AFAIK, this is the first film from where Raja took himself to greater heights as a singer and many listeners accepted him as a lead singer. Oru Jeevan Azhaithathu - Geethanjali (thamizh)Īs you know, Rajas has been playback singing right from the film 16 Vayathinile. (That is the main reason I avoid posting youtube links for the songs). Or is it a blessing in disguise – Most of his songs loose its sheen considerably after seeing those hopeless picturisations. Thiagarajan – Prashanth (Father-son) combo had mercilessly axed this divine composition. I watched the film and waited in vain for 2 hours 30 minutes for the song. Un kan vazhi” (This pattern has been used by Raaja in few songs in the 90s… like in the song Ilaya Nilave from the film Ponnu Veettukkaran). The interlude begins in the background when Raaja starts sings “Nillu Nillu. You can observe here a Raaja Special – The interlude starts much before the pallavi line ends. The second interlude is a symphonic kavidhai. The first interlude starts with a soothing flute piece followed by Nadhaswaram complimented by guitar flowing into a night effect violins and coming to an end with a two bar flute musical – Deiveegam. Special mention has to be made about the two interludes. In the song, most of the words are used twice (seems to be deliberate) and this brings out the emotions in a much more strong way. Now the drums section continues into the Pallavi portion giving a new dimension to the song. The following lyrics with Malayalam words Ponnallo, Poovallo, Thenallo, Paallao just adds a special kick to an already “kick-filled” song.Īt the end of the Saranam, the “Naan Sollavo… Chinna Poo Allavo…” line is a deviation from the tune used in the earlier part of the Saranam and is used as a Joining bit to sneak into the Pallavi. “Kerala Kuyil koovidum isai thithithadho…thithithadho.Īavani thiru onathil unnai sandhithadho.sandhithadho.” “Maan tholum Malayalathin ezhil chitiramae.chitiramae. The saranam starts with strong Malayalam flavour lyrics (Probably Heroine must be from Kerala) and soft Drums takes over in the rhythm section. Sollamalae.Naan Noavadhaen… Yaen…” The extra Yaen at the end of the Pallavi is simply Raajism at its best. "Nilladha Vennilla Nillu Nillu En Kadhali. The violin leads to a thavikkura guitar piece which forms the rhythm for the palavi (The Guitar rhythm piece seems to be much more complicated than the one used in the song Ennullae Ennullae.). The grand prelude with multi-layered violins along with Vennila phrase indicates the same. The song seems to be composed for a night situation song under moonlight. Yet another classical from IR-Uma Ramanan combo. Thanks for reminding this musical wonder! Raja's carefree singing and keeping the whole tune not much high as its a dance song, keeps friendly to our ears and at the same time makes us dance. :smile: The second interlude violins combined with percussions and bass tracks, wow! extra-ordinary! Above all the singing and tune, amazing. The end beats as so light just like potato wafers. The fast beats if you notice, the first one will be closer (to your ears) and the second one little farther (with echo). Puzzled about his creativity especially on rhythm arrangements, and new sounds in percussion. This song that time was totally different when heard for the first time, and we were the first in our town to get the cassette and introduced to our friends. Very electrifying, aptly put! "The quality is 100times superior to the techno-tailor made rhythms used these days by current MDs." :thumbsup:
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