Lyric writing for Dummies

No offence guys!

I came across a webpage about how predictable our lyrics are and found it very funny and thought of sharing with you all.

http://www.indolink.com/tamil/cinema/Features/Misc/algorithm/algorithm.htm

I do love some of Vairamuthu's works, but, I agree that some of his lyrics do not make any sense to me whatsover. For instance, "Devathai Kulitha Thuligalai Alli Theertham Endre Naan Kudippaen" is the height of hallicination.

Thanthaen Thanthaen

Of several actors who managed to stay in the stardom with the grace of Raaja's music, Ramaraajan would stay top in the list. 'Villupattukaaran' is one such movie and there is a situation in the movie where the heroine challenges the hero to sing a song where the lips never touch !! Meaning, never use Pa, Ma, Va etc.

A challenging situation for a lyricist, ofcourse!! I think this song was written by Gangai Amaran. Hear the song and you will find that never lip touches in the whole song.

Raaja Vazhi Thani Vazhi

Having come up with a tune like “Siriya Paravai Siragai” (Movie – Andha Oru Nimidam), it would have been very easy to satisfy Kamal and the director. And for the caliber of Illayaraja, he doesn’t even have to go through the phase of “Convincing” the director. He could have completed the song recording, the traditional way and walked off. Composer had other thoughts!

This song is special for its uniqueness. Traditionally, film songs have a set structure:

· Pallavi,
· Anupallavi
· 1st Interlude
· 1st Charanam
· Pallavi
· 2nd Interlude
· 2nd Charanam
· Pallavi
· Anupallavi
· Mostly, Pallavi again

Firstly, composer decided to have 3 charanam in place of the conventional two. OK, so what? That would have only stretched the song more and helped the dancing angels to get few more bucks ;) Nope. 1st Charanam is backed with complete Western orchestration. After the 1st Charanam ends, the composer had other thoughts. He changed the tune, the raga completely for the 2nd Charanam and took a dramatic U turn. Few swara sangadhis and the orchestration completely changes to typical classical with the able help of Mridangam. The rhythmic meter and the pace complemented the tune for the 2nd charanam to be livelier. This song is very special for this “Visha Parikshai” that not many composers would be willing to take.

Look at the beautiful “muthu muthaana” lyrics by Vairamuthu:

manramae thamizhin manjamae pudhiya sandhamae sindhinaen
anbanae ilaiya kambanae kavidhai nanbanae nambinaen
swarnamae arasa annamae idhazhin yudhdhamae muththamae
netriyil viyarvai sottumae kaigal ottumae patrumae
soazha kuyil paadugaiyil soalaikkuyil oayvedukkum
mellinangal paadu kannae vallinangal vaayvalikkum
sondhamae inbam thandhadhu gangaiyae ingu vandhadhu
thenralae indru nindradhu nanrudhaan sandham enradhu
kanrugal rendu indru poal enrum vendru vaazhginradhu
vazhgavae vazhgavae

I can’t even imagine any singer other than SPB and Janaki who could have done justice to the lyrics and tune. The improvisation by SPB is a trademark. Vairamuthu has displayed his proficiency in the choice of words with a very rhythmic ‘sandam’. Absolutely stunning team effort.

Back to Raaja. After the experimentation with the second charanam (in a completely different tune & raga), he returns back to the same tune he used in 1st charanam for the 3rd one and back to Western Orchestration. When you hear the whole song, the scale, tune and style of orchestration change is so seamless that you only end up speechless. Let’s not forget to mention the chorus backing the higher octaves like “Vaazhgave Vaazhgave”, “Ezhudave Ezhudave” etc.

Super Special

We all hear music during different times of the day under different circumstances and in different moods. Also, different people appreciate different aspects of the music because good music contains different layers built into it. One may merely say the song is good. Other may appreciate the significant lyrics behind it and a techie might talk about techniques employed in the song like counterpoints, Trill etc.

I have heard "Thamthana Thamthana" innumerable number of times in my lifetime and have always said "Good..Great song". Never tried to explore it beyond that. Once I start to get to the detail, it is absolutely stunning and I was floored because it had so many things special in it.

I sincerely request you to just prose-read the lyrics, especially the charanam.

thandhana thamdhana thaaLam varum pudhu raagam varum
pudhu bhavam varum adhil sandhana malligai vaasam varum
manamaalai varum subhavaeLai varum
mananaaL thirunaaL pudhunaaL unai azhaiththadhu

sillena melliya thenralum vandhisai solliyadhu
suvai aLLiyadhu manam nillena solliyum thuLLiyadhu
peNmanam poovilum melliyadhu thavikkum ninaivoa enaik kiLLiyadhu
malligai mullaiyil panjaNaiyoa mannavan thandhanan nenjanaiyoa
minniya minnalum kanniyin ennangaLoa ini kanavugaL thodarndhida


1) The lyrics is of great quality and neat. It was written by the same lyricist who wrote the most famous "Vaadi En Kappa Kizhange". (Kappa Kizhangu= Heroine - Whoe cares the logic ?). So, here are people who can write what you want. You want garbage, they can produce tonnes. You want Good Quality stuff, they can produce tonnes. Just that sometimes it takes more time to give quality stuff as they are used to giving garbage more. In this case, it is said that Gangai Amaran took 4 solid days to come up with this lyrics. Hats off.

2) Look at the charanam one more time. The chandam used in the lyrics (meter) is brilliant and it is rhythmic and uniform throughout the song. But, it poses a great challenge to the composer. When you start composing a tune for this, you might end up like a tune for chanting some Mantra.

3) Apparently, I read somewhere that the director and the assistant director (Manobala) gave a reference (baseline?) song for this situation:

Ayi Girinandini Nanditamedini Visvavinodini Nandinuthae
Girivaravindhya Shirodhinivasini Vishnuvilasini Jisnunuthae
Bhagavati He Shitikanthakutumbini Bhoorikutumbini Bhoorikruthae J
aya Jaya Hae Mahishasuramardhini Ramyakapardhini Shailasuthae

Can you imagine how Illayaraja has brilliantly transformed the baseline into a beautiful romantic melody?

4) Humming has always been a special weapon of Maestro's magic work. In this song, the humming is all over the song (backing even in the charanam), but without sounding jarring. The counterpoint technique has been brilliantly handled by Raaja.

5) The pallavi and the charanam due to its very nature needs the singer to have a better breath control during rendering.

6) On the lighter side, this song was also one among the firsts to have bunch of white-dressed Devathais dancing meaninglessly for a private affair of love-making of hero and heroine. Later, we got a chance to see many such devathais even in colors :)

Despite all these specialities, I read somewhere that Raaja was not satisified with the output especially the singing. He wanted a better output, it seems. My God!! As SPB always says, Raaja is a "Raakshasan".

Mettu Podu - II

I think every sensible person will agree that both Mettu and Paattu are important for a song. But, the question is what comes first?

The arguments of the proponents of “Lyrics First” are twofold:

1. To express the situation/mood at hand, you must have quality lyrics. If the tune is composed beforehand, you have to fit some junk as fillers for the set tune.
   
2. Thereby, quality of the lyrics goes down.
   

Makes sense superficially. Isn’t it? However, I see a hidden strong assumption here. This theory assumes that lyrics alone can bring out the feeling and it has to be done first. Tune/orchestration can supplement and decorate.

If that’s the case, why did our ancestors laid out certain ragas for certain moods? By just playing “Subhapanthuvarali” notes (mind it, with no lyrics) in your violin, even an amateur player can bring out the feeling of sorrow/gloom to the forefront.

Pre-Set tune that can bring out right emotions for the situation needs a talented lyricist to come up with right choice of words. (Didn’t Vaali come up with ‘Sundari Kannal Oru Seidhi’ for the preset tune?)

Pre-Set lyric that brings an emotion out needs a talented composer to elevate, decorate and not spoil. (Didn’t Raaja come up with mind-blowing tunes for lyrics written by none other than Bharathiyaar and Manickavaasagar? Can someone claim better than Bharathiyaar or can someone come up with more complex and melting Tamizh sorkal than Manickavaasagar?)

As a matter of fact, Manickavaasagar’s Tamil was like Greek to many of the music lovers, being born and brought up in Chennai Thamizh. They were all literally in tears when they heard “Thiruvasagam in Symphony” album.

Isai illa Thamizhukkum Urugum
Thamizh illa Raajavin Kuralukkum Urugum
Isai Rasigargalin Manam

We have seen both pathetic tunes for beautiful lyrics and mediocre lyrics for a brilliant score. It is not a question of who does first. It is a question of compatibility between personalities and styles.

And one must acknowledge that as much as lyrics can bring the emotions out, music (Tune, Singer, Orchestration, Instrument choice etc.) can bring out too.

Mettu Podu - I

“Kanmani Anbodu Kaadhalan” song from the movie Guna was different in its own kind.

The song went on to prove a point that even a lunatic can come up with bunch of words (With no metrical structure) that can be tuned to make it sound brilliant. The lyrics were very prose like, no complex choice of words. This song came at a time when Illayaraja and Vairamuthu had split; Raaja was at his peak and hardly any takers for Vairamuthu. Who else was composing those days, anyways.. Huh?

So, the song went on to take a dig at Vairamuthu’s wife (Ponmani) - “Ponmani Un Veetil Sowkyama, Naan Ingu Sowkyamae”. (There was/is a rumor that VM’s wife assists VM to come up with some beautiful lyrics!! I have no business to validate the same.)

The point Raaja wanted to prove (perhaps!) was that he could bring the mood to forefront with his shear brilliance in his tune and score, even with simple lyrics.

So, lyrics are just fillers?

In an obvious retaliation, once VM got a chance to tie up with Rahman, he shot back:

“Thai Kodutha Tamizhukku Illai Thattupaadu…. Mettu Podu… Mettu Podu.”

So, what should come first? Mettu or Paattu….

Will continue in my next post…Meanwhile, your comments are welcome :-)

Kannadasan

With gas price shooting to $4 per gallon, driving from Michigan to Niagara Falls, NY through 3 states doesn't sound like a good plan. But, I didn't have an idea of this souring gas price, in first place. Anyways, heading to Niagara this long weekend and would seldom have time in another 3 days. So, thought of sharing something for my readers to chew and digest till I come back:

A forum where a gentleman has given us so many moments of Kannadasan to us and presented the story behind many songs the great legend has penned.

http://www.tfmpage.com/my/lyricist/kannadasan_raj.html

Thanks to Mahendra Raj for giving us so much information and I am sure you all would enjoy reading this.

Very few people have the courage and will to confess their other side and Kannadasan is next to Gandhi, IMHO.

Dearth

I had the privilege to hear Dasavatharam album yesterday. Less talked, better it is.
However, being Kamal's movie, planning to just drop 2 lines here.

Inspiration has always been there from the years of KM, MSV, Raaja and ARR. It is well understood and acknowledged.
However, a blatant and shameless lift does require some answering.

Original (God knows !!) :


Modified and presented in Dasavatharam :


'Mukunda Mukunda' - A lame melody and pathetic rendering. Even an amateur could compose better.

Only consolation is the lyrics by Kavignar Vaali, at his best.

Notable lyrics:

Raajalakshmi Naayakan Srinivasan Dhaan
Srinivasan Sei Intha Vishnu Daasan Naan

Apparently, Raajalakshmi and Srinivasan are Kamal's real life parents.

Inspiration and lifting are different, Himesh. I will come back with a inspiration number in my next post.

Mere coincidence?

I have always wondered about the Pallavi’s for Rahman’s songs. They had repeating words in MOST of his hit songs. Is it purely a coincidence or something to do with his style of composing pattern?

Here are some that came on top of my mind:

1. Chinna Chinna Aasai
2. Chikkubukku Chikkubukku
3. Jumbalakka Jumbalakka
4. Chaiyya Chaiyya
5. Nenjinile Nenjinile
6. Azhagina Azhagi
7. Margazhipoove Margazhipoove
8. Narumugaye Narumugaye
9. Malargale Malargale
10. Urvasi Urvasi
11. Hai Re Hai Re
12. Anbe Anbe Kolladhe
13. Anbe Anbe Enai
14. Kaadhal yogi Kaadhal yogi
15. Mukkaala Mukkabala
16. Ennavale Adi Ennavale
17. Thendrale Thendrale Mella Nee pesu
18. Thoda Thoda Malarndhadhenna
19. Anjali Anjali Pushpanjali
20. Sonia Sonia Sokkavaikkum
21. Vennilave Vennilave
22. Theendai Ennai Theendai
23. Nenjil Jil Jil Jil Jil
24. Mudhalvane Vane Vane Mudhalvane
25. Kannum Kannum Kollai
26. Udhaya Udhaya
27. Snehithane Snehithane
28. PachaiNirame Pachainirame
29. Chotta Chotta Ninayudhu
30. Chinna Chinna Mazhaithuligal
31. Kandukondaen Kandukondaen
32. Uyire Uyire Vandhu
33. Vaaji Vaaji Vaaji Sivaji
34. Pennalla Pennalla
35. Oruvan Oruvan Mudhalaali
36. Dippu Dippu Dippu Dippu
37. Thillana Thillaana
38. Sowkiyama Kanne Sowkiyama
39. Suthi Suthi Vandheega
40. Injirengo Injirengo
41. Rasika Rasika Rasika Rasika
42. Thamizha Thamizha
43. Thee Thee Thithikkum Thee
44. Maaro Maaro Chakka Maaro
45. Humma Humma Humma Humma
46. September Maadham September Maadham
47. Thaniye Thannan Thanniye
48. Nadiye Nadiye Kaadhal Nadiye
49. Aiyyo Pathikichu Pathikichu Pathikichu
50. Nenje Nenje Marandhuvidu
51. Maaya Maaya Maaya Ellam Maaya
52. Rukkumani Rukkumani
53. Nagida Nagida Nagida Oh ho
54. Rithu Aaa Gayi Re Rithu Cha Gayi Re
55. Ghanan Ghanan
56. Dilse Re Dilse Re
57. Ya Ye Re Ya Ye Re
58. Tanha Tanha
59. Piya Haji Ali Piya Haji Ali
60. Dheeme Dheeme
61. Kariye Kariye
62. Kuchi Kuchu Rakamma
63. Anbe Vaa En Anbe Vaa
64. Swaasame Swasame
65. Konjam Nilavu Konjam Neruppu
66. Ballelakka Ballelakka
67. Ada Ada Ada Asathudhu
68. No Problem No Problem
69. Paarkaathe Paarkaathe
70. Thee Thee Thee Jagajothi
71. Roja Roja Roja Roja
72. Nannare Nannare Nannare
73. Mustafa Mustafa
74. Velli Malare Velli Malare
75. Sillallava Sillallava Kaadhal Nayakara
76. Mazhai Thuli Mazhai Thuli
77. Kuliruthu Kuliruthu
78. Shakalaka Baby Shakalaka Baby
79. Samba Samba
80. En Kaadhale En Kaadhale
81. Columbus Columbus
82. Smiyayi Smiyayi
83. Oh Maria Oh Maria
84. Kuliruthu Kuliruthu
85. Boom Boom Shakalaka Shakalaka
86. Acham Acham Illai
...
..
.

Violence in Romance?

Let me start this blog with the most famous and super hit song from Mudhalvan. Song has been picturised with Manisha and Arjun dancing to the tune of A.R.Rahman with enchanting rhythm.

No wonder why ARR songs become super hit. He focuses on foot tapping basic rhythm and builds the song on top of it. "Kurukku Siruthavale" is one such song where the rhythm is really foot tapping. And the lyrics are written by none other than Kavi Perarasar – Vairamuthu.

Let us first dissect the pallavi and understand what the heck is "Kurukku Siruthavale". I did Google on it and damn it, couldn't find a meaning for it.

Nope. Google never fails. I finally got some lead to a forum where one gentleman enlightened my Tamil ignorance with the meaning of it. "Kurukku" means Breadth, in general. "Siruthavale" means 'One who has the least'. In this context, VM (Vairamuthu) describes the heroine as 'One who has the least breadth'.Yes, his waist is so least in breadth!!

Eureka!! I got to know some Tamil Literature. Thanks to VM.

I only want to highlight how this man brings violence, death etc. in a romantic duet !! Look at the following lyrics that comes in the song..

Kannukkula Nozhanju Uruthuriyae
Uyir Moocha Niruthu Kanmaniye
Un Mudhuga Tholachu Veli Yera
Udambu Mannil Pudhaigira Varayil Udan Vara Koodumo
Kolla Vandha Maranam Kooda Kozhambum Ayya
Unnala Sila Murai Irakkavum Sila Murai Pirakkavum

You enter through my eyes and irritate
Give me a tight hug and stop my bloody breath
I will pierce your back and come out, pain? what the heck?
Be with me until the body buried into the soil
Death that may kill you will get confused
I die sometimes because of you

Mind boggling? Hold your breath.

This man has lots and lots to offer like this. Watch this space.

Thanks Vairamuthu !!

The thought of blogging about music and lyrics rushed into my mind after I heard a song today, from a Tamil movie “Rakshagan”.

Before I head on, let me confess that I am an ardent die-hard fan of Maestro Illayaraja and his genre of music. Isn’t His music a genre by itself? It will not be unfair to say that I am obsessed and the music in my veins is his. I will reserve lots and lots of the coming blogs for my IR (as I call Illayaraja).

But, this blog is all about the song – “Kanava Illai Kaatra” that features in the Tamil movie – “Rakshagan” composed by A.R.Rahman. The song starts with a very mild prelude and the rhythm is maintained throughout the song, superbly sung by Srinivas.

I haven’t watched this movie/song, however, I was told by my wife that apparently the song situation is like this: Nagarjun carries the heroine (Sushmita?) and climbs the stairs. The lyrics in the song really amaze me. The song goes like this:

Kanava illai Kaatra
Kaiyil Midhakkum Kaanava nee
Kai Kaal Mulaitha Kaatra nee
Kaiyil Yaendhiyum Ganakka villai Ye

(Are you) Dream or Air
(Are you) Dream floating in my hand
(Are you) Air with hands/legs
How the heck you are damn light-weighted??

What an imagination by our man, Vairamuthu. Further he goes:

Nurai aal Seidha Silayaaa Nee
Kaiyil Midhakkum Kaanava nee

(Are you) a statue made of bubbles?
(Are you) Dream floating in my hand

Wow!! Our man is known for blending violence in romance in his pen. Can he think so mild and light? Hmm… Watch out for my coming blogs where I want to throw some light about how he brings violence into his lyrics in a romantic situation.

ARR has clearly given enough room for lyrics by playing down in background score. No interludes. He has just maintained the tempo of the song with simple strokes – Guitar?

Eppadi Unnai Yendhi Konde
Indira Logam Poi Vidava
Idaiyil Konjam Vali Eduthaalum
Chandhira Tharayil Paai Idava

Shall I carry you like this
Till we reach ‘Indira’s World’
Even if it pains slightly
And we will land in Moon and have fun ;)

I know. His imagination is beyond the heights. But, this is the same man who talked about "Indira Thottathu Mundhiri". Where the heck he got that from? Now, our man goes science! Yes, he talks about gravity.

Nilavil Porulgal Idai Ezhakkum
Neerilum Porul Idai Ezhakkum
Kaadhalil kooda Idai Ezhakkum
Indru Kandaenadi, Adhai Kandu Kondaenadi

Objects lose weight in moon (0 gravity)?
Objects lose weight in water (buoyancy)?
I feel the same here
You have lost weight in our love.

I agree, beauty of the poem lies in lies. He proves it here. And, these are Vairamuthu’s Vaira (diamond) Varigal (lines).

Kaadhal Thaimai Irandu Mattum
Baaram Enbadhai Ariyaadhu
Un Palingu Mugathai Paarthu Kondal
Pasiyo Valiyo Theriyaadhu

Both love and motherhood
Never feel the pain of heaviness
I can survive without food and pain
If I see your beautiful face forever

Let me admit here. I am not a great fan of Vairamuthu. But, his lines are extremely touching and very powerful here.

Thanks to Vairamuthu and ARR for bringing up such a wonderful song that made me to start my first blog!



Stay tuned more to follow.