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amudhE thamizhae starts like Sa Ri Ga, Sa Ri Ga, Sa Ri Ga Pa Ga Ri Sa, Sa Ri Sa Da Sa… Pulamai Pithan’s lyrics glorified that song. One should be an artist and play those songs to know their quality. Those two songs are amudhE thamizhae (Kovil Pura), and nila kuyilae (Magudi). I don’t think that such a raaga exists in carnatic music with any known name. Particularly, S.P.Shailaja has sung like the shrill sound you hear when you apply the breaks on a car that you bought for $500! There are two other songs in which he has deleted both Ni and Ma in Chakravaagam. Krishnachandar and S.P.Shailaja tried their best, but probably spoiled it. Then came thenRal vandhu muthamittathu in Malayamaarutham in Oru Odai Nadhiyaagiradhu (another Sridhar’s movie). Deepan Chakravarthi had struggled to keep in pace with that tune (like some violinists get into trouble with Seshagopalan’s pace!). Maybe Ilayaraja’s first Malayamaarutham was poojaikkaaga vaazhum in Kaadhal Oviyam. What a wonderful start! The sharp rishabam gave a beautiful colour to this song. Ga Pa Da Sa Ni Da Pa Da Pa Ga, Ga Pa Ga Sa Sa Ri. Yesudoss and Uma Ramanan had done a wonderful job in that song. I distinctly remember how the ‘Ananda Vikatan’ magazine wrote in glowing terms about kannmani nee vara kathirunthen song in Malayamaarutham.
#Ilayaraja nothing but wind movie#
His first malayamarutham came as a pleasant surprise in Sridhar’s movie (for whom he always had a soft corner) Thenralae ennai thodu. Sa Ri1 Ga3 Pa Da2 Ni2 Sa, Sa Ni2 Da2 Pa Ga3 Ri1 Sa. In the janya raagas of Chakravaagam, he has excellent numbers. Ilayaraja has only few Chakravaagams in his account.
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You know, some good heroines with morality do say such deterrant, anti pre-marital sex things to the always advancing heroes! In the charanam the heroine says kalyaaNam aagaama paay pOda vENaam, ennaala aagaadhu aamaam. Of course, not to mention, that the lyrics are very bad, fighting to degrade the song from semi-classical to light music. He has confined to classical 16th, Sa Ri1 Ga3 Ma1 Pa Da2 Ni2 Sa. There is no impurity in the tune (like any anniya swaram). And of course, the rhythm should give scope for good dance movements so that the hero and heroine could share their love by dancing! Maybe, many of his tunes have to be branded as semi-classical or light music (even though the raaga form might be pure) only because of this rhythm factor.Ĭhalakku Chalakku Selai is one good number in Chakravaagam. To a guy who knows carnatic music, the raagas are explicit, and to a non-classical rasika, they are just great tunes! This was one of his specialities, to give the raaga in almost good shape and also make a good cinema tune out of it. In Chembaruthi there are six songs, out of which 4 are carnatic based. But it would definitely be interesting to pour out our ideas once in a while in a random order of the raagas covered by him. I thought that it would be worthwhile to discuss his music, particularly the CLASSICAL aspect! I am aware that it is not possible to write about all his carnatic oriented songs, about how he has handled those raagas, how he has deviated from the classical style etc. Though I had heared all those songs many times while I was in India, watching that movie created a reminiscent train of thoughts in my mind, about Ilayaraja, his music, the dramatic change he brought about in Thamizh cinema.
#Ilayaraja nothing but wind tv#
One of those unethical, “kuppai” screen printed video cassette, you know, that gives you a vision like that of a “soda-butti” watching TV without his spectacles! Ilayaraja has done a fantastic job in that movie. Recently, I watched the movie Chembaruthi on video. I’ve added links to the songs, so you can listen as you read. This is the first of 15 articles titled Classical Ilayaraja appeared on Usenet in the 90s.