonal song on all fronts - right now I am floored by what I have heard so far...
Let me get up and rewind and regain consciousness.

[Sureshs65]

Jai,

Right in the beginning of this thread I had written about 'kadhal degangal'. I bought the CD mainly for 'alai meedhu' song but was floored when I heard 'kadal degangal'. As you say, it has erotica written all over it.

[tvsankar]

Kadhal degangal - which movie?

[Sureshs65]

Usha,

It is from 'Anbulla Malare'. I think you missed seeing Jai's post to which I replied. He has given the link to the song.

[tvsankar]

jai solli irukara
epo...paakalaiyae...

thanks suresh...

[Devaraagam]

Karutha Machaan from pudhu nellu pudhu naathu..

IR used different instruments which he normally won't use for this kind of songs...especially urumi melam

[crvenky]

Devaraagam,
Similar kind of urumi beats were used for Sami en thaali kodi (Shenbagame Shenbagame). Have you heard that song?

[Devaraagam]

Yes venky. I remember the song of saami en thaali kodi, as the song is related to god, using of urumi beat is fine but in erotica...its different..that is IR

[tvsankar]

Varna vrundhavanam - KSC

Wat a gentle expression..........

Erotica - Idhulayum different types iruku pola irukae.... indha IR music la ....... :oops:

[tvsankar]

Azhagil Azhagu - Raja Paarvai

compostion tells the feelings of the Hero........

[tvsankar]

karutha machan - SJ's singing style...

Urimiyudan varum GUITAR.....

Raaja;s Composition.......... Tats all...

no other way .... gives the mood............

Beautiful picturisaition....... BR.... Ivaraiyum purinjukanam..........

[crvenky]

ஒரு கேரளத்து பைங்கிளியின் erotic குத்து.

Jinkan jinukkuthan:
http://www.thiraipaadal.com/albums/ALBIRR00720.html

Nice beats and basslines.

[tvsankar]

crv,
Vagulabaranam - indha ragathirkaga neenga solli indha paatai kaeta naal nyabagam varadhu.......

Very Sweet composition............

[Devaraagam]

Film: ponvilangu
song: santhana Kumba


what a beats and arrangements. good number form uma ramanan

[Devaraagam]

Film:Thazhuvatha kaigal
song: thottu paaru.


this song is sung by Jayacharandran..IR used these kind of voices which we believe as not suitable for er. also in erotica songs...

[crvenky]

Thanniyile nanainja from Keladi Kanmani
(great singing by Uma Ramanan).

[Sureshs65]

CRV,

Thanks for reminding me of that song from 'Keladi Kanmani'. Initially that was the least heard song from the album. But once when I heard it carefully I was stunned. What an erotic number!!! Vasanth was really lucky to have got such a stunner of an album with so much variety in his very first movie. For some reason, he never joined Raja again, though he keeps working with YSR.

[P_R]

EkAndha vELai inikkum
inbathin vaasal thiRakkum
(paadum paRavaigaL)

[jaiganes]

http://www.thiraipaadal.com/albums/ALBIRR00029.html

neeyaa azaiththadhu
beautiful erotica song...

[Sanjeevi]

http://www.thiraipaadal.com/albums/ALBIRR00029.html

neeyaa azaiththadhu
beautiful erotica song...

Oh no....

I am listening this awesome masterpiece after 7+ years. I am speechless so i am writing this :P

புண்ணியம் தேடிக்கிட்டீங்க :)

[rajkumarc]

Paruva Kaalangalin Sugangal from Moodu Pani sung by MV and SJ. A bit fast paced song, but the feel is in the singing and lyrics. Am not sure if the orchestration invokes that feel but maybe I am wrong.

The feel evoked is subtle and not a bold one like say Nila Kayudhu or Ponmeni. Of course, no orchestration could match the erotic feel invoked by the interludes in Ponmeni.

[P_R]

Why couldn't a girl be queenly, and give the gift of herself- DH Lawrence (Lady Chatterley's Lover)

ராணியை ராணியாகவே இருந்துகொண்டு ரசிக்க ராஜா வேண்டுமே.

அது சரி, எனக்கு இங்கு என்ன வேலை?
என் இசை ரசனை கொஞ்சம் மட்டு என்று பலமுறை அங்கலாய்த்திருக்கிறேன். இதைக் கேட்டக் கேட்டு எரிச்சலடைந்த நண்பர்கள் தவிற, புதுஅறிமுகமாக கிடைக்கும் (சிக்கும்?) meesicalகள் 'இசையை ரசிக்க இரு காதுகள் இருப்பதே போதுமான தகுதி' என்பது போன்ற தாட்சண்யமான வார்த்தைகள் சொல்லி உற்சாகப்படுத்தி இருக்கிறார்கள்.

'படிப்பதற்கு இரு கண்கள் போதும்' என்று நான் யாரையாவது மனமாற சொல்லமுடிந்தால்தான் பிரபஞ்சம் சமநிலை எய்தும். நல்லிலக்கியம், உலக சினிமா என்று என் கழிவிரக்கப் பட்டியல் நீளமான ஒன்று. அவ்வத்திரிகளில் வெளிப்படையாகவும், க்ரூரமாகவும், பூடகமாகவும் இதைத் தெரிவித்துக்கொண்டு வருகிறேன். என் ரசனையின் நிறைகுறைகளைப் பற்றி படிப்பவர்களுக்கு அக்கறை உண்டு என்று ஏனோ எனக்கொரு நம்பிக்கை.

இசையைப் பற்றிப் பேச போதுமான vocabulary என்னிடம் இல்லாத நிலையில், அது ஏற்படுத்தும் தாக்கத்தைப் பற்றியே ஓரளவேனும் சொல்ல இயலும். அதிலும் சாகரத்தில் மூழ்காமல் அலைகளில் மட்டுமே கால்நனைத்தவனின் lack of proportionஇலிருது தப்புவதற்கில்லை. இவற்றையெல்லாம் மீறி இங்கே எழுதக் காரணம்: ரோஜாப் பூ ஆடிவந்தது (அக்னி நட்சத்திரம்).

போதுமான அளவு ராஜா பாடல்களைக் கேட்காதவர் மட்டுமே செய்யக்கூடிய செயலான 'ஆகச்சிறந்த பாடற்தொகுப்பு என்று ஒன்றை தேர்வு செய்வது', என்று வந்தால் என் தேர்வு: அக்னி நட்சத்திரம். அதில் 'ரோஜாப்பூ ஆடிவந்தது' இவ்விழையில் குறிப்பிடந்தகுந்த ஒன்று.

ceteris paribus, தலைவனுக்காக தலைவி ஏங்குவது என்பது தலைவிக்காக தலைவனுக்காக ஏங்குவதைக் காட்டிலும் கண்ணியக்குறைவானது என்ற எண்ணம் பொதுபுத்தியில் உள்ளது (என்னமோ அப்புத்தியிலிருந்து எனது மிக வித்தியாசமான ஒன்று என்று காட்டிக்கொள்ள முனைகிறேன் வாசகரே, கவனம்). சிறப்பாம்சத்தில் கவனமிலாது, பரவலை விரும்பும் ஆண்மனத்திற்கும், சிறப்பான ஒன்றை தேடும் கூர்நோக்கான பெண்மனத்திற்கும் சொல்லப்படும் உடலியல்/ பரிணாமவளர்ச்சி சார்ந்த காரணங்கள் புரிந்துகொள்ளத்தக்கதே. இங்கே கொதிப்படையும் பெண்ணியவாதிகள் மேலே படிக்காமல் கொஞ்ச நேரம் நற்றிணையில் லயித்திருங்கள்.

பெண்ணை எளிதான கிடைபொருளாகச் சித்தரிப்பதிலுள்ள பொய்யும், முரணுமே Erotica-வின் வேர்.
அதி நெருக்கத்தில் மட்டும் திறக்கும் மடையை அடைக்கும் சமூகத் தாழை, பொதுவில் விலக்கும் பாவனை செய்யும் படைப்புகளுக்கு ஒரு பாரம்பரியம் உண்டு. (இவ்விடத்தில் சங்ககாலம், விக்டோரிய ஒழுக்கக்கோட்பாடு பற்றியெல்லாம் அளக்கவேண்டியது கட்டுரையாளனின் கடமை. ஆனால், அவற்றைப் பற்றி உறுதியான ஒற்றைப் பரிமாண வரலாற்றுப் புரிதல்களை எட்டிவிடும் நம்பிக்கை எனக்கு இல்லை என்பதால் நீங்கள் பிழைத்தீர்கள்.) நெருக்கத்தில் வெளிப்படும் தன்மையை இயல்புச்(!) சமநிலையிலிருந்து நோக்கும்போது கிடைக்கும் தோற்றம் வேறானது. பல சமயம் அருவருப்பானது. ஆண் தன்னைப் பற்றியே மிக வித்தியாசமாகமாக உணரக்கூடிய சிந்தனைப்பாதை அது. ஆனால் அந்த சுயநோக்கு (introspection) மூலம் அவனது 'பெண்ணின் தன்மைமுரணை'ப்பற்றித் தோன்றும் சிந்தனைகள் மட்டுப்படுத்தப்படும் என்ற எதிர்பார்ப்பு மிகையே :-)

Life is Elsewhere என்ற புதினத்தில் மிலன் குந்தெரா இப்படிச் எழுதுவார்: a great love, which abruptly arrives like a lightning bolt, frees a woman at one stroke from all shame and inhibition.... love frees in her such a powerful source of unexpected inspiration that her spontaneous behavior can resemble the expert procedures of a depraved woman.

இதில் உள்ள depraved woman என்கிற பதத்தைக் கூட ஒரு ஆணீயப் பார்வை என்று இன்று சொல்லலாம் தான்.

நெருக்கமற்ற சூழல்களில் 'வேட்கை அழைப்பாக' தொனிக்கும் பாடல்களில் உள்ள மிகைக்கற்பனை/அதீத சித்தரிப்பு இருப்பது ஏன்? அதன் கண்ணியமின்மையும் ரசிகானுபவத்தின் பகுதியாக இருப்பதால் தான்.
'எண்ணுள்ளே என்னுள்ளே' பாடலை கண்ணியக்கொழுந்தாகவும் முனகல்மிகு 'ஏகாந்த வேளை' பாடலை கண்ணியலோபமாகவும் நாம் கருதுவது இயற்கைதானே. இரண்டாம் வகைப் பாடல்களை ஆத்மார்த்தமாக ரசித்தவர்கள் அரிதாக இருக்கலாம். என்னதான் இசை, 'புத்தியின் குறுக்கீடு இல்லாமல் ரசிக்கப்படக்கூடிய ஒரே கலை' என்றாலும், ஏதோ ஒரு வகையில் இரண்டாம்வகைப் பாடல்களை ரசிப்பதில் ஒரு குறுக்கீடு இருக்கத் தான் செய்கிறது. செய்நேர்த்தியை, அதன் patently trashy-தன்மையை மிகுந்த பிரக்ஞையுடன் தான் ரசிக்கிறோம்.

இவ்வகைப் பிரிவினைகளில் தெரிவது நமது மேற்பூச்சு மாயைதான். நாகரீகம் என்பது மேற்பூச்சு சம்மந்தப்பட்டது என்பதால், இதை ஒதுக்கிவிடமுடியாது. இப்போது பாட்டுக்கு வருகிறேன் (ஒரு வழியாக!)

ரோஜாப்பூ முதல்வகை வேடம்பூண்ட ஒரு இரண்டாம்வகைப் பாடல். "தாகம் தீருமா" என்ற சீண்டும் வரியைத் தவிற தொனியில் வெளிப்படையான சுண்டியிழுப்புகளும் தவிர்க்கப்பட்டிருக்கின்றன. பலமான வாத்திய அமைப்புள்ள பாடல் என்பதால் மிக ஆழ்ந்து கேட்டால் மட்டுமே வரிகள் பிடிபடும். வரிகள் (மெட்டுடன் மிகச்சிறப்பாக இணைபவை் அனால்) நேரடியானவை. எவ்வித பூடகமான குறிப்புணர்த்துதல்களும் கையாளப்படவில்லை. வேகமான மெட்டு, தாளவாத்தியங்கள் , இடையிசைச் சரங்களில் (interludes) உள்ள ஒரு வித துள்ளல் தன்மை (celebratory) எல்லாம் ஒரு வித 'சுத்திகரிப்பை' சாத்தியப்படுத்துகின்றன.

நமது கண்ணியத்தயக்கத்தை bypass செய்து 'நேரடியாக' ரசிக்க செய்திருக்கிறார். :clap:
ராஜா :bow:

பின்குறிப்பு
1) இத்தன்மை இப்பாடலுக்கு பிரத்யேகமானது என்று சொல்லவில்லை. இதுபோல பற்பல இருக்கலாம். சமீபத்தில் இப்பாடல் பற்றி இவ்வாறு தோன்றியது. இங்கே இறக்கி வைத்து விட்டேன்.
2) இத்தன்மை இப்பாடலின் attribute அல்ல, எனது மிகைவாசிப்பே என்பீர்களாயின: நிச்சயமாக இருக்கலாம். 'பிடித்துப்போவதற்கெல்லாம் வியாக்கியானம் தேடக்கடவது' என்றொறு ரிஷி போன ஜென்மத்தில் என் மீது கமண்டலநீர் எரிந்திருக்கலாம். என்னைச்சொல்லி குற்றமில்லை. ரிஷிபத்தினி இதுபோல ஒரு பாடலப் பாடியிருந்திருக்கலாம். :P

[jaiganes]

Why couldn't a girl be queenly, and give the gift of herself- DH Lawrence (Lady Chatterley's Lover)

ராணியை ராணியாகவே இருந்துகொண்டு ரசிக்க ராஜா வேண்டுமே.

அது சரி, எனக்கு இங்கு என்ன வேலை?
என் இசை ரசனை கொஞ்சம் மட்டு என்று பலமுறை அங்கலாய்த்திருக்கிறேன். இதைக் கேட்டக் கேட்டு எரிச்சலடைந்த நண்பர்கள் தவிற, புதுஅறிமுகமாக கிடைக்கும் (சிக்கும்?) meesicalகள் 'இசையை ரசிக்க இரு காதுகள் இருப்பதே போதுமான தகுதி' என்பது போன்ற தாட்சண்யமான வார்த்தைகள் சொல்லி உற்சாகப்படுத்தி இருக்கிறார்கள்.

'படிப்பதற்கு இரு கண்கள் போதும்' என்று நான் யாரையாவது மனமாற சொல்லமுடிந்தால்தான் பிரபஞ்சம் சமநிலை எய்தும். நல்லிலக்கியம், உலக சினிமா என்று என் கழிவிரக்கப் பட்டியல் நீளமான ஒன்று. அவ்வத்திரிகளில் வெளிப்படையாகவும், க்ரூரமாகவும், பூடகமாகவும் இதைத் தெரிவித்துக்கொண்டு வருகிறேன். என் ரசனையின் நிறைகுறைகளைப் பற்றி படிப்பவர்களுக்கு அக்கறை உண்டு என்று ஏனோ எனக்கொரு நம்பிக்கை.

இசையைப் பற்றிப் பேச போதுமான vocabulary என்னிடம் இல்லாத நிலையில், அது ஏற்படுத்தும் தாக்கத்தைப் பற்றியே ஓரளவேனும் சொல்ல இயலும். அதிலும் சாகரத்தில் மூழ்காமல் அலைகளில் மட்டுமே கால்நனைத்தவனின் lack of proportionஇலிருது தப்புவதற்கில்லை. இவற்றையெல்லாம் மீறி இங்கே எழுதக் காரணம்: ரோஜாப் பூ ஆடிவந்தது (அக்னி நட்சத்திரம்).

போதுமான அளவு ராஜா பாடல்களைக் கேட்காதவர் மட்டுமே செய்யக்கூடிய செயலான 'ஆகச்சிறந்த பாடற்தொகுப்பு என்று ஒன்றை தேர்வு செய்வது', என்று வந்தால் என் தேர்வு: அக்னி நட்சத்திரம். அதில் 'ரோஜாப்பூ ஆடிவந்தது' இவ்விழையில் குறிப்பிடந்தகுந்த ஒன்று.

ceteris paribus, தலைவனுக்காக தலைவி ஏங்குவது என்பது தலைவிக்காக தலைவனுக்காக ஏங்குவதைக் காட்டிலும் கண்ணியக்குறைவானது என்ற எண்ணம் பொதுபுத்தியில் உள்ளது (என்னமோ அப்புத்தியிலிருந்து எனது மிக வித்தியாசமான ஒன்று என்று காட்டிக்கொள்ள முனைகிறேன் வாசகரே, கவனம்). சிறப்பாம்சத்தில் கவனமிலாது, பரவலை விரும்பும் ஆண்மனத்திற்கும், சிறப்பான ஒன்றை தேடும் கூர்நோக்கான பெண்மனத்திற்கும் சொல்லப்படும் உடலியல்/ பரிணாமவளர்ச்சி சார்ந்த காரணங்கள் புரிந்துகொள்ளத்தக்கதே. இங்கே கொதிப்படையும் பெண்ணியவாதிகள் மேலே படிக்காமல் கொஞ்ச நேரம் நற்றிணையில் லயித்திருங்கள்.

பெண்ணை எளிதான கிடைபொருளாகச் சித்தரிப்பதிலுள்ள பொய்யும், முரணுமே Erotica-வின் வேர்.
அதி நெருக்கத்தில் மட்டும் திறக்கும் மடையை அடைக்கும் சமூகத் தாழை, பொதுவில் விலக்கும் பாவனை செய்யும் படைப்புகளுக்கு ஒரு பாரம்பரியம் உண்டு. (இவ்விடத்தில் சங்ககாலம், விக்டோரிய ஒழுக்கக்கோட்பாடு பற்றியெல்லாம் அளக்கவேண்டியது கட்டுரையாளனின் கடமை. ஆனால், அவற்றைப் பற்றி உறுதியான ஒற்றைப் பரிமாண வரலாற்றுப் புரிதல்களை எட்டிவிடும் நம்பிக்கை எனக்கு இல்லை என்பதால் நீங்கள் பிழைத்தீர்கள்.) நெருக்கத்தில் வெளிப்படும் தன்மையை இயல்புச்(!) சமநிலையிலிருந்து நோக்கும்போது கிடைக்கும் தோற்றம் வேறானது. பல சமயம் அருவருப்பானது. ஆண் தன்னைப் பற்றியே மிக வித்தியாசமாகமாக உணரக்கூடிய சிந்தனைப்பாதை அது. ஆனால் அந்த சுயநோக்கு (introspection) மூலம் அவனது 'பெண்ணின் தன்மைமுரணை'ப்பற்றித் தோன்றும் சிந்தனைகள் மட்டுப்படுத்தப்படும் என்ற எதிர்பார்ப்பு மிகையே :-)

Life is Elsewhere என்ற புதினத்தில் மிலன் குந்தெரா இப்படிச் எழுதுவார்: a great love, which abruptly arrives like a lightning bolt, frees a woman at one stroke from all shame and inhibition.... love frees in her such a powerful source of unexpected inspiration that her spontaneous behavior can resemble the expert procedures of a depraved woman.

இதில் உள்ள depraved woman என்கிற பதத்தைக் கூட ஒரு ஆணீயப் பார்வை என்று இன்று சொல்லலாம் தான்.

நெருக்கமற்ற சூழல்களில் 'வேட்கை அழைப்பாக' தொனிக்கும் பாடல்களில் உள்ள மிகைக்கற்பனை/அதீத சித்தரிப்பு இருப்பது ஏன்? அதன் கண்ணியமின்மையும் ரசிகானுபவத்தின் பகுதியாக இருப்பதால் தான்.
'எண்ணுள்ளே என்னுள்ளே' பாடலை கண்ணியக்கொழுந்தாகவும் முனகல்மிகு 'ஏகாந்த வேளை' பாடலை கண்ணியலோபமாகவும் நாம் கருதுவது இயற்கைதானே. இரண்டாம் வகைப் பாடல்களை ஆத்மார்த்தமாக ரசித்தவர்கள் அரிதாக இருக்கலாம். என்னதான் இசை, 'புத்தியின் குறுக்கீடு இல்லாமல் ரசிக்கப்படக்கூடிய ஒரே கலை' என்றாலும், ஏதோ ஒரு வகையில் இரண்டாம்வகைப் பாடல்களை ரசிப்பதில் ஒரு குறுக்கீடு இருக்கத் தான் செய்கிறது. செய்நேர்த்தியை, அதன் patently trashy-தன்மையை மிகுந்த பிரக்ஞையுடன் தான் ரசிக்கிறோம்.

இவ்வகைப் பிரிவினைகளில் தெரிவது நமது மேற்பூச்சு மாயைதான். நாகரீகம் என்பது மேற்பூச்சு சம்மந்தப்பட்டது என்பதால், இதை ஒதுக்கிவிடமுடியாது. இப்போது பாட்டுக்கு வருகிறேன் (ஒரு வழியாக!)

ரோஜாப்பூ முதல்வகை வேடம்பூண்ட ஒரு இரண்டாம்வகைப் பாடல். "தாகம் தீருமா" என்ற சீண்டும் வரியைத் தவிற தொனியில் வெளிப்படையான சுண்டியிழுப்புகளும் தவிர்க்கப்பட்டிருக்கின்றன. பலமான வாத்திய அமைப்புள்ள பாடல் என்பதால் மிக ஆழ்ந்து கேட்டால் மட்டுமே வரிகள் பிடிபடும். வரிகள் (மெட்டுடன் மிகச்சிறப்பாக இணைபவை் அனால்) நேரடியானவை. எவ்வித பூடகமான குறிப்புணர்த்துதல்களும் கையாளப்படவில்லை. வேகமான மெட்டு, தாளவாத்தியங்கள் , இடையிசைச் சரங்களில் (interludes) உள்ள ஒரு வித துள்ளல் தன்மை (celebratory) எல்லாம் ஒரு வித 'சுத்திகரிப்பை' சாத்தியப்படுத்துகின்றன.

நமது கண்ணியத்தயக்கத்தை bypass செய்து 'நேரடியாக' ரசிக்க செய்திருக்கிறார். :clap:
ராஜா :bow:

பின்குறிப்பு
1) இத்தன்மை இப்பாடலுக்கு பிரத்யேகமானது என்று சொல்லவில்லை. இதுபோல பற்பல இருக்கலாம். சமீபத்தில் இப்பாடல் பற்றி இவ்வாறு தோன்றியது. இங்கே இறக்கி வைத்து விட்டேன்.
2) இத்தன்மை இப்பாடலின் attribute அல்ல, எனது மிகைவாசிப்பே என்பீர்களாயின: நிச்சயமாக இருக்கலாம். 'பிடித்துப்போவதற்கெல்லாம் வியாக்கியானம் தேடக்கடவது' என்றொறு ரிஷி போன ஜென்மத்தில் என் மீது கமண்டலநீர் எரிந்திருக்கலாம். என்னைச்சொல்லி குற்றமில்லை. ரிஷிபத்தினி இதுபோல ஒரு பாடலப் பாடியிருந்திருக்கலாம். :P

ஒன்னும் புரியலை!
ஆனாலும் நல்லாவே இருக்குது!!
அதனால தான் சொல்றேன்..
நீங்க நீங்க தான்!
நாங்க நாங்க தான்.

நகைச்சுவையை அப்பால தள்ளிட்டு உள்ளார போயி பாத்தா...
பருகூர் ராஜா ஆரம்பித்த இந்தத்திரியில் இவ்வகையான பாடலுக்கு யாரும் பொழிப்புரை தர இது வரை முன்வந்ததில்லை. இதுவும் விக்டோரிய காலக்கட்டுப்பாடுகள் இன்னமும் நம் மனதை ஆக்ரமித்துள்ளமையால் விளைந்ததாக இருக்கலாம். நீங்கள் தான் இத்தனை விரிவாக விளம்பி இருக்கிறீர்கள். வாழ்த்துக்கள்.
இருவர் கூடி கலக்கும் சமயம் நாசூக்கானது.
அதை நாட்டுப்புற இலக்கியம் வெளிப்படையாகவே வைத்து சொல்கிறது. ஏனெனில் அவர்கள் (நாட்டுப்புற மாந்தர்) இயற்கையோடு ஒன்றிவிட்டவர்கள். இந்த மெல்லிய காமம், நாணம் புதைந்த காமம் என்பவை அவர்களுக்கு தேவையற்ற ஒன்று.
மேல்சாதியினரைப்பொருத்தவரை முகலாய ஆதிக்க காலம் தொட்டு, மனை மகளிர் பாதுகாக்க வேண்டிய பொருளாய்ப்போனார்கள். அதன் விளைவாக காமமும் இலையின் மறைவுக்குப்போனது. குடியானவர்களுக்கோ வாழ்வும் அதன் முறைகளும் வானமும் பூமியும் பார்க்கவே நடக்கின்றது. என்வே அவர்கள் நிலையில் நின்று தமிழ்த்திரைப்படம் பேச வேண்டிய போதெல்லாம் காமம் சார்ந்த உணர்ச்சிகள் கொஞ்சம் தைரியமாகவும், மேல்சாதியினர் குறித்த கதைகளில் அவை பூடகமாகவும் ரஸாபாஸமாகவும் உணர்த்தப்பெற்றன. நீங்கள் கொண்டு வந்திருக்கும் இந்த உதாரணமும் அவ்வண்ணமே அமைந்துள்ளது. இதே கூட்டணி அமைத்த முந்தைய படைப்பான "நாயகன்" படத்திலும், "நெலா அது வானத்து மேல" பாடலும் "நீ ஒரு காதல் சங்கீதம்" எனும் பாடலும் அமைந்த விதமும் வேறு வேறாக அமைந்துள்ளதும் குறிப்பிட்டு ஆயப்படவேண்டிய ஒன்று (அத்தகைய ஆய்வு புணித வாதிகளை சற்றே புண்படுத்தினாலும் பரவாயில்லை).

[Sureshs65]

P_R,

Lovely post. Very good analysis. I think if someone were to seriously listen to the 'erotic songs' of Raja, he / she can easily complete a PhD!!! As I had said in one of the earliest posts in the thread, Raja had given multiple colours to this most human of emotions. Be it aggressive, be is subtle, be it coy. You can just go on and on. Such is the scope of this subject and the amount of work done by Raja in this area is phenomenal. (And remember, we had no loss here, though Raja gave this people on a first come first served basis :) )

[jaiganes]

Why couldn't a girl be queenly, and give the gift of herself- DH Lawrence (Lady Chatterley's Lover)

ராணியை ராணியாகவே இருந்துகொண்டு ரசிக்க ராஜா வேண்டுமே.

அது சரி, எனக்கு இங்கு என்ன வேலை?
என் இசை ரசனை கொஞ்சம் மட்டு என்று பலமுறை அங்கலாய்த்திருக்கிறேன். இதைக் கேட்டக் கேட்டு எரிச்சலடைந்த நண்பர்கள் தவிற, புதுஅறிமுகமாக கிடைக்கும் (சிக்கும்?) meesicalகள் 'இசையை ரசிக்க இரு காதுகள் இருப்பதே போதுமான தகுதி' என்பது போன்ற தாட்சண்யமான வார்த்தைகள் சொல்லி உற்சாகப்படுத்தி இருக்கிறார்கள்.

'படிப்பதற்கு இரு கண்கள் போதும்' என்று நான் யாரையாவது மனமாற சொல்லமுடிந்தால்தான் பிரபஞ்சம் சமநிலை எய்தும். நல்லிலக்கியம், உலக சினிமா என்று என் கழிவிரக்கப் பட்டியல் நீளமான ஒன்று. அவ்வத்திரிகளில் வெளிப்படையாகவும், க்ரூரமாகவும், பூடகமாகவும் இதைத் தெரிவித்துக்கொண்டு வருகிறேன். என் ரசனையின் நிறைகுறைகளைப் பற்றி படிப்பவர்களுக்கு அக்கறை உண்டு என்று ஏனோ எனக்கொரு நம்பிக்கை.

இசையைப் பற்றிப் பேச போதுமான vocabulary என்னிடம் இல்லாத நிலையில், அது ஏற்படுத்தும் தாக்கத்தைப் பற்றியே ஓரளவேனும் சொல்ல இயலும். அதிலும் சாகரத்தில் மூழ்காமல் அலைகளில் மட்டுமே கால்நனைத்தவனின் lack of proportionஇலிருது தப்புவதற்கில்லை. இவற்றையெல்லாம் மீறி இங்கே எழுதக் காரணம்: ரோஜாப் பூ ஆடிவந்தது (அக்னி நட்சத்திரம்).

போதுமான அளவு ராஜா பாடல்களைக் கேட்காதவர் மட்டுமே செய்யக்கூடிய செயலான 'ஆகச்சிறந்த பாடற்தொகுப்பு என்று ஒன்றை தேர்வு செய்வது', என்று வந்தால் என் தேர்வு: அக்னி நட்சத்திரம். அதில் 'ரோஜாப்பூ ஆடிவந்தது' இவ்விழையில் குறிப்பிடந்தகுந்த ஒன்று.

ceteris paribus, தலைவனுக்காக தலைவி ஏங்குவது என்பது தலைவிக்காக தலைவனுக்காக ஏங்குவதைக் காட்டிலும் கண்ணியக்குறைவானது என்ற எண்ணம் பொதுபுத்தியில் உள்ளது (என்னமோ அப்புத்தியிலிருந்து எனது மிக வித்தியாசமான ஒன்று என்று காட்டிக்கொள்ள முனைகிறேன் வாசகரே, கவனம்). சிறப்பாம்சத்தில் கவனமிலாது, பரவலை விரும்பும் ஆண்மனத்திற்கும், சிறப்பான ஒன்றை தேடும் கூர்நோக்கான பெண்மனத்திற்கும் சொல்லப்படும் உடலியல்/ பரிணாமவளர்ச்சி சார்ந்த காரணங்கள் புரிந்துகொள்ளத்தக்கதே. இங்கே கொதிப்படையும் பெண்ணியவாதிகள் மேலே படிக்காமல் கொஞ்ச நேரம் நற்றிணையில் லயித்திருங்கள்.

பெண்ணை எளிதான கிடைபொருளாகச் சித்தரிப்பதிலுள்ள பொய்யும், முரணுமே Erotica-வின் வேர்.
அதி நெருக்கத்தில் மட்டும் திறக்கும் மடையை அடைக்கும் சமூகத் தாழை, பொதுவில் விலக்கும் பாவனை செய்யும் படைப்புகளுக்கு ஒரு பாரம்பரியம் உண்டு. (இவ்விடத்தில் சங்ககாலம், விக்டோரிய ஒழுக்கக்கோட்பாடு பற்றியெல்லாம் அளக்கவேண்டியது கட்டுரையாளனின் கடமை. ஆனால், அவற்றைப் பற்றி உறுதியான ஒற்றைப் பரிமாண வரலாற்றுப் புரிதல்களை எட்டிவிடும் நம்பிக்கை எனக்கு இல்லை என்பதால் நீங்கள் பிழைத்தீர்கள்.) நெருக்கத்தில் வெளிப்படும் தன்மையை இயல்புச்(!) சமநிலையிலிருந்து நோக்கும்போது கிடைக்கும் தோற்றம் வேறானது. பல சமயம் அருவருப்பானது. ஆண் தன்னைப் பற்றியே மிக வித்தியாசமாகமாக உணரக்கூடிய சிந்தனைப்பாதை அது. ஆனால் அந்த சுயநோக்கு (introspection) மூலம் அவனது 'பெண்ணின் தன்மைமுரணை'ப்பற்றித் தோன்றும் சிந்தனைகள் மட்டுப்படுத்தப்படும் என்ற எதிர்பார்ப்பு மிகையே :-)

Life is Elsewhere என்ற புதினத்தில் மிலன் குந்தெரா இப்படிச் எழுதுவார்: a great love, which abruptly arrives like a lightning bolt, frees a woman at one stroke from all shame and inhibition.... love frees in her such a powerful source of unexpected inspiration that her spontaneous behavior can resemble the expert procedures of a depraved woman.

இதில் உள்ள depraved woman என்கிற பதத்தைக் கூட ஒரு ஆணீயப் பார்வை என்று இன்று சொல்லலாம் தான்.

நெருக்கமற்ற சூழல்களில் 'வேட்கை அழைப்பாக' தொனிக்கும் பாடல்களில் உள்ள மிகைக்கற்பனை/அதீத சித்தரிப்பு இருப்பது ஏன்? அதன் கண்ணியமின்மையும் ரசிகானுபவத்தின் பகுதியாக இருப்பதால் தான்.
'எண்ணுள்ளே என்னுள்ளே' பாடலை கண்ணியக்கொழுந்தாகவும் முனகல்மிகு 'ஏகாந்த வேளை' பாடலை கண்ணியலோபமாகவும் நாம் கருதுவது இயற்கைதானே. இரண்டாம் வகைப் பாடல்களை ஆத்மார்த்தமாக ரசித்தவர்கள் அரிதாக இருக்கலாம். என்னதான் இசை, 'புத்தியின் குறுக்கீடு இல்லாமல் ரசிக்கப்படக்கூடிய ஒரே கலை' என்றாலும், ஏதோ ஒரு வகையில் இரண்டாம்வகைப் பாடல்களை ரசிப்பதில் ஒரு குறுக்கீடு இருக்கத் தான் செய்கிறது. செய்நேர்த்தியை, அதன் patently trashy-தன்மையை மிகுந்த பிரக்ஞையுடன் தான் ரசிக்கிறோம்.

இவ்வகைப் பிரிவினைகளில் தெரிவது நமது மேற்பூச்சு மாயைதான். நாகரீகம் என்பது மேற்பூச்சு சம்மந்தப்பட்டது என்பதால், இதை ஒதுக்கிவிடமுடியாது. இப்போது பாட்டுக்கு வருகிறேன் (ஒரு வழியாக!)

ரோஜாப்பூ முதல்வகை வேடம்பூண்ட ஒரு இரண்டாம்வகைப் பாடல். "தாகம் தீருமா" என்ற சீண்டும் வரியைத் தவிற தொனியில் வெளிப்படையான சுண்டியிழுப்புகளும் தவிர்க்கப்பட்டிருக்கின்றன. பலமான வாத்திய அமைப்புள்ள பாடல் என்பதால் மிக ஆழ்ந்து கேட்டால் மட்டுமே வரிகள் பிடிபடும். வரிகள் (மெட்டுடன் மிகச்சிறப்பாக இணைபவை் அனால்) நேரடியானவை. எவ்வித பூடகமான குறிப்புணர்த்துதல்களும் கையாளப்படவில்லை. வேகமான மெட்டு, தாளவாத்தியங்கள் , இடையிசைச் சரங்களில் (interludes) உள்ள ஒரு வித துள்ளல் தன்மை (celebratory) எல்லாம் ஒரு வித 'சுத்திகரிப்பை' சாத்தியப்படுத்துகின்றன.

நமது கண்ணியத்தயக்கத்தை bypass செய்து 'நேரடியாக' ரசிக்க செய்திருக்கிறார். :clap:
ராஜா :bow:

பின்குறிப்பு
1) இத்தன்மை இப்பாடலுக்கு பிரத்யேகமானது என்று சொல்லவில்லை. இதுபோல பற்பல இருக்கலாம். சமீபத்தில் இப்பாடல் பற்றி இவ்வாறு தோன்றியது. இங்கே இறக்கி வைத்து விட்டேன்.
2) இத்தன்மை இப்பாடலின் attribute அல்ல, எனது மிகைவாசிப்பே என்பீர்களாயின: நிச்சயமாக இருக்கலாம். 'பிடித்துப்போவதற்கெல்லாம் வியாக்கியானம் தேடக்கடவது' என்றொறு ரிஷி போன ஜென்மத்தில் என் மீது கமண்டலநீர் எரிந்திருக்கலாம். என்னைச்சொல்லி குற்றமில்லை. ரிஷிபத்தினி இதுபோல ஒரு பாடலப் பாடியிருந்திருக்கலாம். :P

இதே வரிசையில், இதே பொருள்பட நாட்டுப்புற பாடலை மைய்யப்படுத்தி, சில இடங்களில் இதேபாடலின் பண் சாயலில் இளையராஜா அமைத்த இன்னொரு பாடல் பொன்விலங்கு படத்தில் வரும் சந்தன கும்பா பாடல். உங்களுக்கும் ரோஜாப்பூ ஆடி வந்தது நினைவுக்கு வந்தால் சொல்லவும்...
http://www.thiraipaadal.com/album.php?ALBID=ALBIRR00496&lang=en

[P_R]

Thanks suresh.

JG, far from. This is more 'appattam' (though thanks to Uma Ramanan there is a marked lack of oomph - not for want of trying on her part. Very trying she is. :-)

Rojappoo can be sung in front of a family audience, school band for annual day where parents attend - and it would be passed :lol2:

[jaiganes]

Thanks suresh.

JG, far from. This is more 'appattam' (though thanks to Uma Ramanan there is a marked lack of oomph - not for want of trying on her part. Very trying she is. :-)

Rojappoo can be sung in front of a family audience, school band for annual day where parents attend - and it would be passed :lol2:
oh no.. not that way..
I said the tune and lyrics are dangerously similar.

[jaiganes]

http://www.youtube.com/watch?v=4ps-8Zjb-iM

BTW roaming the city streets on a bed with your girl friend - what does it qualify under? Exhibitionism? or candaulism (as wiki says here --> http://en.wikipedia.org/wiki/Candaulism) dont be scared.. the video is not that detailed, but the suggestions are funny to objectionable depending on your POV. There is one more thamizh song by Bhagyaraj on similar lines...
Ahh here it is..
http://www.youtube.com/watch?v=JhCQgaXPVgM

Fantastic counterpoints (vocal) by SPB and Janaki start of this wonderful song. Both the songs are musical masterpieces, however as a kid one never got to see the videos and now I realize why (:-)). Watch out for the animation done in pre shankar days in thamizh films...
Both the songs demonstrate the growth of technology and its use in song sequences and the embarassment that artistes had to undergo in the first song is averted by superior use of technology in the latter song...
Happy friday folks!!!!

[tvsankar]

chittu kuruvi

right a thappa nu theiryadhu.
en amma - tamizh - kavidhai - homework la busy a irundhanga..
MUDUGU - type kavidhai.....

mudugu patri - epadi nu sonnanga.

adha kaetadhum - enaku indha paatu dhan - chittu kuruvi
idhu dhan thoniyadhu..........

MUDUGU list la varuma indha paata....

Raja ku - tamizhla neraiya theirnju iruku .............

[KV]

Oh great creator of being,
grant us one more hour,
to perform our art,
and perfect our lives.
We need great golden copulations.

Thus wrote the immortal Jim Morrison, in what can be inferred as an elevated soul in an escalated state of mind, in the song that I consider to be one his most imaginative and brilliant poetries, The Ghost Song (http://www.lyricsfreak.com/d/doors/the+ghost+song_20042659.html).

Well, it isn’t this one that I’m to write about here. Rather, it’s a song that starts off with lines that could well be a nod to Morrison’s prayer, or maybe its just me! Ok, I’m talking about the song ‘Deham pon deham, ondrodu ondraagum vizha’ from a seemingly nondescript Thamizh movie from the 80s called ‘Anbulla Malare’.

When I had picked this CD last year (by the beleaguered Inreco label, featuring Anbulla malare, Yennai paar yen azhagai paar and Iravu pookkal) I noticed this song listed on its cover, which had Janaki credited as its singer. Almost immediately, I guessed, and hoped, it would be an erotica-musical-delight, the likes of which include Vazhimel Vizhiyaal, Pon meni urugudhey, Nalla neram neram, Unakkum enakkum anandham, and other ‘item numbers’ of this composer-vocalist combination.

Here’s where you can listen to this album (some sublime melodies in there too)
http://www.raaga.com/channels/tamil/moviedetail.asp?mid=t0002642

A solo flute to kick start proceedings? Ok, not unexpected.
Picking up from the flute, a pulsating bass line? We’re discussing Raja, aren’t we?
A constant Mrudangam beat and keyboard chords to keep company? Again, not unexpected, right?
This forms the 30 secs prelude. Now, isn’t there something strange about how the prelude sounds considering this is an erotic number? I’m referring to the images of sunrise, tender light of dawn, serenity of morning hours, etc., for this is the picture I could form in my mind.
(If we bother to dwell a bit into this technically, the short keyboard piece towards the end of the prelude roughly starts off this way:
Sa Ri1 Ga3 Pa, Pa Da1 Pa Ga3 Pa. A very Bhupalam like start which I later figured is actually Revagupti (Ga3 instead of 2). Now, this ragam, like Bhupalam is generally regarded as a morning ragam).

Janaki now picks up from the prelude, ‘Deham pon deham’. A faint quiver in the singing evokes a sense of inhibition blossoming into excitement. A husky tone of shyness entwines an energetic tone of passionate longing.

The first para plays within the Revagupti scale again. The bass guitar here is something I doubt anyone other than IR can conjure. It cuts across the vocals in a sort of hop-skip-jump manner and treads a unique path altogether, while still firmly supporting the structure of the song. The background rhythm packs together a mrudrangam, bongo and drums, with the mrudangam driving it with a fast and continuous pattern.

A syncopation piece on the keyboard punctuates the beginning of the first interlude that has a little flute solo, a Bharathiraja-style over-nourished-aunties-in-white-fairy-gowns-performing-aerobics-amidst-romancing-couple chorus section, and ending in an electric guitar lead.

The charanam section is where the gears are shifted from foreplay to primary centerpiece action (pun unintended). The song structuring here, too, is done in a way, where momentum builds-up, reaches a crescendo, lingers momentarily in a state of high-tension (vocals and instruments briefly pause, a solo bass line pounds heavily and the mrudangam drill beat joins in), reaches the summit (singing resumes, other instruments join back), before gradually descending back to normalcy.

(He uses an anya swaram in the form of Ni in the charanam, but otherwise the base ragam remains the same)

Now why would one want to set such a song to a morning raga? Is not this theme generally associated with night? However, it can be seen that advisory texts speak of a certain charm/magic of the hour of dawn and its significance in the ritual. Is this essence of choosing a ragam commonly associated with dawn? Is this what Morrison implied when he asked ‘grant us one more hour, to perform our art, and perfect our lives’?

Raja, Janaki :bow:

[jaiganes]

Awesome song!! Thanks to moderators for unearthing this thread..
@KV - yaar saar neenga? pinni pirichu menjuteenga!!!
It is indeed a morning raaga singing the joys of energetic night..
The interlude and "inter charanam ludes" (first time I am hearing this in a song from Raaja) - The most striking
aspect is the use of Electric guitar - It is constant, it joins two or three other instruments in its musical "love" - but always playing the
"leader" - the use of synth and this elec guitar is straight out of the "Ee daaha ee moha" recipe from Bharjari bete cook book. It for sure plays "some form of Subapanthuvaraali" evoking some gloomy vision too. (Need to see the picturisation -albeit secretly).
I had remarked in an earlier discussion in a separate thread that we should not use the word "arrangement" when it comes to reviewing instruments and their tracks in an Ilaiyaraaja song. The word I had suggested was "Creative aural alignments" - This is best experienced in the way the electric guitar has been set to play together with flute, then with keyboard and then alone at different phases of the song. A truly marvellous song - And a big O for the use of mridangam in this song - it conveys the undercurrents in a better way than a tabla... in this case..

[AravindMano]

KV - :thumbsup:

[V_S]

@KV - yaar saar neenga? pinni pirichu menjuteenga!!!

Exactly! KV pinni pedal eduthuteenga! :thumbsup:

Aravind, sorry it's not me and it will not be me :)

[AravindMano]

V_S - :oops: Confees.

[thumburu]

Oh great creator of being,
grant us one more hour,
to perform our art,
and perfect our lives.
We need great golden copulations.

Thus wrote the immortal Jim Morrison, in what can be inferred as an elevated soul in an escalated state of mind, in the song that I consider to be one his most imaginative and brilliant poetries, The Ghost Song (http://www.lyricsfreak.com/d/doors/the+ghost+song_20042659.html).

Well, it isn’t this one that I’m to write about here. Rather, it’s a song that starts off with lines that could well be a nod to Morrison’s prayer, or maybe its just me! Ok, I’m talking about the song ‘Deham pon deham, ondrodu ondraagum vizha’ from a seemingly nondescript Thamizh movie from the 80s called ‘Anbulla Malare’.

When I had picked this CD last year (by the beleaguered Inreco label, featuring Anbulla malare, Yennai paar yen azhagai paar and Iravu pookkal) I noticed this song listed on its cover, which had Janaki credited as its singer. Almost immediately, I guessed, and hoped, it would be an erotica-musical-delight, the likes of which include Vazhimel Vizhiyaal, Pon meni urugudhey, Nalla neram neram, Unakkum enakkum anandham, and other ‘item numbers’ of this composer-vocalist combination.

Here’s where you can listen to this album (some sublime melodies in there too)
http://www.raaga.com/channels/tamil/moviedetail.asp?mid=t0002642

A solo flute to kick start proceedings? Ok, not unexpected.
Picking up from the flute, a pulsating bass line? We’re discussing Raja, aren’t we?
A constant Mrudangam beat and keyboard chords to keep company? Again, not unexpected, right?
This forms the 30 secs prelude. Now, isn’t there something strange about how the prelude sounds considering this is an erotic number? I’m referring to the images of sunrise, tender light of dawn, serenity of morning hours, etc., for this is the picture I could form in my mind.
(If we bother to dwell a bit into this technically, the short keyboard piece towards the end of the prelude roughly starts off this way:
Sa Ri1 Ga3 Pa, Pa Da1 Pa Ga3 Pa. A very Bhupalam like start which I later figured is actually Revagupti (Ga3 instead of 2). Now, this ragam, like Bhupalam is generally regarded as a morning ragam).

Janaki now picks up from the prelude, ‘Deham pon deham’. A faint quiver in the singing evokes a sense of inhibition blossoming into excitement. A husky tone of shyness entwines an energetic tone of passionate longing.

The first para plays within the Revagupti scale again. The bass guitar here is something I doubt anyone other than IR can conjure. It cuts across the vocals in a sort of hop-skip-jump manner and treads a unique path altogether, while still firmly supporting the structure of the song. The background rhythm packs together a mrudrangam, bongo and drums, with the mrudangam driving it with a fast and continuous pattern.

A syncopation piece on the keyboard punctuates the beginning of the first interlude that has a little flute solo, a Bharathiraja-style over-nourished-aunties-in-white-fairy-gowns-performing-aerobics-amidst-romancing-couple chorus section, and ending in an electric guitar lead.

The charanam section is where the gears are shifted from foreplay to primary centerpiece action (pun unintended). The song structuring here, too, is done in a way, where momentum builds-up, reaches a crescendo, lingers momentarily in a state of high-tension (vocals and instruments briefly pause, a solo bass line pounds heavily and the mrudangam drill beat joins in), reaches the summit (singing resumes, other instruments join back), before gradually descending back to normalcy.

(He uses an anya swaram in the form of Ni in the charanam, but otherwise the base ragam remains the same)

Now why would one want to set such a song to a morning raga? Is not this theme generally associated with night? However, it can be seen that advisory texts speak of a certain charm/magic of the hour of dawn and its significance in the ritual. Is this essence of choosing a ragam commonly associated with dawn? Is this what Morrison implied when he asked ‘grant us one more hour, to perform our art, and perfect our lives’?

Raja, Janaki :bow:

That was a nice walk through of the song that I have been desperately seeking after I lost my old cassette of assorted rare Raja gems. I think you must be the next soul to talk about this song in this forum.
My post about this song way back 2006 on "Drunk songs of Raja thread" - attached :
----------------------------------------------------------
How can you guys forget the immortal "rama aandaalum ravana aandaalum" from "Mullum malarum? ". Raja is a cocktail expert in providing the ultimate intoxication.
"malar konda poongodi
madhu undu aadudhu" - SJ again for a very tipsy Sridevi in the movie "Kavarimaan".
One of my gud old cassettes contains a rare IR song with SJ crooning a seductive number starting something like "deham sandhegam onrodu ondragum vizha.." - not very sure about the lyrics. But the tune is fantastic , set PanthuvaraLi or Kamavardhini scale [Scale that is supposed to cause sensual ]feelings] . The orchestration is very energetic with a prominent bass guitar , mridhangam for rythms. Could anybody tell me the movie?

kingvj, no , not "en deham amudham" , though it can be included in this "bodhai" list of Raja too. The song that Iam referring to goes like
"deham .. sandhegham ..
ondrodu ondraagum vizhaa" . This song is a high voltage , high octane tempo song with pounding bass and mridhangam for rythms.
"En deham amudham" is a sweet. sensual number. I have also mentioned about the excellent tabla in some old thread.
---------------------
My bad, Iam unable to play any song from raaga and the other sites have only the rest of the popular melodies without this. Thanks for sharing the details of raga and movie name. I had the preconceived notion that it must be in panthuvaraLi , but after reading ur post, I hummed the song and could make out Bowli/BhoopaLam early morning scale being put to use. I only wish I could listen to this rare, precious piece sometime :(

[jaiganes]

That was a nice walk through of the song that I have been desperately seeking after I lost my old cassette of assorted rare Raja gems. I think you must be the next soul to talk about this song in this forum.
My post about this song way back 2006 on "Drunk songs of Raja thread" - attached :
----------------------------------------------------------
How can you guys forget the immortal "rama aandaalum ravana aandaalum" from "Mullum malarum? ". Raja is a cocktail expert in providing the ultimate intoxication.
"malar konda poongodi
madhu undu aadudhu" - SJ again for a very tipsy Sridevi in the movie "Kavarimaan".
One of my gud old cassettes contains a rare IR song with SJ crooning a seductive number starting something like "deham sandhegam onrodu ondragum vizha.." - not very sure about the lyrics. But the tune is fantastic , set PanthuvaraLi or Kamavardhini scale [Scale that is supposed to cause sensual ]feelings] . The orchestration is very energetic with a prominent bass guitar , mridhangam for rythms. Could anybody tell me the movie?

kingvj, no , not "en deham amudham" , though it can be included in this "bodhai" list of Raja too. The song that Iam referring to goes like
"deham .. sandhegham ..
ondrodu ondraagum vizhaa" . This song is a high voltage , high octane tempo song with pounding bass and mridhangam for rythms.
"En deham amudham" is a sweet. sensual number. I have also mentioned about the excellent tabla in some old thread.
---------------------
My bad, Iam unable to play any song from raaga and the other sites have only the rest of the popular melodies without this. Thanks for sharing the details of raga and movie name. I had the preconceived notion that it must be in panthuvaraLi , but after reading ur post, I hummed the song and could make out Bowli/BhoopaLam early morning scale being put to use. I only wish I could listen to this rare, precious piece sometime :(
As regards to panthuvaraali Vs Bhoopaalam - The interludes speak "panthuvaraali" reminding me of "ee daaha"..

[rajkumarc]

KV - Great post about the Dhegam Pon Dhegam song. Completely bowled over by this song and your post.

[KV]

Thanks guys :smile: Ellam Raaja seyal!

[Bala (Karthik)]

KV
Thanks a lot for introducing us (me) to this song. Brilliant song and superb write-up

Jai,
Yes, can't remember another instance where God has used an inter-charanam-lude....

[Bala (Karthik)]

Chalakku Chalakku Sela - Sembaruthi

This song is packed with surprises (prelude and the choice of chakravaham to start with) and "moments" throughout. And the guitar and the first interlude are of course Raaja-level

:Raajaness-is-godliness:

[Sureshs65]

Aaha. At last Raja brings Bala(Karthik) out of hibernation :) Welcome.

[jaiganes]

Chalakku Chalakku Sela - Sembaruthi

This song is packed with surprises (prelude and the choice of chakravaham to start with) and "moments" throughout. And the guitar and the first interlude are of course Raaja-level

:Raajaness-is-godliness:

guitar usage tweaking to create a mood -
அந்த மண்டைல எப்படி இது தோணிச்சு? இப்பல்லாம் synth + computer ஈசியா பண்ணிடுது இல்லையா?

[KV]

KV
Thanks a lot for introducing us (me) to this song. Brilliant song and superb write-up

Jai,
Yes, can't remember another instance where God has used an inter-charanam-lude....

Nandri B(K). The inter-charanam-lude is quite unique indeed and look at its effectiveness, its exactness.
The charanam, from its start already proceeds with gears shifted up. Then he suddenly escalates it further, and its how he chooses to do it - a commanding, pounding bass line laced with a contrasting, shivery keyboard lead. Orgasmic accentuation!
The lyrics that immediately follows here - inbam ennum uchcham, adhil innum illai michcham - oh, could'nt have been more apt!
If this was tune first, lyrics next, lyricistku oru kumbudu. If it was paatukku mettu, dhievame, for that godly sleight of hand, saashtangam!

Chalakku chalakku got me searching for the 'Classical Ilayaraja (http://tfmpage.com/ci/)' articles by (by Lakshminarayan Srirangam Ramakrishnan). Seeding days of my IR fanaticism! (is LSR still an active hubber?)

[Bala (Karthik)]

Aaha. At last Raja brings Bala(Karthik) out of hibernation :) Welcome.
//dig
Nandri nga. What's life without God? Always on.... :)

Wanted your clarification on something that's been eating my head:
What is the time signature of the song "Devanin Koyilile" (Vellai Roja)? Looks like 3 beat going by the tune but the rhythm doesn't seem so. Conpees! (Idha Indha thread dhaan kedachidha nu kekkaadheenga)

[Sureshs65]

Bala,

I think you were referring to 'Devanin Kovil' of 'Aruvadai Naal'. Heard it now trying to figure out the time signature. My feeling is that the actual rhythm played is the 4 beat but when the rhythm plays in the charanams, the congos (or bongos) join with a different time signature, giving a sort of what Ravi Natarajan calls the polyrhythm effect. The rhythm keeps the 4 beat constant. The pallavi is 4 beat but in the charanam, Raja doesn't do a 4 beat strictly as far as the tune is concerned.

If you observe the charanam lines, "naan oru soga / sumaithangi' 'thunbam thaangum / idithangi'. In this, the first part, 'naan oru soga' occupies 5 beats and the second part, 'sumaithangi' occupies 3 beats. In short instead of going 4 + 4, Raja goes 5 +3 as far as tune is concerned throughout the charanam. All the while keeping the 4 beat constant in the background. This creates a sort of asymmetric effect, which is ofcourse delicious.

And to end with the mandatory, "Thanks for making me listen to the lovely song again".

[Bala (Karthik)]

Suresh,
No, i meant the Malaysia Vasudevan song "Devanin Koyilile yaavarum deepangale" from the NT starrer 'Vellai Roja'

[Sureshs65]

Aaa aah. So I have been 'pudungifying' all unwanted nails !!! :)

Hearing the 'Devanin Kovilile' of 'Vellai Roja' for the first time. The song is indeed a 3 beat one. The rhythm though is 4 beat. That is why when the pallavi ends you can hear the drum beat play a different roll so as to get in sync with the 3 beat. Thanks for pointing to this song. A very nice and energetic one indeed. Can be used as the proof of Raja's 'energy' with drumming that app_eng was talking about in another thread.

I think we will stop this one now. People may come here thinking some new erotic update has happened only to read some 'dandanaka' update!!!

[V_S]

KV,
'Dhegam Pon Dhegam' thirumbavum kettaen, could not stop this song. Continuous'a oru 20 thadava kettiruppen. I could not forget SJ's singing, bass tracks, mridangam and what not, captured me completely. Even though sung softly, a very very wild song and the wildest imagination from Maestro! Even I cannot convince myself such an outstanding composition is coming from a obscure movie, as it will never be heard (other than HCIRFs). But how come Raja got convinced to give such a song to a film like this. Just because he never treats any film inferior or superior, it is the destiny and as if this song has to be born in that 'hour of need'. Easily the song of that decade!. To create a composition like this, only Raja can do, nobody else. :notworthy: Engeyo piranthirukka vendiyavar, very very unlucky :( romba kashtama irukku.

Thanks again for introducing such an almighty!

[skr]

Just heard Dhegam Pon Dhegam..Simply blown away..Thanks for unravelling this hidden treasure..

[Bala (Karthik)]

Suresh,
Mikka nandri Thala. Yes, that's how it sounded to me...

"That is why when the pallavi ends you can hear the drum beat play a different roll so as to get in sync with the 3 beat" - idhe dhaan. Arumaya reconcile panniruppaaru...



Hearing the 'Devanin Kovilile' of 'Vellai Roja' for the first time. The song is indeed a 3 beat one. The rhythm though is 4 beat. That is why when the pallavi ends you can hear the drum beat play a different roll so as to get in sync with the 3 beat. Thanks for pointing to this song. A very nice and energetic one indeed. Can be used as the proof of Raja's 'energy' with drumming that app_eng was talking about in another thread.

I think we will stop this one now. People may come here thinking some new erotic update has happened only to read some 'dandanaka' update!!!

[Bala (Karthik)]

Like others here, completely blown away by Dhegam Pon Dhegam :omg: When it comes to bass lines, Raaja is the undisputed emperor, a monopoly.
And SJ is the best, bar none

There was an interview with Vijay Antony in Aanandha Vigadan recently. On being asked if he was a fan of any MD, he said something like this (not verbatim):
"Naan oru isaiyamaippaalarukku dhaan rasigan. Avar Ilaiyaraaja. Avar senjadha yaaralayum seyya mudiyaadhu. Andha yaanai thinnuttu potta michatha dhaan naanga yellarum senjutrukkom"

[Sureshs65]

KV,

Just realised that I had also posted about this same song in the early days of this thread. This is what I wrote:

"The next song I want to bring to notice is from the film 'Anbullale Malare'. The song is 'daeham pondaegam'. Sung by, who else, Janaki. If you observe the other erotic songs, Raja almost always uses a rhythm which is not free flowing. Technically he doesn't prefer using the chatusram or 4x4 gait. It generally is a gait like 5x4 or what we call the kanda nadai. The gap in the beats and a sort of asymmetry reflecting the unsteadiness of the mind during times of passion. Think of 'ponmeni urugude', 'sviarathiri', 'nethi raatiri' etc. This particular song breaks that mold and the rhythm is a free flowing one (though the song is not!!) The rhythm in this song accentuates the desire of the singer. The rhythm goes constantly and with an urgency. The tune doesn't move smoothly but instead moves in a sort of start and stop manner. And this creates the necessary tension in the song. The bass guitar with the drums starting the proceedings with the mridangam, synthesizer and the lead guitar joining in. This is an excellent example of an outstanding team performance. Everyone, the bass and lead guitars, synthesizer, drums, mridangist and Janaki are in top form. This is orchestration to die for. I am sure people like app_eng and shank, who love this sort of sounds, are ecstatic about this song. Will we ever get back such ensemble performances? (Unfortunately thiraipaadal does not have this song. If some kind soul can upload it or link it, I am sure there will be many who will shower their blessings on him / her.)"

[jaiganes]

யாரும் தொடாத ஒன்றை (http://www.thiraipaadal.com/tpplayer.asp?sngs=%27SNGIRR0146%27&lang=en)
This song from Ajanthaa is on the playlist for the past 2 days and all I have done in the while is to just press the "replay" button.
It is a duet and who knew Raaja's voice would sound so apt with Shreya Ghosal's voice.
This is a beautiful tribute to RDB's "Roop tera masthaana". The erotica element is in the backing synth counter punches
to the lead singer voices. The accoustic guitar sets up the mood wonderfully. The humming layer enhances the mood.

Two elements need special mention.
First one is phonic - the synth passage (it is structured circularly) that repeats in the pallavi - is so conceived that one
conjures up the image of a cloth caught rotating in the washing machine drum or alternatively - two people caught in a room
in private (hum tum ek kamre main bandh ho ;-) ).
The second one is lyrics .
They sway like two flowers shivering in rain - the use of irattaikkiLavi (இரட்டைக்கிளவி - பனித்துளி பனித்துளி வந்து, for example)
reinforce the "closed space" image.
Also the pallavi lines are too good
தேடி வந்தேன் ஓஹோ
நதியின் கால்களோடு
It nicely completes the image of confluence with passion filled to the brim.

However everything is done with in a "PG-1" limit . Some how I feel "jalabulajans" after listening to this song, hence
addition to this thread..

Gulma gulma gulfaame...

[rajkumarc]

Super pick Jai. Yaarum thodaatha is my favortie song in Ajantha. IR & Shreya's humming are out of this world and that's what I love most in this song.

[tvsankar]

Thedi vandha dheivamae - Ponnar Shankar.

Music tells the mood......... singers also ... expresses it very well........ Beautiful no for this list......

[V_S]

Starting with 'munagal' (similar to Sivarathiri song in MMKR) and watch how it takes a different turn after that. The tabla which was playing in pallavi stops during interludes. Observe how tabla takes over when charanam starts, and that elongation! I have heard the string instruments or wind instruments mimicing the vocals, but not tabla. Again the munagals at the end of charanam. The beauty is while they do all these munagals, everything is in pitch/sruti, in rhythm and in control. We can even hear the screaming and kissing. The timing is very precise they cannot overdo it. If they overdo this, it will kill the mood of the song and the whole song. This is where Raja scores with his precise composition.

http://www.raaga.com/play/?id=11663

Are there are any better playback singing pairs in this planet? :notworthy:

[KV]

V_S, Odante Vinade is an awesome number! Nice observations and writeup!
What amazing interludes to be sandwiched in an absolute pulp of a song! IR is the definitive master of this act – giving what the audience wants while still subtly infusing his stamp on it.
And of course, IR+SPB+SJ = one soul, three forms!

[Sureshs65]

Nice writeup V_S. Infact when this movie was released this song did not get much airplay. "Kanyakumari" and "Balpam Patti" ruled the air waves. This song was a late discovery for me. Lovely song indeed.

[P_R]

ennamO nadandhirukku ennangadi adhisayam - seeman
Fun I say :lol:

[KV]

EnnangAnum P_R, pandigayum adhuvumA, oorEy suththapaththamA irukkurappo, neer indha threada thoosi thattindrikkeer?
Waatngamatters?

[raagas]

Nice writeup V_S. Infact when this movie was released this song did not get much airplay. "Kanyakumari" and "Balpam Patti" ruled the air waves. This song was a late discovery for me. Lovely song indeed.

good that you specified "air waves". because the movie was watched and was made a super hit, not for Venkatesh or for Ilaiyaraaja, but for other reasons :-)

[P_R]

EnnangAnum P_R, pandigayum adhuvumA, oorEy suththapaththamA irukkurappo, neer indha threada thoosi thattindrikkeer?
Waatngamatters?
இன்னிக்கு எதையும் படிக்கக்கூடாதுன்னா, கண்டது கழுதைகளைக் கேக்கறது தான் :lol2:

[KV]

adhAvadhu, edhAchu oru roobathla kilukiluppu irundhukuttE irukkanam. Vaasthavam dhAn.
Seri nalla elassa, murugalAna pAttu onnu eduththu, unga bAniyila oru rendu vArtha ezhudhunga. Neenga dhAna padikkakoodAdhu, nAnga padichuttupOrom.

[Bala (Karthik)]

"Maadiyeri vaama TV paakkalaam" (Per Sollum Pillai) - magic in the rhythm and bass-lines.

[sakaLAKALAKAlaa Vallavar]

:lol2: from 0.52. ithuvum erotica thaane :rotfl2:

btw, good song!

http://www.youtube.com/watch?v=5ohN75LpWdk

[P_R]

Just stumbled on this today: raathiriyil thookkamillai by Usha Uthup http://thiraipaadal.com/tpplayer.asp?sngs=%27SNGIRR3792%27&lang=en

:clap:

[P_R]

"Maadiyeri vaama TV paakkalaam" (Per Sollum Pillai) - magic in the rhythm and bass-lines.

Just listened to thapputhandA paNNiduvEn

The great SPB falling short of SJ I say. andha 'feel' koNdu vara kastappaduraar. SJ -no pun intended- middling it from the first ball.

[P_R]

saaththu nadai saaththu - Sethupathi IPS by aasabOsa :clap:

[lydayaxobia493]

saaththu nadai saaththu

Gum chakku chakku..
Gum chakku chakku.. :yessir:

[P_R]

Jingaan jinukku dhaan
indhA unakku dhaan chittukkuruvi

- veetla visEshanga :musicsmile:

[V_S]

P_R,
ippo thaan office'kku varumbOthu Veera and Veetla Visheshanga kEttukittE (1994 songs) varEn, I am seeing Jingaan jinukku song from you. Enna oru 'majaa' listening this song. Swarnalatha's one of the best song. Saathu nadai saathu is another stunner, especially the rhythm arrangements. Superb selections. :clap: Please continue, great songs.

[P_R]

Thanks V_S. One of you competent guys should write about how he just rocks in this genre.
A genre we have lost in the modernism of merging the heroine and the vamp into one entity.


mottu dhaan idhu idhu
idhai pattu pOl thodu thodu

(Dharmapathini) :musicsmile: