Monday, 10 January 2011

Flowery Moon..

One of the many misconceptions about Raaja is that he is averse to encouraging new talents. People who have been following him religiously know there is not an iota of truth in this too.

He introduced a lot of new singers like Deepan Chakravarthy, T.K.S.KalaivaaNan, Krishnachandran, Unni Menon, Jency, Sujata, Chitra..(this list is a huge one..).

His spotting and encouraging new talents did not stop just with singers. He has (and continues to) encourage young and new Directors. But what should be of particular interest is his introducing new lyricists.

There are many and I do not want to list them here. M.G.Vallabhan was one of them.

M.G.Vallabhan started his career as a journalist going on to become the Editor of a Film Magazine when the opportunity came knocking. Selvaraj, a very close of friend of Raaja and who until then was only writing stories for movies (AnnakkiLi was his story) decided to wield the megaphone. He introduced Vallabhan to Raaja.

Soon, they were together in the composing room when Raaja sang a tune in pure Madhyamavati-the tune that was earlier decided for 16 Vayathinile- and Vallabhan started writing ‘Solaikuyile.. Kaalaikathire’.

The song became a huge hit along with ‘Saamakkozhi’ and ‘Oram po’(which were written by Gangai Amaran).

Vallabhan had a style of his own and his love for tamizh language and nature clearly reflected in his songs.

Vallabhan wrote more songs for Raaja in the year 1979..This includes songs from ‘Karumbu vil’, ‘Aayiram vaasal idhayam’etc., He also wrote the Malayalam song ‘Gnaan gnaan paadaNum’ in PoonthaLir.

Vallabhan also directed a movie called ‘Thai Pongal’.

Today’s rare gem is also from this movie.

The song is ‘Pani Vizhum poo nilavil..’

It is a lullaby and gives us some very special feelings.

The prelude itself carries an air of serenity with the sweet bells, soothing flute and the soulful strings.

The lucid Pallavi in the voice of Malaysia Vasudevan and Shailaja makes us sway. We see the musical mastery in the ‘podi sangatis’. Mention must also be made of the simple but beautiful words. ‘VaLarvai tamizh pol nee’ (you will grow up like the language of Tamizh).

The flute in the first interlude lingers tenderly while the violins give the beauteous shades of a lullaby.

The CharaNam is dotted with fine phrases like ‘maarbinil un abhinayam’ ‘maan vizhi sol kavi nayam’ (your gestures are as wonderful and expressive as the poetic beauty of the eyes of the deer!).

The tune of the last two lines-where it touches the higher octave and land safely and exquisitely-melts our hearts.

The second interlude is a stunner. The Guitar shows its face for the first time with a winsome smile. It is sweet, soft and sedulous.We see a mélange of colours in a matter of seconds. The flute that follows the strings flows like a lucent stream. There is a touch of melancholy as well..

’Thaai madi un uraividam’ ‘vaan mathi pon thirumugam’ (Mother’s lap is where you lie you little one whose face is like the moon..) says the second CharaNam.

The song itself shimmers like the flowery moon as we lie on the lap of the composer..