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Thread: IR - Telugu Songs and Lyrics

  1. #51
    Senior Member Senior Hubber raagas's Avatar
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    Plum,

    I have read your post about Sagara sangamam lyrics (and comparison with Vairamauthu's versions). You are completely right (although I cant understand Tamil) that Veturi had a upper hand. And going by your translations, looks like tamil lyrics could touch the class of telugu versions.
    I couldnt reply/contribute to that discussion because once I start writing about that film or its lyrics or its music, my posts will become very lengthy and I have been swamped with work to give so much time to my thoughts. But I will try to contribute.

    And by the way, I never knew that such a thread existed. Looks like I will keep coming here more often now!
    Just 7 notes behold a beauty of life...

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  3. #52
    Senior Member Senior Hubber raagas's Avatar
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    And by the way, Enadu Vidiponi was composed for Sri Kanaka Mahalakshmi Dance Troupe only. Just that the director Vamsy is a huge fan (and assistant) of K.Vishwanath and he worked (i think) on Swathi Muthyam as assistant. Vamsy confessed that he would rarely ask Raaja for totally new songs. Vamsy feels that raaja's film songs, interludes and background scores are a bountry enough... from which more songs/tunes can be improvised/developed. Vamsy also has a huge collection of songs and background scores, from which he picks up some pieces and requests raaja to improvise on those pieces (given that Raaja was so busy). I think Enadu Vidiponi was born like that.

    If you notice, there are many Vamsy songs which are actually rehashes of Tamil songs. Examples:

    1. Chukkalu Themanna (April 1st Vidudhala) - Chitthira Sevvaanam
    2. Maata raani mounam idhi (Maharshi) - Manjal thedi (or something... but there is a tamil equivalent)
    3. Chalthi ka naam gaadi - chinnamanee kuyile
    4. prathi dinam nee darshanam (Anumanaspadam) - mayangiye nee thayangiye
    Just 7 notes behold a beauty of life...

  4. #53
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    Quote Originally Posted by raagas View Post
    (and comparison with Vairamauthu's versions


    May not be intentional but goes well with the lip-sync biz.

  5. #54
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    raagas

    - singam kaLAm eRangirichEY!!!

    Mr Grouch, now see how this thread's collections multiply

  6. #55
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    raagas, now that you say, Enadu vidiponi has orchestration pointing to early 90s rather than mid 80s. You are right. I guess it is Vamsy's database that picked this.

    I was also fooled by the aptness of the lyrics to the Swathi Muthyam situation
    "E nAdu vidi pOni mudi vEsEnE...I pasuppu thAdu"
    (ennALum piryAdhA mudichu kattinAn...indha jenmathukku thuNaiyAi...indha manjaL thAli kayiru... - this sort of suits the Swathi Muthyam situation as well)

  7. #56
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    Quote Originally Posted by Plum View Post
    raagas, now that you say, Enadu vidiponi has orchestration pointing to early 90s rather than mid 80s. You are right. I guess it is Vamsy's database that picked this.

    I was also fooled by the aptness of the lyrics to the Swathi Muthyam situation
    "E nAdu vidi pOni mudi vEsEnE...I pasuppu thAdu"
    (ennALum piryAdhA mudichu kattinAn...indha jenmathukku thuNaiyAi...indha manjaL thAli kayiru... - this sort of suits the Swathi Muthyam situation as well)
    vommyegaad! Rough translation maybe, but, even then, looking at how 'wordy' it could become in thamizh
    Last edited by KV; 11th September 2011 at 01:02 PM.

  8. #57
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    kOnalO sanna jaajimalli
    I know not what the song means, nor who has penned it. But the flow, the smooth blend of words and tune, with no disruptions whatsoever - laminar flow, it's called in fluid dynamics. To borrow a phrase from another thread - enna oru kOrvai.

  9. #58
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    Revive by KV. Hope someone chips in. For my part, I just remembered that once in Hyderabad, had Vamsy dining in the next table. But though I knew about him then and his IR movies of 80s, didn't have enough knowledge to feel the sort of interest to go up and chat with him. Going by Raagas' post, he is worth cultivating just for the bgm collections he apparently has built up at home. Chance missed!

  10. #59
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    PlummarE, found the lyrics here. Yuvar two rubees about the meaning/wordplay please.
    http://divyakshar.blogspot.com/2010/08/konalo-sanna-jajimalli.html

  11. #60
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    Song: Suvvi Suvvi Suvvalamma
    Movie: Swathi Muthyam
    Lyrics: Veturi?
    Music: Ilaiyaraja
    Ah! Godavari delight! I don't know which song affengine has started with - but let me assume it is suvvi suvvi.

    It is no wonder only vatapathra saayi was passed by app - the rest soak a pure telugu godavari flavour not easily transferrable to kaaverikarai appengine.

    Vatapathra has the underlying classical flavour - although Vairam fails to translate the ethos of the song spectacularly and I don't blame him because he had very little scope in this song - that seems to have salvaged it as a common song between telgu and tamil. What's more, it was tuned to lyrics in telugu so VM had a tough task and hard to blame him for this one.

    Coming back to Suvvi Suvvi - that catchphrase, V-S, should tell us that it is Godavari theeram, I think. From the be-sur alaap start - done a little too perfectly by SPB - to the swarams, to the thaananaa by Janaki, what a Gilchristian start to the innings! K Viswanath touched widow remarriage carefully(without alienating telugu sensibilities) but firmly here.

    Just look a few posts above for Murali's note on Innale-YEK. A little miracle that this movie managed to run in Tamilnadu - I guess the telugu sensibilities that KV managed to appease took care of tamizh kalaacharam as well. There is no propoganda here but a matter of fact espousal of a woman's feelings - carefully wrapped around her (seeming) surprise, revulsion and shock at the thali episode by Kamal.

    Yet, a few reels before, you have her sighing(just watch the end of the thanana interplay with the bumpkin in the beginning of this song - Janaki amma captures a thousand emotional jangling points in that one second), indulging in playful banter , listening to the bumpkin assure her that spring will return in her life - with a cynical and sighing response. (vasthundhA A nAdu, choosthAdA A painOdu) - We'll return to the lyrics later.

    These are moments that capture the longing and yearning in her for a normal life just like any other young girl - and our man Raja, and Janaki go to work. SPB has a supporting role only here. KV would boldly go on to do Manasu Palike later in the movie - getting more explicit about the woman's yearnings. More about that later.

    Those moments in the riverside with the innocent (whaddya call him - autistic? mentally challenged? bumpkin?) young man along with her child are her escape from the daily hell that is her household - which has turned her into a bhajan-spouting, temple-only-going vidhavai. You can see the certain amount of freedom getting reflected in the thaanananaa phrases before she ends it with a note that elegantly captures a sigh in the tune itself, perhaps reflecting the futility and the short-lived transitionary nature of her small joys here.

    He is the only one who treats her like a normal young woman who has feelings - the rest are traditionally bound to expect her to play a role - that of a widow. The interludes are awesome here, and if you dont feel wet with the waters of Godavari on your body, you are Shakespeare's villain fit only for treasons, strategems and spoils. I'll leave it to V_S to talk about the percussion and the rhythm structure, and the progression of this through the song, in maximum pleasure mode in the interludes. Let me focus on the emotions.

    The first interlude normalises the relationship between Radhika and Kamal, as she hesitantly but irresistibly is drawn towards the innocence of the young man, and his antics that treat her like any other young woman. It is her oasis - and the violins play at medium tempo without soaring or ebbing. Specifically, immediately after the first burst of violins in the first interlude, there is a splashing gurgling kind of sound - which is not a special effect but a normal tune played by an instrument, wherein lies the genius of Raja - which gives you the feel of floating in water or wetting your feet in a vast expanse of water that Godavari is. As the relationship between the two warms, he is moved enough to relate her story to that of Sita - although it is unfair to blame her husband for kicking the bucket; the husband wasnt given much choice in the matter, was he? - the lyrics go thus in the first stanza:

    andA dhanDa undAlani
    kOdhandA ramuni nammukuntE
    gundE lEni manushallE
    ninu kondA kOnallak odhulEshAdA

    You came to Ayodhya with grand dreams of living peacefully ever after but what did Sri Rama do - I hope I escape the wrath of Raja_Fan, I am just translating Sir, I am not making this up - he left you to the elements in the unforgiving jungles and mountains like a heartless fiend.

    (I am not sure this translated effectively in VM's lyrics)

    The beauty of this is you can ask is a bumpkin(autistic?) capable of making such eloquent comparisions. But if you have dealt with children, you know precisely that they are the ones who can invoke these analogies so easily. A later sequence in the movie establishes how the Rama kadha is an integral part of the village culture - Kamal can be seen predicting and performing upcoming parts of the story even as the song progresses, implying that he is familiar with the story

    I have spoken about the second interlude, beautifully picturised as the brass pot floats down the Godavari; Raja throws in a flute piece there, with an underlying sound I know not made of what instruments that make you feel you are drawing a potful of water from Godavari, carefully perched on a shallow bank corner. Then, as the interlude progresses, that beautiful shot of Kamal rowing round and round on his makeshift boat. The next stanza captures the next level of exchanges as the relationship progresses, he is matter of fact about her plight but all the more child-like in his assurance of better days to come.
    (first two lines I forget)
    pattina grahanam vidisi - nee
    bathukuna punnami pandaga gadiyA
    ochEnnammA oka nAdu - choosthunnAdu painOdu

    The eclipse that has shadowed your life shall disappear; a glowing full moon shall adorn your life one day....the fellow up there is watching over you.

    Here, Raja/KV allow Radhika to break down almost, sighing loudly
    osthundhA A nAdu - choosthAdA
    A painOdu

    Shall that day come? Is He really watching over my fate?

    Here, KV goes the full distance in his espousal of a widowed woman's feelings and yearnings for a fuller life. Telugu sensibility or not, this is a woman who, encumbered by the tradition, is yearning for a normal life a la other young women. Janaki smoothly walks away with the (wo)man of the match for this innings here with a wistful, sighing rendition at this point. SPB is the hero of this thread, but Janaki is the heroine of this song...


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