Sangathil Paadaatha Kavithai - Auto Raja
தமிழ் சங்கத்தில் பாடாத கவிதை அங்கத்தில் யார் தந்தது
சந்தத்தில் மாறாத நடையொடு என் முன்னே யார் வந்தது
Wow! beautiful lines.
This song does not need any introduction. Absolutely a genius of a composition! It's popularity is so much that it has been reused by IR 7 or 8 times at the request of directors and also as pure instrumental versions. That says it all. While the Malayalam and Telugu versions has classical touches, Tamizh version (this song) is more of pop and the Hindi version of Gum Sum Gum is of some excellent Jazz arrangements. Maestro changes the color brilliantly based on the mood and the situation for the same composition by just changing the arrangements and singing. But there were some hiccups as well, as the song was used for wrong situation as well. If everything goes well for an anthem like song like this, there should be 'drishti prathikaram' so that it defies time. Thanks to the directors.
No prelude, Raja starts straightaway with bass guitar and acoustic drums, and SJ adding more feel by providing the humming. Bass guitar is on its own track leading to another path (song) if you are willing to explore, but provides excellent harmony to the present song as well. SJ's husky humming after every line and in interludes is truly divine. When SJ extends each line of Raja's humming is like lover grabbing her lover's hand and taking him along with her. Sameway in second charanam they take turn.
SJ humming starts the 1st interlude along with a string instrument (like veena) followed that mellifluous flute. While second interlude is underway you can hear the bass guitar playing the portion of 'sangathil paadatha', providing beautiful counter melody.
Second charanam does not start straightway. First the lover reads the first two lines and then SJ starts singing. This adds another level of sophistication and aestheticism.
அந்தி போல் காணாத இளமை ஆடட்டும் என் கைகளில் (ஆஹா! by Janaki)
சிந்தித்தேன் செந்தூர இதழ்களில் சிந்தித்தேன் பாய்கின்ற உறவை (…chchch 'சிந்தித்தேன் பாய்கின்ற உறவை' and a smile by SJ)
This is not present in other versions.
In third interlude, flute joins with bass guitar for an evening special tea.
Let's take a step back and see how the directors visualized the song.
Olangal - Thumbi Vaa - song for their children and it's a family song. Even though the song starts on a bright sunny day, evening time is the best time for this song, but this is clearly established in Thumbi vaa at the later part of the song. Perfectly done!. The song has a classical touch especially the bass portions.
http://www.youtube.com/watch?v=LG5jrX3q96o
Aakasam EnAtidhO - Nireekshana - This is a love song but with main focus on fun and aesthetics not sure about lyrics though what it conveys.
http://www.youtube.com/watch?v=hNaJftkrKcU
Neerveezhchi - Kanne Kalaimaane - From the lyrics it seems just a feeling of women about love and nature which matches with visuals like Nireekshana, but the fun element was surprisingly missing in SJ's singing and surprisingly very bland.
Sunday Ko - Aur Ek Prem Kahani - The tune did not at all fit to this picnic setting. Too much melody for such a setting. Everything went wrong here. Totally wasted again.
http://www.youtube.com/watch?v=oJL9Z17P4YA
Gum Sum Gum - Paa - Finally some justice has been done to this song through visuals, but unfortunately could not find the video.
Sangathil Paadatha - Coming back to our song, the lines are erotic written all over and singers doing their job perfectly, but the director hoping to bring out the mood on a "very bright sunny day". What a wonderful imagination! And actors supporting him by doing a terrible job!
http://www.youtube.com/watch?v=eEQa7c4UAx4
Keeping the same Kaapi raagam as its basic building block with exactly same tune and incorporating various western genres for various mood is the highlight of this composition. As we always see, A Raja composition is always suited to a situation and cannot be separated out. That still is valid especially for the first version as Raja originally composed only for that situation, yet it takes some special directors like BM and Balki to imagine the extra-ordinary out of this deserved composition and apply their critical and careful thoughts in Nireekshana and Paa by not spoiling the basic mood of the tune. But again through 'Sunday Ko' there is another lesson to be learnt how this song should not written and picturized. And from 'Sangathil Paadatha', how it should not be picturized and acted, as the lyrics and the mood was amazing!
As we know Kaapi is best known for bringing sadness, as always Ilaiyaraaja uses it to every possible mood except the sadness. Just the tune and huskiness in the singing of 'Sangathil Paadaatha' gives me a pleasant evening walk on the 'othayadi paadhai' between the green paddy fields enjoying the sight of tall palm and coconut trees at a long distance painting the clear blue sky. Inspite of all the westernness and classicism in the song it has a very gentle feel and the soul of our earth. That's true for every version.
A Towering composition! Andrum Indrum Endrum!