நீராய் உருக்கி என் ஆருயிராய் நின்றானே
ஓராதார் உள்ளத்து ஒளிக்கும் ஒளியானே
ஈர்த்து என்னை ஆட்கொண்ட எந்தை பெருமானே
கூர்த்த மெய் ஞானத்தால் கொண்டு உணர்வார் தம்கருத்தில்
நோக்கரிய நோக்கே நுணுக்கரிய நுண் உணர்வே
போக்கும் வரவும் புணர்வும் இலாப் புண்ணியனே
என் சிந்தனை உள்
ஊற்றான உண்ணார் அமுதே உடையானே
Showing posts with label God. Show all posts
Showing posts with label God. Show all posts
Monday, January 28, 2008
Thursday, November 29, 2007
Wednesday, October 24, 2007
Aadum Neram Idhu Dhaan... Idhu Dhaan!
The genius touches one everyday. And, all one can ever hope is to chance upon as many of the innumerable instances of it as possible before one simply ceases to exist.
ஆடும் நேரம் இது தான... இது தான்!
Raaja's version of kaattuvaasi music has always been singularly special. The quintessentially Raaja-ish, otherwordly mood he gives to it, in the rhythm patterns, in the choice of instruments et al. rAman AndAlum, Asaiya kAththula, viLakku vaippOm, the list goes on.
This song is a sublime mix of the elements of this Raaja-tribal-ish music with typical western arrangements, creating sheer magic by the marriage. Every single note here screams genius. [1]
The song starts with a fantastic guitar piece, the guitar riffs wonderfully backing up the song from thereon. The unusually used guitar, the mystical flute and the offbeat rhythm patterns, all conspire seamlessly to create the otherworldly mood. Not to forget the urumi that joins the percussion in the second interlude and the tranquil flute that cuts through it.
The first interlude boasts of a great trumpet piece as Raaja plays with the rhythms, while the second interlude goes back to the otherworldly mood. And, there is that all-too-charming little piece of trumpet (followed by that seemingly nonchalant click of the guitar string!) that bookends the first couple of lines in both the stanzas (simply chorus chants!).
Wait, I've not even got started on the singing yet. P. Susheela's intoxicating singing and the intoxicated chorus chants [2] takes the song to a different level.
[1] – I wish some filmmaker does a Scorsese with the boundless reservoir of songs of Raaja, the kind that are simply not made anymore irrespective of the genre. I mean, let's suppose one is in want of a truly hip song, is it even possible for someone to get hipper than a Tholin Mele?
[2] – Where O where are the full-throated choruses of the yore? The ones with a very healthy dose of coarseness? Like the earthy chorus that so beautifully goes "Tharathaththa tharathaththa tharaththa thararaa" in the beginning of "Paada Vandhadhor Gaanam"? The so-sweetly voiced choruses of today aren't half as captivating.
ஆடும் நேரம் இது தான... இது தான்!
Raaja's version of kaattuvaasi music has always been singularly special. The quintessentially Raaja-ish, otherwordly mood he gives to it, in the rhythm patterns, in the choice of instruments et al. rAman AndAlum, Asaiya kAththula, viLakku vaippOm, the list goes on.
This song is a sublime mix of the elements of this Raaja-tribal-ish music with typical western arrangements, creating sheer magic by the marriage. Every single note here screams genius. [1]
The song starts with a fantastic guitar piece, the guitar riffs wonderfully backing up the song from thereon. The unusually used guitar, the mystical flute and the offbeat rhythm patterns, all conspire seamlessly to create the otherworldly mood. Not to forget the urumi that joins the percussion in the second interlude and the tranquil flute that cuts through it.
The first interlude boasts of a great trumpet piece as Raaja plays with the rhythms, while the second interlude goes back to the otherworldly mood. And, there is that all-too-charming little piece of trumpet (followed by that seemingly nonchalant click of the guitar string!) that bookends the first couple of lines in both the stanzas (simply chorus chants!).
Wait, I've not even got started on the singing yet. P. Susheela's intoxicating singing and the intoxicated chorus chants [2] takes the song to a different level.
[1] – I wish some filmmaker does a Scorsese with the boundless reservoir of songs of Raaja, the kind that are simply not made anymore irrespective of the genre. I mean, let's suppose one is in want of a truly hip song, is it even possible for someone to get hipper than a Tholin Mele?
[2] – Where O where are the full-throated choruses of the yore? The ones with a very healthy dose of coarseness? Like the earthy chorus that so beautifully goes "Tharathaththa tharathaththa tharaththa thararaa" in the beginning of "Paada Vandhadhor Gaanam"? The so-sweetly voiced choruses of today aren't half as captivating.
Thursday, June 07, 2007
When God was in pants
My posts on God often don't run for pages. Simple reason. I’ve nothing to say about Him. But, some times, reverence takes over common sense.
Anyway, this isn't like a pre-80s Raaja essential listening or some such. Listing four songs as “essential listening” is farcical. This is just a sample listening. But, I think it offers a chronological perspective on the early phase of Raaja. Or, so I wish.
1. Kannan Oru Kaikkuzhandhai
2. Vasantha Kaala KolangaL
3. Aazhakkadalil Thediya Muthu
4. Kanden Engum (A song that gave its dharisanam some weeks ago and has kept me in rapture since then; I had wanted to write the customary, short rave-post.)
Now, all these songs are MSV-ish – strictly melody-based, emphasis on tune and exquisite singing, minimal arrangements, no majestic orchestrations, no complex rhythm patterns, just simple and straight.
Long story cut short – and, MSV fans must pardon me here, I think, in these songs, Raaja wonderfully demonstrates with great flourish what all can be done in MSV-style compositions.
These songs epitomise the early, MSV-ish Raaja, for me, and demonstrate how He simply surpasses MSV at the latter's own game, so to say. (Yes, call me a fanatic.) Readers may please add what they think is “MSV-ish.” For chronology's sake, readers may limit themselves to pre-80s.
(A more fanatical way of putting all this is to challenge the reader to show me some MSV songs that match up to these. I’ll tell you upfront, I’d only be delighted. I must also add an escapist but true disclaimer here: I am not greatly familiar with MSV’s works.)
Of course, these songs, in many ways, carry the unmistakable Raaja stamp too. The preludes and interludes, even if “simple,” (by Raaja’s standards, that is) are mostly quintessential Raaja.
Also, please note, this selection is restricted by design to only those songs in which He “emulates” MSV, whatever that means. So, there's a reason why you didn't find His majestic, classical showdown-pieces or the path-breaking Raaja-folk pieces of the pre-80s.
Anyway, this isn't like a pre-80s Raaja essential listening or some such. Listing four songs as “essential listening” is farcical. This is just a sample listening. But, I think it offers a chronological perspective on the early phase of Raaja. Or, so I wish.
1. Kannan Oru Kaikkuzhandhai
2. Vasantha Kaala KolangaL
3. Aazhakkadalil Thediya Muthu
4. Kanden Engum (A song that gave its dharisanam some weeks ago and has kept me in rapture since then; I had wanted to write the customary, short rave-post.)
Now, all these songs are MSV-ish – strictly melody-based, emphasis on tune and exquisite singing, minimal arrangements, no majestic orchestrations, no complex rhythm patterns, just simple and straight.
Long story cut short – and, MSV fans must pardon me here, I think, in these songs, Raaja wonderfully demonstrates with great flourish what all can be done in MSV-style compositions.
These songs epitomise the early, MSV-ish Raaja, for me, and demonstrate how He simply surpasses MSV at the latter's own game, so to say. (Yes, call me a fanatic.) Readers may please add what they think is “MSV-ish.” For chronology's sake, readers may limit themselves to pre-80s.
(A more fanatical way of putting all this is to challenge the reader to show me some MSV songs that match up to these. I’ll tell you upfront, I’d only be delighted. I must also add an escapist but true disclaimer here: I am not greatly familiar with MSV’s works.)
Of course, these songs, in many ways, carry the unmistakable Raaja stamp too. The preludes and interludes, even if “simple,” (by Raaja’s standards, that is) are mostly quintessential Raaja.
Also, please note, this selection is restricted by design to only those songs in which He “emulates” MSV, whatever that means. So, there's a reason why you didn't find His majestic, classical showdown-pieces or the path-breaking Raaja-folk pieces of the pre-80s.
Tuesday, February 06, 2007
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