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Yeah, I heard it’s these things old critics used to do, unlike the cool ones who do videos ? I wish FC South had been around then for interviews ?
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One, the song itself, and two, why hadn’t I come across it earlier! ? Also, I love the sound of the acoustic guitar and the gentle chord changes here are SO beautiful.Ībout TKR’s contributions, at least for me, it will be one of those enduring mysteries. Even in Carnatic songs, there are many that start at 1 or 1.5 beats later.) And the beat is what keeps you on course. When this song began, I just froze - usually with most songs, you know the thaalam (one of the typical Carnatic four, or else a waltz) right off the bat and you can place the “samam” where the “main song” starts. I regularly put on YouTube song lists while chore-ing around the house, and this was from a 70s collection. Karthikeyan Ramamurthy: I have never heard these songs… But it must be said that he was the one - as far as I have heard - who started to “lighten” up Tamil Film Music (say, with ‘Ulavum thendral kaatrinile’ from MANDHIRI KUMARI in 1950). Madan: I meant in Tamil - but yes, the history of Hindi Film Music is its own treasure trove.Īlso, I asked because I generally love G Ramanathan’s work in the pure Carnatic songs he made for, say, MKT, but not so much his lighter ones. on screen but the audio version is just 3 and a 1/2 min. The song “Thulluvatho Ilamai” runs to just above 5 min.
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Another Susheela song that comes to mind is “Thendralil Aadai pinna” though regrettably the interludes are too short.Īlso, I feel HMV did much damage by chopping off interlude segments in those days. There is also the famous “Oru raja raniyidam” where the interludes as well as the tunes of the charanams are different. So also in “Anbu Nadamadum” and “OOnjalukku” from Avan Than Manithan.
#Spb tamil melodies songs plus
For instance, “Kalyana naal parkka” has a prelude plus three interludes, all of which are different. If there were three interludes, though, the first and third would be same usually. Regarding interludes what you say is true of the MSV-TKR era but after the split, MSV more often than not composed different interludes. One thinks it is going to end but then it goes on for a bit more. Yes, I too found the pallavi of manamedai truly captivating. Does anyone know of an earlier song that combines both these elements: the four-different-melody-lines plus the two different interludes? If yes, please post away.īR, Always an extra dose of joy to read your articles on music. I just love this 1958 G Ramanathan song, with my all-time-favourite female singer in Tamil (P Sushila I have not heard many of her Telugu songs). If there were four lines in the first stanza, each of them would have a different melody, and so on and so forth - most music lovers know this.īut before I get into more MSV, here’s - as far as I know - the first song that captures two quintessential qualities of two of Tamil cinema’s greatest music composers: (1) MSV’s tendency to give each line a different tune (without repeating), and (2) Ilaiyaraaja’s tendency to score entirely different interludes for both instrumental sections (which MSV and earlier generations of composers usually did not do). I am only talking about the tunes - not instruments (though sometimes, that, too). More than a few people here know that I consider MSV the greatest melody-maker, bar none, of Tamil cinema.