Raajaish Pop-rock

Song: Netru indha neram...

Movie: Tik Tik Tik

Singer: Latha Rajinikanth.

Genre: Pop rock.

~~Pop-rock is a subgenre of rock music that uses "catchy" pop style, with light lyrics over top of "guitar-based" songs.

Until 0:30 there was no melody. Prelude was just constructed with solo synth rhythm, stupendous running bass guitar and pleasing tines of synth. Exactly, 00:26th second has lead for string orchestra & tines of synth at 0:33 for next 5 seconds only. Still, so pleasing. You bet! Spick and span la la la by Latha with accompainment of synth rhythm and thrumming of acoustic guitar give de lead for Pallavi...Again, avant-garde of canon rule employed when pallavi ends with ".....Kolangaleyyy" by Latha, which is supposed to be leader melody that was imitated by choir take de role of follower.

At Pallavi, lead Cabaret singer recollect wut happened by yesterday at de same time, how breeze was frolic with herself and her Spouse.

1st Interlude has stunning orchestra arrangement: Presto kinda string orchestra originates this interlude with wah guitar, which continues to accompaines jazzy piano. I am afraid harmonic progression of rhythm guitar and bass guitar maintains jazz nuances and drum kit as bassline or is it arppegiator through synth? Again, Raajaish idiom of string orchestra {largo movement, eh?} + bass guitar and synth for pop song is more like evening drizzle at seashore. You bet!

Accelerando in charanam's melody is very much integrated with it's pallavi's flow.

Raaja sir has used solo violin at ludes for Pop, disco/funk and psychedelic compositions like Ilamai itho itho, Endrendum Aananthamey, Mella mella ennai, Vaanam keley vanathal, et al., It is typical Raajaish idiom of lude. This song is no exceptional, at 2nd interlude, Ethnic solo violin and congos bring tribal ambience. I am afraid that now running bass guitar accompanied by synth chord replicates de same melody played through Ethnic solo violin, eh? Choir, string orchestra with strumming of bass guitar were interlocked to have unique chord progression unto....? how come Raaja sir 80's pop song without scat singin'..? Yup, scat singing - Papupa Papupa pa Papupa Papupa pa is more like coda to ends this interlude. Again, synth string orchestra chords as bassline during scat singing was sung follows "Imitation" rule rather than canon as there is very micro seconds difference betwixt scat singing and synth string orchestra chords, correctta?

At 2nd charanam, lead Cabaret singer reveals her "Viraga" desire, which came in her dream at a fullmoon night!

Again, same pallavi repeated at de end with piano to complete this peppily peppily Pop. Such an amazing song! You bet!

always

~~Raaja rules!

Counterpoint or canon?

I always wonder how come most of de ppl say En kanmani un kathali from Chittukuruvi has counterpoint. I go with wut other say. However, still there is a digression, when almost everyone says En kanmani follows Counter-point rule or as per Sathish it is delayed counter-point then why should a layman {yeah, it's me}, says it does follow Canon rule?

Kindly have a glimpse on below chart, wherein I've tried to make it's melody structure overlapping:



Un kaadhalii
Ila maanganii
unaip paarththadummm,

Would you accept de point all these three sentences/lines sung in same melody???

Sirikkinradheyyy & Sirikkinradhey, again both are same melody, first sirikkinradheyyy with lil improvisation, though.

Naanamoa and moa - overlapping of melody on it's improvisation alone unlike above lines.

So, in this song, wut happened was overlapping of improvisation and de lead melody {it is a word, though}.

Canon: Melody/song with one or more imitations of de melody played after a given duration {e.g. quarter rest, one measure, etc}

If it is okay that leader melody should be discontinued in short duration (quarter rest) as soon as de follower melody is joined then wut I said is correct w.r.to En kanmani song.

Quarter rest or quarter note or crotchet: A rest/note having one-fourth de time value of a whole rest/not or double de value of an eighth-note/rest, or quaver.

Now, wut is quaver?

Trill on an instrument or with the voice, which is supposed to be improvisation {Gamakam in Indian music}.

Now, replace improvisation with quaver for this song/ on above explaination.

Does this make any sense?

If yes then my argument is somewhat okay {smile}.

Talking about counter-point, an orchestra piece/song, which should have a main melody in one-pitch and counter melody is in another/same pitch, however, with different melody/tune/theme. It may have two or more counter tune/melody.

Now, talking about counter-point in this song: To my untaught knowledge, counter-point could not be made with same melody or overlapping with improvisation. So, this song does not have counter-point. Most probably, it should be canon, theoretically {at least}.

Also, there is a thought that En Kanmani is de first counter-point attempt by Raaja sir. However, postlude of Naan pesa vanthein sollathan oru vaarthai from Paalootti vartha kili {Raaja sir's 2nd Tamil movie, directed by Devaraj-Mohan and produced by P.Madhavan} has vocal counterpoint by SPB and S.Janaki, which is supposed to be Raaja sir's first attempt for counterpoint.

always

~~Raaja rules!

Raaja sir in Guiness Book - II

OMG! Jesus!!! Now, 2nd proof {wink}. And dis time, it's from "The Cultural Study of Music: A Critical Introduction" - Page 293 by Martin Clayton, Trevor Herbert, Richard Middleton. Keeping my fingures crossed for any official notification...{smile}

always

~~Raaja rules!

Maalai Ilam Manathil - Aval Oru Pachai Kulanthai

~~Aval Oru Pachai Kulanthai is de first movie for director S.A. Chandrasekar. S.N.Surendar's first song in Raaja sir's composition {according to him, however, websites may say some other movie...(wink)} and for Soba Chandrasekar as well. After anyone's first listen, they may say that this song sounds like some L.R.Eswari's song for Shridhar sir's movie and should be composed by MSV {smile}.

I just got obsessed to dis song {at least in de recent days} because of its core melody and orchestra arrangement. I am afraid my vicinity is completely filled wid dis song. Magnitude of this song is its freshness/color, which brings de retro ambiance {say late 70's} because of de usage of Classical guitar {eh?}, Acoustic guitar, Accordion, Bangos, Congos, Drums played with brush, Guiro (scratches my soul) was extensively used throughout de song, Moog synth, Clarinet and Piccolo.

Though, a Classical guitar initiates dis song wid Moog synth accompaniments in de prelude, Accordion steals de spotlight {mabbie de reason, it is not being used very often nowadays other than instant mesmerizing melody played through it}. I always stunned at our composer's timing/calculative usage of orchestra. Scintillating Classical guitar and charismatic Accordion take de responsibility of prelude, which were used as more like for coda at 1st interlude {wid Piccolo} and 2nd interlude respectively. Similarly, usage of striking Piccolo at 1st interlude and pleasing clarinet at 2nd interlude are elegant.

~~Another interesting factor is last word of charanams continue wid pallavi, which is an avant-garde factor {even today}. It has been attempted in very few songs only, I guess {smile}.

1st charanam ends like Ithu than indruuu “Maalai Ilam Manathil “…

2nd charanam ends like Vazhvellam sugam aarambam aagumm "Maalai Ilam Manathil..." {pallavi again wid vocal harmony of de lead singers}.

Ins and outs: Somehow, its core-melody reminds me Maalai nerathu mayakkam and Naanamo naanamo. It has very Raajish presentation, though.

Vazhvellam sugam thodarum with Raaja sir's such haunting compositions...

always

~~Raaja rules!

I am not attached to titles: Raaja sir

COIMBATORE: Ilayaraja, the acclaimed music director, said he was not attached to titles that had ‘‘no meaning’’. Explaining why he chose to write the two Tamil books, Venpa Nanmalai and Gnana Ganga, that were released at a function here on Sunday, he said he was not responsible if people called him a Raga Devan, Isai Gnani or a saint.

‘‘I am not attached to any title. I want them to be abolished,’’ said an emotionally surcharged Ilayaraja, who had slowly drifted into spirituality after enthralling Tamils with his film music for a few decades. ‘‘Please do not compare me with saints like Vallalar and Ramanar,’’ he pleaded, adding such comparison was an insult to them.

He said he had written the books for those commoners who had no formal education like him and thereby could not understand the classic Tamil literature. ‘‘I neither write for me nor for you nor with the intention of changing the world,’’ he remarked. Poets Sirpi, Puviarasu, M Metha, P Chidambaranathan, Palani Barathi, Muthulingam, Karunanidhi and others offered felicitation.

Source: newindpress

Comment: Raaja sir, for you Vallalar and Ramanar are great saints, however, for me ya're a great Saint! En Swamiji!!!

always

~~Raaja rules!

Raaja sir in Guiness Book

~~Almost 10 years before I read an article, which said Raaja sir was credited in Guiness book of world records by early of 90's, however, it is highly embarrassing that none of the websites reveal/confirm about this. Anuradha sriram confirmed it in a couple of her interviews {TV/Radio}. Eventually, Thank god, I was invited to an astounding blog by Mr.Mohan Jayaraman {Emjay} wherein Thesis of Anuradha sriram - "Ilayairaja: Composer as phenomenon in Tamil Film Culture" has been posted. It reveals that Raaja sir's record was credited in the Guiness Book of World Records for music composed for more than 600 films in five languages within 16 years. So, this is de only proof for Raaja sir's name credited in Guiness Book Of World Records...!!!

blog: http://7swara.blogspot.com/2008/06/thesis-on-isaignani.html

always
~~Raaja rules!

Funky Wah-Wah effect

Wah-Wah effect:

Guitar, which would have a Wah-wah pedal to produce that unique mimic sound.

Definition from wiki:

A Wah-wah pedal (wah pedal) is a type of guitar effects pedal that alters the tone of the signal to create a distinctive effect, intended to mimic the human voice.

Eric Clapton first played wah-wah with Cream on "Tales of Brave Ulysses" on the Disraeli Gears album and used it for both background riffs and an extended solo on "White Room". Also, Jimi Hendrix and Led Zeppelin did use it for their compositions.

As Manirathnam said, Raaja sir's compositions are the point wherein east meets west. I personally feel Raaja sir has influence of Jimi Hendrix in HIS 80's disco/peppy compositions.

* A couple of seconds at prelude of Voodoo Chile with wah wah effect strongly reminds the wah-wah effect at prelude of "Senyorita I love you" from Johnny.

* "Senyorita I love you" has prelude with solo "wah-wah effect" through electric lead guitar alike Voodoo Chile/ Voodoo child does. My point is Raaja sir had not replicated the same chord of Wah-Wah effect as in Voodoo Chile/ Voodoo child, however, he did attempt the idiom of prelude with solo Wah-Wah effect. That's it.

* In the movie Indru poi naalai vaa. A scene starts with synth/organ chord makes morning ambience. Once "Ennaththa kannaiyya" pops out from the ditch, Wah-Wah effect had been made through pedals.

* In the Kannada Movie - Pallavi Anu Pallavi {Priya O Priya (tamil)}, when Anil shows the hidden snaps of Deepti Naval, funky Wah-wah effect was made in its pedal through Electric Lead Guitar.

* Even, in the songs - 2nd interlude of Ithu oru nila kaalam from Tik Tik Tik & theme music of the same movie have Wah-wah effect.

* Netru intha neram from Presto kinda string orchestra originates this interlude with Wah-wah pedal, which continues to accompaines jazzy piano.

* Interludes of Panivizhum malarvanam & Neethane en pon vasantham from Ninaivellam Nithya have Wah-wah effect.

* Kavidhai paadu kuyile kuyile is supposed to be a soft rock song, which has stunning usage of bass guitar and flanging effects & Wah-wah effects.

Ratchasan {Tamil} or Rakshasudu {Telugu}:

* Nee mutham thanthal inikkum or Nee Meeda Naaku: It has accentuated beats throughout the song with stunning bass guitar & Wah-wah pedal effects.

* Accha Accha's prelude has mind-blowing jazz rhythm with cymbol and spin & span harmony by Janaki amma and choir or her echo effect {eh?} would steal de melody. It has interesting brass arrangement, synth chords and Wah-wah pedal effects.

* Hey naugthy {even in thamizhil also, Hey naugthy} has very rock structure: At 2nd interlude, bass guitar & Wah-wah effect with synth chord, which transfers to drum machine with funky sounds are so peppily peppily rock elements!

Mela Mela from Nirnayam: String orchestra arrangement at 1st interlude gives new color to the song whereas funky wah-wah effect of electric lead guitar through pedal at 2nd interlude gives more pep to the song.

So does many funk, Pop & Disco numbers of Him have the funky usage of Wah-Wah effect through Electric Lead guitar.

always

~~Raaja rules!

Dhanam - Music review

Ilamai kanavugal - Karthick and Rita. Lyrics - Valli

…..begins with spick and span voice of Rita. Soon after manual rhythm and funky synth bass give the lead for Pallavi. String orchestra and bass guitar are used as filler. Former for 1st interlude and later in betwixt the handsome Charanams. Normally, any music lover can extract hidden or candid pleasure in the 2nd interlude of any Raaja sir’s song. Very peppy/mind blowing interlude for melody songs. Soft native cadence/stupefying interlude for {electronic} rhythm oriented song. This song falls on the second huddle. Staggering synth chord progression and strings arrangement do follow call and response rule with live bass drum at 2nd interlude.

Interesting fact: It does have tines of turntable sound, might be made through synthesizer, which I have neva expected {at least in this album}. It does not bother the lead melody, though {smile}.

Ulagam kedakuthu – Sunitha sarathy. Lyrics – Valli

…begins alike contemporary electro funk song and changes path as energetic pop. 1st and 2nd interludes have interesting middle-eastern lute kinda instrument {Oudh…eh?}. At 2nd interlude, well structured Brass instruments along with bang band orchestra are more away from usual pattern. Programmed percussion and chipmunk voice mix change the color of the song. However, Sunitha’s put-on accent/slang let down the song.

Dhanam Dhanam – Karthick. Lyrics – Valli

It is not a normal run-of-the-mill kinda song. It does have interesting rhythm pattern with south Indian earthy instruments with Djembes and synth bass as bassline.

Koothu onnu – Raaja sir and Feji. Lyrics – Palani Bharathi.

I guess after the song - Velli kizhama from Shiva, Raaja sir’s attempt for dis genre of the song. It has more tribal nuances say de flute prelude, peppy programmed & live rhythm during vocal part and Djembes at 2nd interlude and reed sound through synth. Stunning usage of bass guitar {synth bass…eh?} is simply rocking.

Unnakulle irukirein – Sriram parthasarathy – Bilsenday. Lyrics – Mu.Metha.

…yet another mesmerizing romantic composition from Raaja sir’s music factory. First a couple of lines strongly strike de melody de song Kommallo koyila - Ninnu choodaka nenundalenu, later so much of twist both in lead melody and rhythm/orchestra. Pallavi has both synth rhthym and manual percussion. Chord progression with piano/synth, bass guitar, string orchestra, live percussion at first interlude is Gorgeous. After 2nd line of Charanam, de melody, poly-rhythm wid miruthangam and synth bass steal the spotlight. Awesome, alluring, passionate, zeal and lovely 2nd interlude has mild accelerando of flute, string orchestra with embellishment of synth chord later dazzling live percussion joins to completely change the ambience so romantic. My pocket is already filled with so many numbers like this {of course Raaja sir} song. This song turns on greediness within me to acquire it as well {giggle}.

Kannanukku enna vendum – Bhavatharini, Prasanna and Sriram Parthasarathy. Lryics – Vishali Kannadasan.

Song of the album.

This semi-classical song would make your day very meaningful and momentous.

Charanam:

Nadhi vazhi oru oodam povathu pole, vithi vazhi en ullam un pugal {pugazhil} paadum.

As a boat goes according to de direction of stream, my soul would praise your overwhelming according to the destiny.

Thurigaigal theetatha oviyum neeye. Paaril unnai paadatha kaalangal veeney,

You are work of an art, which was not painted by brush. Day without singing about you is futile.

Unnai potra manin methu ullam undu khodi khodi, unthan ullam enna vendru sollu Kanna {smile}.

There are crore crore soul onto this earth to praise you. Kindly, tell us about your ideology.

Actually, I have just imposed Raaja sir on the place of protagonist {Krishnah} for the above lines. So, day without listening to your compositions/not singing about you is meaningless.

Even, the second charanam has evocative lines as your melody through flute would evoke water flow even on moon and my desire is longing for that lullaby. Raajasaranam.

This song prevents me to lament about my misdemeanor and more like declaration of guilt. I should say it is a divine magnum opus.

Kattilukku thana pombala – Raaja sir. Lyrics – Muthuligam.

It is a very situational song with philosophical lines, which script depends. All about social issues of mercy/pities women and bad gestures of male-chauvinist. Interesting ethnic rhythm with synth bass and distortion guitar apt for this rational song.

A mixed album with many alluring interludes, contemporary output and fulfilling melodies.

always

~~Raaja rules!

Vishwanathan Anand: Mind over matter.

Vishwanathan Anand's all-time favorite:

Maestro. Ilayaraja and old Hindi film songs are among his all-time favourites.

Source: The Times of India.

Byline: Gayatri Ramanathan

P.S: Mind games {smile}.

always

~~Raaja rules!

Meaning for my tears :' (

rajasaranam wrote: என் அவா சிக்கிரம் அவர் கடலாய் சமுத்திரமாய் மாற வேண்டும் என்பதே. ஒரு பத்து பதினைந்து 'சிம்பொனி'களாவது அமைக்க வேண்டும், என் வாழ்வு தீர்வதற்க்குள் கடலாட வேண்டும்.

I was not able to control my tears when I read the above statement. It is al about Raaja sir and He should compose atleast 10-15 symphonies before end of my life. Actually, I was listening to HIS compositions until now and lastly I listened to "Muthumani maala" from chinna gounder. I just changed FM station to western classical works and at the same time got to see this message. Currently I am listening to a flute concerto {allegretto}. Its pleasure evokes my interest that Raaja sir should stop composing music for b-grade movies and should come out with a couple of symphonies or orchestral works.

Anyway, our so called music lovers and critics would not be able to understand its significance. Still, hardly ppl like me longing for such compositons.

When western classical era started, its composers were blaming/commenting Baroque composer - Johann Sebastian Bach's compositions as boredom without knowing its complicatedness. However, after 100 + years, during Romantic Era {1827-1900}, its composers started recognizing His work's stature/merit. Raaja sir is being follower of Bach {as well}, shares same position as Bach did during and after his period. However, who is the loser???

always

~~Raaja rules!