‘Aathma’ was a film that arrived in 1993. One song from the film that got a lot of airtime and is popular even today, Kannaale Kadhal Kavidhai, was rendered by KJY and S Janaki. The film has a few more breathtaking songs and as is the duty of the blog, I shall share Ninaikkindra Paadhaiyil today. As an aside, it shows why S Janaki is S Janaki and why she ranks up there, i.e. right up there in the topmost of perches in playback singing. The situation begins with what sounds like a Santoor (?) with a lengthy phrase to show the character’s suspense and as he hears the jingles from footsteps, he follows and it takes him to the female character around which this song is picturized. That now leads to a piano and a synth joins it as we see her footsteps and it (evoking his own Saranam Bhava from ‘Baba Pugazh Maalai’) brings us to S Janaki’s voice and she glides through with some lovely chorus for support. It becomes apparent that the song is an exclamation of a woman’s joy at the life and nature around her. The interlude is an interesting exploration of Ilayaraaja’s soundscape in the early 90s. The guitar, drums, violins and the flute have a transformed accent compared to his 80s sound. But importantly, it is still pleasing to the ears. The charanam is what can be called a burst of joy. A tune with a beautiful flow and as SJ climbs over Vaali’s words at kaadu idhu veedu and touches a peak at ini pOdhum pOdhum thanimai, I think she’s done it all but she makes me feel ashamed for underestimating her with a final burst at mEga koottamE pO and sustains the pO for a couple of seconds (at that pitch!). A screamer of an exclamation point this! The drums rock the stage too. The second interlude is another beautiful exhibition of orchestration with a quick passage through a group of violins evoking the tumble of a waterfall, to which a guitar phrase adds on to give us a counterpoint. If this was not enough, there is a choral passage with a violin and it is in harmony. Usually, we see 2 sets of voice(s) in harmony (simultaneous use of pitches and chords) in most songs. We see voices in harmony with violins here. Amazing control over vocals and the instrument is achieved by the composer here. This is finally rounded with a small piano phrase and leads us to the charanam. SJ enthralls again at poorva jenma uRavu and naaRai koottamE pO. The song ends with the customary pallavi and the final piano passages underline the girl’s joy as she goes back to her hideout followed by the guy. Many of you (my age of course) would wonder where this song has been hiding all along in a similar dungeon.
Posted on: Sun, 31 Aug 2014 09:54:02 +0000
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