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PostPosted: Fri Mar 30, 2007 1:02 am    Post subject: Nadu adhai nadu - Nadodee Reply with quote

Makkal Thilagam MGR - Kavignar Kannadasan , both in reel as well as real life had volatile streaks of friendship and occasional spats as well. Still both, each gifted with strong individuality, understood , recognized and respected each one’s talent.

I believe , for 2 situational songs in Aayirathil Oruvan , MG , after not being satisfied with lyrics from others including Valee, finally had to call Kavignar ( despite the rift ) & Kavignar, the true artist that he was, also obliged with Adho Andha paravai pola & Odum megangale !

Amongst the MGR-Kavignar combo , I am captivated to NAADU ADHAI NAADU - Nadodee………..

MG lip-synchs this song like a typical Nadodee with harmonium hanging around his neck .This is another movie sans any political message or any hidden agenda but a pure commercial movie with a simple love story … The movie also has a good message on casteism .

Saroja devi first paired with MGR in NADODEE MANNAN ……..

This pair had acted 26 movies !

Coincidentally the same pair also appeared later in NADODEE

Released in 1966

However, the movie starts with Barathi as the first lover but dies earlier

MGR , imprisoned for wrong reasons comes out soon wanders around in streets , comes across a blind SD , whose eyes gets impaired by Villain Nambiar ( Nambiar’s sister could not get her damaged eyes cured & VKR , the Father of SD will be the reason & hence the tit for tat ) ….. Pitied by her condition, MGR takes care of her. While SD is being deployed by Nambiar to beg and collect money , MGR also joins her .

While one day when SD tries to sing a song imposed by Nambiar, MGR intercepts & stops her from singing such lousy songs. MGR alternatively comes up with a very memorable tune from Mellisai Mannar .

The usage of NAADU both as a noun & verb shows Kavignar’s gifted ability …He actually plays with the word ‘Naadu’ & indeed its a real beauty.

Another interesting aspect of this song is the peculiar lyrics makes me wonder if this could be Makkal thilagam sang for Tamil Eelam way back in the 60s – NAADU ADHAI NAADU …..ADHAI NAADAVITAAL EDHU VEEDU. Though the movement was not that active in the 60s , IMO, this song has unequal merits as the pledge song for Eelam.

Reading the lyrics, this song should be a huge motivational factor for those ardent supporters of free land & freedom for them, it’s a true reflection of what they aspire for & what they strive for ….this may fit for even Palestine & Israel !! ….

Though other lyricists also gave sold songs for MG to spread his political / ethical / cultural messages , beyond doubt , some songs of Kavignar had that extraordinary ‘punch’ in his lines

In the mid 1960s, long before the struggle for Eelam was in the thoughts of Sri Lankan Tamils, Kavignar-MG must have thought about it & aptly named the movie title itself & gave a thought provoking song ….

& the movie name as well - Nadodee . Kavignar’s poignant song starts with the lines:


In a play on the word Naadu, which means ‘homeland’ (as a noun) and ‘reach your target ’ (as a verb), Kavignar splendidly highlights the wisdom that one’s real home is in his/her homeland. Also, nicely uses the word PANPAADU & PANN-PAADU !!

Even when I hum the lines of this particular lyric, I’m astounded by Kavignar’s mastery of thoughts, words and vision, and he writes these lines for Makkal thilagam to mouth these lines through the golden voice of TMS & very well supported by PS .

Paalaivanam enra pothum Nam Naadu
Paarai Malai kooda Nam ellai Kodu
Aaru Nilam Paainthu Vilhaiyadum Thottam
Veera Samuthayame Engal Kootam

The lyrics are too striking …. that even if a dry desert happens to be our our homel, its our dear homeland & lets have borders with rock and mountains. There are rivers which flow into the fields, and lets be proud of our heroic traditions.

Many remember the following charanam fondly :

Vanam kulamadhar mugam parthadhillai
Vanja ninaivengal manam parthadhillai
Veerar vizi thanzdhu nilam parthadhillai
Vetri thirumadhu nadai podum ellai.

What follows during the final charanam are real gems :

Pasi enru Varuvoorku Virunthaha Maarum
Pahaivar Muham Paarthu Puliyaaha Cheerum
Nilathil Uyir Vaithu Urimai Kondaadum
Ethirthu Varuvorai Urama Podum

Kavignar signs off with a powerful lyrics.

The situation & composition must have been cake walk for Mellisai Mannar as he had the FREEDOM TO USE HIS PET HARMONIUM !! with a flourish, MSV applies harmonium very sharply as preludes ……

And the tune & lyrics must have impressed MG a lot it seems…..as he acknowledges with AHAA for which SD also reciprocates with OHO when her turn comes !

There is a nice repetition of pallavi again with smooth flow of violin & harmonium ! I would call it as fine tuning of pallavi with subtle improvisation !

And its harmonium everywhere during the interludes ….midway, one can hear some trumphets / military type drums but somehow the harmonium seamlessly merges with the song & resurfaces at regular intervals….One can also hear lovely usage of tabla to give speed & momentum …..

MG, the ever cheerful character, will be at his usual self to convey a very motivational song to enthuse patriotism…..However, as he was tied to the harmonium, MG couldn’t extend / stretch his hands left & right ( his usual style was curbed !!) ….Still, never short of enthusiasm, he runs around playing with ease, the harmonium …..

I will be a sinner if I miss out TMS …….the one and only TMS can bring such power & force …..such a thundering impact …….The thrust he gives to every word & the subtle variation for Paadum pozudhellam adhaiye paadu…..

The eagerness & anxiety of someone longing for a land is reflected when he touches …… Adhai naadaavitaal edhu veedu
Or for ……Vaanam peridhendru vaazum …….

Displays bravery & valour when he sings – Veerar vizi thaanzdhu nilam paarpathillai

& the fondness for one’s land is reflected when he sings – Paalai vanam endra podhum nam naadu …..

Only TMS can give such a thrust ….a committed & involved singer !

Such songs only make MSV , an undisputed champion – GIVING STRESS TO EVERY WORD / SENTENCE .

When such a high voltage lyric has to be presented in a striking manner , one needs to come out with very forceful tune to complement the intensity & this was what our MSV did precisely with very aggressive & emotional tune . I picked this song for the catchy tune & power packed lyrics & nice orchestration.

This movie is another wonderful album for the Melody king .. combo with MGR :
a. Androru naalile nilavil avan irundhaan – A beautiful number , one of the very best of MSV - by TMS & PS – a poetic song …lovely lyrics
b. Ulagamengum ore mozhi – TMS & PS ….. a unique composition , western , one of my MSV all time favourites
c. Thirumbi vaa oliye thirumbi vaa – TMS & PS again …..Looks like another composition wherein the tune came first followed by lyrics !
d. Kadavul seidha pavam – Philosophical song

There are few more also. Infact L.R.Iswari sings Androru naalile nilavil in the earlier part of the movie for Barathi.

Each one was a super hit & being heard even today with the same enthu & interest because the silken melody effect has been coated on them !

MGR- MSV combination achieved 100 % success rate . This song is another testimony to that Very Happy
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PostPosted: Mon Apr 02, 2007 2:59 pm    Post subject: Reply with quote

Hi! Everybody,

For the record 'Annamitta Kai' was released in 1971 whereas 'Oru Thaai Makkal' was in 1972. Yes, it is true 'Annamitta Kai' was the last b&w film of MGR which was shot in 1970, the era when the transition to colour was taking place. MGR even refused to continue to work for this film saying that he has already carved his name in colour films and by acting in b&w films will lower his image.

As for 'Oru Thaai Makkal', it was actually named 'Vanthathu Vasantham' starring MGR, Saroja Devi and Jai Shankar in 1966. It was a remake of 'Ayee Milan Ki Bela' (Rajendra Kumar, Dharmendra & Saira Banu starrer) - a popular film with lilting songs. It may surprise some that Jai Shankar had indeed worked with MGR for a short-lived period. Around this time there arose personal and attitude problems between the two heroes and the project was shelved. There were many theories to this effect, the main being over the relationship problem with Jayalalitha at that time.

Only after several years later did that project take off but with Muthuraman replacing Jai Shankar and retitled 'Oru Thaai Makkal' and released in 1972. So much for history and please allow me to comment on the song 'Kadavul thantha paavam' in 'Nadodi'.

This song is fast paced one with MGR dancing and prancing with child-like innocence. It is quite difficult to ascertain the mood of the song, that is whether it is a happy song or pathos. I would anytime vote for this song over the others from the same film although all are gems. The simple philosophy and socialist message conveyed by Kaviarasu Kannadhasan, rich music by MSV and MGR's dance movements in black & white attire are superb. Unfortunately, this song is seldom aired and instead the pathos 'Kadavul seytha paavam' is the one more commonly heard.

With regards,

R. Mahendra Raj
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PostPosted: Mon Apr 02, 2007 5:13 pm    Post subject: Kan pona pokkile kaal pogalaamaa Reply with quote

The 30 second splendid piano play was never heard in All India Radio. ( thanks to vinyl records of yesteryears ) but we are fortunate now to see the visual / audio delight thanks to the advent of internet .

Yes, I am referring to the one and only KAN PONA POKILE KAAL POGALAAMA from PANAM PADAITHAVAN, the evergreen hit song which is very famous for various reasons :

1.A typical philosophical song of Makkal Thilagam giving a solid message
2.An object lesson on how to apply a piano and create a musical magic
3.A good situational song
4.The tune, the orchestration , the singing – all way ahead of times then.

Actually , the starter part of the piano is a nice a prelude to make Manohar swiftly come in & join hands with Sowcar Janaki to play the party dance .

As they move away together , the real class part comes, the perfect rhythm for party dancing which normally could be seen in Hollywood movies in the 60s and 70s.

A handsome MGR , playing the piano with ease and with a wry smile towards Sowcar & it says all.

Now the group violin ( may be the legendary Henry Daniel ) part intercepts in brief & the piano goes behind for a change !

TMS starts in a mild mannered way – Kan pona pokile kaal pogalamaa ?? but goes on the high for Manam pona pokile ( probably MGR wished to caution very strongly ? ! ) & back to normal mode for – Manidhan pona padhayai !

Beautiful . How carefully & meticulously , like a sculptour , crated a song !

The first interlude consists violin & some mind blowing chorus before TMS resumes on a high pitch – NEE PARTHA PARVAIGAL KANAVODU POGUM .

Nee sonna varthaigal - normal

Oor partha unmaigal – High again

Unaraamal povorku - normal !!

The repeat of Unaramal povorku is to seamlessly loop back to Pallavi

Vow wonderful structuring !!

The second interlude is all class as this time, flute begins its run , complemented by violin & SUDDENLY THE SOLO VIOLIN ! superb imaginative work .
And for this, there will be DOUBLE BASS guitar backing .

The brush drumming all through is another example of great presence of mind .

By the way, who played that solo violin ? Was it Sri T.N.Mani or the legendary Henry Daniel or the great TKR himself !! ?

As the song moves to the 3rd charanam, Mellisai Mannar’s penchant favourite instrument of the 60s – THE ACCORDION steps in this time with a beautiful flourish & the chorus again before MGR finally goes to THIRUNDHADHA ULLANGAL IRUNDHENNA LAABAM.

This song was actually written by Valee & many thought that it was by Kavignar Kannadasan. Makkal Thilagam movies always carried a good thought provoking song & this one should should be ranked amongst the very best of that category

This situation song was created for giving a message that one should not get carried away by western practices , life style , culture but stick to our traditional culture & lead the life of a good woman being absolutely Indian !

And the real beauty is that a western type song / orchestration was applied to give this striking message ! So much of thought process must have been made those years !

Back to the song . All through the song, a consistent rhythm is being maintained but some beautiful / mind blowing ludes have been structured & given as a wonderful package.

This song I should say that western orchestration at its best .

And it was way ahead of times then.

Watch the song here :

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PostPosted: Mon Apr 02, 2007 8:58 pm    Post subject: Reply with quote

A trivial snippet to the 'Kan pona pokkilae' song picturisation.

MGR is dwarfed amongst the dancers who include the Anglo-Indian extras. Ordinarily the scene would not have sold if not for MGRs extraordinary make-up (noticed in many films - his wig at the crown is shaped like the alphabet 'M') and handling three different musical instruments during the interludes. I presume MSV-TKR must have used their whole violin orchestra for this song because its sound is very prominent during the interludes.

Yes, Vaali took offence when a senior artiste like Manorama had quoted Kannadhasan instead of him for this masterpiece. In the same breath he was also glad that he is being equated with Kannadhasan.

R. Mahendra Raj
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PostPosted: Sat Aug 25, 2007 6:09 pm    Post subject: MGR -MSV- Some Responses Reply with quote

Dear Friends,
I have found this segment quite interesting, beginning with Deivatthai . Actually this movie had several interesting points. The first ever contact between MSV , K.BALACHANDER [Dialogue writer ] and for Valee in Sathya movies. Besides, it had the distinction of some high profile music scores with western style orchestration for many songs including "Oru Pennai paarthu nilavai paarthane" While sppreciating this song, Mr. Balaji has opined that the interludes between charanams is repeated in total fidelity. THIS IS AN EXCELLENT THREAD FOR ANALYSIS. What I mean is this. In the then scenario of TFM, MMs were establishing their brand of composition First by variations of swaras for singing , followed by the imposing presence of MANDOLIN. GUITARS, DRUMS and Bhangos without relegating violins, Tabla and other traditional percussions. At that early stage, they had merely brought in subtle changes in Orchestration chemistry and later expanded with inner variations, not only in interlude instruments, but in the styles of playing them to different amplitudes /octaves in a single song.
As for Shankar -Ganesh, our friends have floated quite some information. SG were truly, products of MSV school and have a long history in music under MSV's grooming. Shankar was the son of the yester generation composer Sri. C.R.Subbaraman and Ganesh later become the son-in-law of Producer G.N.Velumani. But both worked with MSV for a number of years. GANESH WAS IN-CHARGE OF RHYTHMS SECTION and was well versed in a variety of percussions. Later when they turned MDs, it was Kannadasn who mustered some assignments for SG starting with Akka Thangai /Magaraasi of Devar films. Till their very last as composers, SG used to acknowledge both Kannadasan and Devar in all movies. So to say Ganesh was a very brisk young boy and was the pet child of MSV. So, UNADHU VIZHIYIL and PON ANDHI MAALAI POZHUDHU TRULY REMENESCE WHAT THEY HAVE IMBIBED FROM MSV. To date, Ganesh holds a very high esteem for MSV. A sad event in Ganesh's life [Apart from the demise of Shankar] was the arrival of a letter bomb to Ganesh. When Ganesh innocently opened the letter ,the cruel bomb went off disfiguring his fingers. Even now Ganesh wears gloves concealing the cruelty inflicted to him. Such has been the journey of the members of MSV troupe fighting their way through the most demanding producers and uncompromising Directors,
Warm regards Prof.K.Raman Navi Mumbai.
Prof. K. Raman
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