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Neeyum Naanum ( ) song from the album Naanum Rowdy Dhaan is released on Sep 2015. Gaana offers you free, unlimited access to over 45 million Hindi Songs, Bollywood Music, English MP3 songs, Regional Music Mirchi Play. ![]() All Rights Reserved Drop to add here Hover over this area, to view your queue Birds that sing together added to MyPlaylist Add to Queue Dequeue Favorite Go to Album Share Add to Playlist Singers Get Song Info View Lyrics. If your browser is buffering the video slowly, please play the REGULAR MP4 VERSION or Open The Video below for better experience. 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But with todays headphones and post-Rahman-era sensibilities, one can see that Ilayarajas sound engineers let him down on several occasions. The songs on radio and television came from the 60s, 50s, sometimes even the 40s, during special programmes that would give rise to debates among elders as to who was better: MK Thyagaraja Bhagavathar or PU Chinnappa, Saigal or Pankaj Mullick. Apparently, no generation can resist the who is greater dispute.) But Ilayarajas was the music that marked my generation, like inches on a height chart, like candles on a birthday cake. Its like he was giving us presents, in the form of new songs, to mark our schooldays, our days at college, our first (or third) job interviews heck, the man was so prolific, he was giving us new songs to mark our Mondays, Tuesdays, Wednesdays Its hard to explain (and Ive tried, oh Ive tried) to younger cousins and colleagues what it was like to be in the Ilayaraja era. Wed get Thaamaraikodi, a soaring announcement of adolescent love with guitars bubbling out of one speaker and a harmonica exhaling through the other one, and then wed get a funky dance number like Onnum theriyaadha paapa, and then thered be a semi-classical duet like Raathiriyil poothirukkum that would sound like Srinivasa thiru venkata mudayai (and then wed see it was the same raga, Hamsanandhi), and then wed get Kamal going bonkers around a well in Thakita thadimi, and then a wispily moustached hero in an Oliyum Oliyum programme would unleash another declaration of love in Geetham sangeetham, and then the boy in the next seat in class would be humming O maane maane, and then wed get a song thatd sound strangely arrhythmic ( Kanavu ondru thondruthey ) and wed have to wait to grow up a little to fully get it, and then a Telugu-speaking classmate would come back from his holidays with a cassette filled with Emani ne and Eureka saka mika, and then wed tell him what hed missed, Eeramaana rojave and Vandhaale alli poo and Vaanam keezhey and Pothi vacha malligai mottu. Its like one man in Madras was putting out at least one Thriller every month. In Tamil. In Telugu. In Kannada. In Malayalam. In pop. In rock. In folk. In jazz. In Western Classical. In Carnatic. In Hindustani. All of which hed toss into the blender inside his head, that wonderful bald head that wasnt so bald those days, and pour out his patented genre-smoothies. The very Western-sounding beginning of Kodai kaala kaatre (it could be a late-sixties pop hit The Hollies might have sung) would give way to an interlude in which a solo violin would start playing like a coconut-shell fiddle from a village deep South, with rustic drumbeats to match. Or, in Manjal andhi velaiyo, an electric guitar would glide through Carnatic-sounding passages that a lesser composer might have used the veena for. It is commonly believed that the songs that become popular are the simple songs and that if you begin to layer in complexities, youll lose the common man. But all of Ilayarajas hits straddled breadth of appeal with depth of musicianship. ![]() Youd see counterpoints, even if, at the time, you didnt know the word for them was counterpoints. Earlier, these instrumental stretches, however brilliantly done, were ultimately sips of water between courses of the main meal, which was served by the vocal parts. But in many Ilayaraja songs, the vocals could be considered the filler, something to bide time till you got to the real meat of the song, the interplay between instruments. Nadhiyoram naanal ondru or Vaa ponmayile or Ennai thottu or Oranchaaram are so beautifully tuned that theyd stand without any instrumental backing. If you get really geeky, like we did those days, and chart time on the X-axis and the notes on the Y-axis, you get the temple-like dome the song talks about. Its just that he loved writing for instruments more than composing for voices. Nothing else can explain, at least to me, some of the utterly ordinary vocalists he worked with. And, in contrast, the brilliance of his background scores.) When you look at a song like Azhagu aayiram, its practically meaningless without the call-response play between distorted guitar effects, the flute, the singers humming, cascades of violins and piano runs, all timed with the precision of a Swiss watch. Behind the heart-warming art, there was the cold precision of an architect. But if Ilayaraja is controlled, then so are Mozart and Beethoven. You dont get the hey, its just some guys jamming feeling with their music either. But I do see other reasons Ilayarajas music doesnt reach across to younger listeners as much it should, as much as wed like it to. Every time I tell someone to look a song up, theyll go to YouTube, and end up watching eye-blinding clothes on a couple executing dance steps styled after exercises in PT class. Once youve seen those images, once youve laughed at them, its hard to take the song seriously. Sound wasnt much of an issue with our generation either, given the shoebox two-in-ones we had, or the rudimentary quality of speakers in the cinema halls.
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