jn: PS voice for Devika only in "nenjam maRappadhillai" duet with LRE.
Essentially, when we are enamored of someone, blissful ignorance (of the whole person) seems farthest from folly. Tiru is an honorific Tamil term that corresponds to the universally Indian, Sanskrit term sri meaning "holy, sacred, excellent, honorable, and beautiful." Same with Jazz. Vizhigal medayam, salangaiyittal oru madhu, thatti parthen kottanguchi, kadhal oorvalam Inge, koodaiyile karuvadu….. Remembered the LOL moment as the gangster in Jigarthanda firmly proclaims ‘Naa Sankar Ganesh rasigan’. I love this song just for LRE's tilting voice: Adhisaya Ulagam from Gowravam. If it were just the lyrics, we’d be READING Kannadasan’s poetry instead of still LISTENING to them couched in MSV’s music. VeLLuththu kattitteenga :) When I was reading the lyrics, I was singing, you know. https://femininetosh.wordpress.com/2016/11/11/125/. Did SM, actually deserve the Oscar award, that so many ARR fans keep bringing up, ever so subtly as seen in the comments above. Overrun by feelings of ecstasy in the crush phase, we may have no conscious say in this matter (It all works fine until one day you notice your lover says po-tay-to whereas you prefer po-tah-to and you now want to call the whole thing off). But this story about Ganesh is for real. illaram and thuravaram [sanyasa and grihastasrama], all these form most beloved for goddess and become the means of reaching the goddess who is full in herself. To inject a bit of irony, we’ll start with an old song of theirs, the tune for which was lifted by Gaanaa Ulaganathan (the starting lines of Vaazha meenukkum) and turned into a blockbuster a few years back. The ease with which he skipped scales (for instance, the major to minor glide in the phrase “naayakan vandha naal” in Maadhamo Avani) and the grace with which his tunes flowed… (Raja’s is a more staccato style, owing to how he thought of the tune as part of the instruments)…. For the same reason that they stop reading picture books or ‘illustrated classics’ once they are out of school (if not earlier) or trade Hardy Boys for the Russian epics.

Although my Kannada is rudimentary, I’ll leave you with a stolen remark that captures my feeling about the song, idhu eshtu saari kelidharu chennaa! PP, as everybody expressed, you should not use such indecent words in a public discussion forum. Thanks Saradha. Arjun: ” But in general, I find that once people hit their 30s, it’s unusual for them to explore new music. What can one say? I have thought about this too; while I do like some or in fact many of MSV/TKR-MSV’s songs, they are in the ‘nice-to-have’ rather than ‘must-have’ category for me.

For example, I moved to US when I was 31 and got exposed to Jazz, which today I like as much as our film music. There’s no denying our love for the maestro’s music, and no accolade is really enough – my surprise was more about why there wasn’t any love expressed for, say, Nilave ennidam nerungathey, the MS Viswanathan/PB Srinivas jewel from Ramu. Had Kavignar written the above, it might not just have been Ambikha seeking out music composer Bhaagyaraj, but Kavignar seeking out music composer MSV. There are two songs in SJ-SAR combination. Critics tend to go easier on stuff when there is more material to criticize. “If it were just the lyrics, we’d be READING Kannadasan’s poetry instead of still LISTENING to them couched in MSV’s music.” – While I agree with this, I think the point is without great lyrics, simple tunes would sound rather banal. There is also a very conspiratorial school of thought that considers IR the wronged man, because of his “you know what”. I got back into it few years ago and now it is part of my daily diet. IMO, there are two reasons i always thought was the source of IR’s longevity Both were assistants to MSV-TKR before they became composers in their own right. That’s why I said Radiohead weren’t interested in competing in that market. Another song, Paruththi edukkaiyiley enna pala naalum paatha machaan is simply terrific! May be thats for another day.

It must be typo error. By then, the oldest people who listened to it in their youth are dead and there are no longer residual cultural memories for the younger generation to relate to and things get lost in the mists of time and abundance. Change ), 68 Responses “Music beyond the maestro” →. Song#43: ponnazhagup peNmai sinthum(Rikshaak kaaran). So “scholars” in the future will be analyzing his music while studying that era. As far as I know, MSV is the best of the lot is not the general consensus.
If you are talking about their market value at that time, perhaps yes. They set a very high bar in the late 90s-early noughties which IMHO is yet to be breached even by themselves but they sure do turn out solid work even now. madhu: romba sari! I will leave it here.

Her marubadi pirandhaal saerndhiruppaen is gut wrenching. Arjun: What you are telling is that it is very difficult to have a close relationship with film music one has not listened to while growing up. Back in Kannada though, Hamsalekha is huge and I’ve enjoyed quite a few of his Kannada hits. They gave some great songs, but not enough to be remembered in the same way as we do ilayaraja. There is more than one Tamizh song that might tacitly provide answers to these questions. BR: I didn’t mean to say lyrics are all there is to MSV’s music. And this has helped sustain the Raja legend over the last couple of decades. Every-one, irrespective or caste or creed, ashrama-differences, man or woman, child or parent, has the power to pray goddess paraa sakti in this way, with equanimity. However when it comes to the 60s, yes I’ve heard the Who and Rolling stones, but as far as I’ve observed, they stick to the most obvious hits.

The closest I can think of is IR. I have edited the subject line in each of your posts to add the name of the song and the movie (within brackets). With pride, Ganesh recounted in an interview that Kamal’s first dance in a film was to their song (the veracity of which claim I can’t attest). U can down load at your convenience. That incredible confluence has only been managed fleetingly by Rahman since and in a much less ambitious way. You listen to a song -> you recollect the movie -> you recollect the year -> then you recollect what you were doing at that time. The man was simply astoundingly productive (and creative). Since that incident, it has been a long road to recovery. Yesterday I saw a song by TMS and LRE from the movie "Dharisanam", music by Soolamangalam sisters. I downloaded the font and read the interview. Good songs. The numbers may have reduced drastically, but I don’t think it has gone totally out of fashion with the younger generation. One can sing while reading your post, provided remember the tune. How? I don’t know and not true in my case. How does a lyricist precisely peg feelings onto words? So unless study and performance of Ilayaraja’s music is institutionalized in music schools and universities, even that won’t survive beyond another generation or 2. I have heard this argument before and I do think there is lot of truth in it. He is one of the most misunderstood musicians – IMO (not asking you to agree with me here). Somehow the MKT songs and the early G Ramanathan songs do not work for me. And we haven’t talked about KRV yet!