Vairamuthu on Illayaraja

Thanks to my friend Thirugnanam for pointing me out about Variamuthu's book "Indha kulathil Kal Erindhavargal", where Vairamuthu briefs about various personalities he has come across.

Neither I am proficient in Tamil nor interested in kavithais. Mere fact that VM has spoken about Illayaraja drove me to every book store I could think of, during my trip to India and finally managed to grab one!!

For IR lovers, here you go:

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.

வைரமுத்துவிற்கு ஒரு கடிதம்

சபயில் சந்தம் சிந்தும் கவியே
தமிழ் தாயும் சிறை படுவாள் உன்னிடமே
தமிழுக்கு ஒரு கிரீடம் உன் படைப்பு
சந்தமும் சொல் நயமும் உன் உடன் பிறப்பு
அவன் இசையும் உன் தமிழும் மீண்டும்
இசைக்காக தமிழுக்காக சேர வேண்டும்

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.

Vaira'nin Vaira Varigal

It must have been close to 6 PM and I went back to home after a tiring day (at least pretended so..) from work. My wife was listening to a song from “Kannathil Muthamittaaal”

Me : Why are you playing it again and again?
Sandhya : What a beautiful song! The lyrics are so good and…

(I already went inside the room and after 10 minutes still the same song is ON!)

Me : What’s so great about the lyrics in this song?
Sandhya : Listen to this …

(She pauses at a point in the media player and plays it)

Me : I still don’t get it. Looks like one of His hallucination.. (I could see her RED already!) Seri Seri.. What is He trying to say?

“Enadhu Vaanam Nee
Ezhandha Siragum Nee”

Sandhya : Listen..I can see myself in this position. After Sahana is born, almost everything I do/think/work is around her…She has occupied my whole life and she looks like a sky in my life…
Me : Okay....What about the “Ezhandha Siragu”?

Sandhya : Exactly.. She is those “lost wings” of mine.. I can’t do whatever I want to now.. I have to always work around her….Isn’t it nice?
Me : Very nice..

“Did He really mean this when he wrote those lines?” – I said to myself ;)

Digression: If you hear very carefully, it is quite clear that this song (Nenjil Jil Jil Jil) is sung in several pieces and stiched together to present in a wonderful fashion. And I feel pity for the budding singers in shows like "Saptha Swarangal", "Ennodu Paattu Paadungal" etc. attempting to sing in a stretch going off in shruthi ! Brilliant composition by A.R.Rahman and wonderful singing by Jeyachandran. And credit to Vairamuthu for wonderful lyrics too.

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 :-)

Avatharam

I came across this funny video in You Tube:

http://www.youtube.com/watch?v=dyHkJKAKxjg&feature=related

That reminds me of an incident:

Nasser as an actor was often type-casted and stereotyped nothing new to our industry. Only a genius like Kamal identified a genius in Nasser and gave him different characters like the one in “Magalir Mattum” and “Avvai Shanmugi”. However, Nasser as a director was bold enough to experiment with offbeat subjects. His movies didn’t focus on stars, rather on a theme. “Avatharam” was one such wonderful creation of Nasser.

Nasser took his risks in story and casting, but not with the music. He had signed up none other than Illayaraja for his first directorial debut in “Avatharam”. Nasser was patiently waiting for Raaja at Prasad Studios in the early morning hours as Raaja was busy inside writing some scores.

Raaja had just finished his score writing.
Having waited for more than 30 minutes, Nasser took some courage to step up till Raaja and said:

“Innikku music pathi pesa vara solli erundheenga…. Avatharam padathukkaaga. Eppa pesalaaam?”

Raaja smiled and gave him the bunch of musical score sheets and said I just completed the scores for your movie. Yes, scores for all the songs in that movie were written in less than an hour.

A tidbit about the lyrics in the song – “Aridhaaratha Pusi Kolla Aasai”:

“Paattunnu Ninapethalaam Adhu Paattagi Viduvathillai
Adhu Lesana Vishayam Illai
(Adhu En Paattu Illai)
Adharkaaga Thaan Isai Avathaarama Naan Porandhaennu Bhoologam Paarattume”

A clear dig at Vairamuthu!!

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.