Raja has a special place for guitar in his compositions. In my view, he has covered the entire spectrum of emotions with guitar more than any other Indian composer. This does not come as a surprise as he is a guitarist by training.
Let’s look at his compositions that evoke happiness. Neethaane Enthan Pon Vasantham and Pani Vizhum Malarvanam from Ninaivellam Nitya (1982) reflect this mood. Oh Maane Maane from VeLLai Roja (1983) falls into this category. The vibrant guitar play of Pattu Poove from Chembaruthi (1992) is a top contender for this category. Other contenders, Aathinkarai Orathu from Rasathanthiram (Malayalam – 2006) and Chella Kaate from Kochu Kochu Santhoshangal (Malayalam – 2001) are great examples. My top pick would be Patttu Poove.
Let’s move to the pleasant recollection mood. There are way too many examples and I will keep this one short. ABC Nee Vaasi from Oru Kaidhiyin Diary (1984) creates this mood with violin and chorus. Ellorukkum Nalla Kaalam from Marupadiyum (1993) is another contender. Minmini Paarvaigal from Julie Ganapathy (2004) creates this mood with synth, flutes. Raja Raja Chozhan Naan from Rettai Vaal Kuruvi (1987) is another great piece of guitar work in this mood. My top pick would be Raja Raja Chozhan ...
Let’s look at the romantic mood. It’s impossible to list all, but let me attempt a few. Engengo Sellum from Pattakathi Bhairavan (1979) is a top contender. Ilaiya Nila from Payanangal Mudhivathillai (1982) is another great example. En Iniya Pon Nilaave from Moodupani (1980) is another example. Ennulle Enulle from VaLLI (1993) is a great romantic tune with guitar, and violins. Pani Vizhum Iravu from Mouna Ragam (1986) is an example of a relaxed guitar usage in a romantic situation. Poonthalir Aada from Paneer PushpangaL (1981) is a celebration of guitar work. Then Poove Poove Vaa from AnbuLLa Rajinikant (1984) weaves the magic with flutes and violins and synth. ThuLLI Ezhunthathu from Geethanjali (1985) does it solo by guitar. Nilave Nee Varavendum from En Aruge Nee Irundhal (1991) also creates the mood with guitar, violins and flute. The top pick for this section is a tie between ThuLLi Ezhunthathu and Nilave Nee Varavendum. Let me pick Nilave Nee Varavendum...
Party mood obviously requires the pace to be fast. The first song that comes to mind is Eh Aatha from Payanangal Mudivathillai (1982). However, there are several others. Megam Kotattum from Enakkul Oruvan (1984) is another example. Sinoreeta from Johny (1979) is another great guitar play that evokes this mood. Thamaraikodi from Aananda Kummi (1982) is a great guitar play with sax and violins that creates this mood. Ilamai Itho Itho from Sakala Kala Vallavan (1982) is a great party tune driven by guitar. Vaan Engum Thanga from Moondram Pirai (1982) is another song that produces this mood along with sax, synth and trumpets. Vanitha Mani from Vikram is another contender in this category ably supported by sax and violins. The top pick would be a tough choice between Sinoreeta and Vaan Engum Thanga. Let me pick Vaan Engum Thanga...
Let’s see how Raja handles pathos with guitar – very unusual mood by Indian film music standards. Nallathor Veenai Seithu, Ellorum Sollum Paatu and Nalam Vaazha from Marupadiyum (1993) is Raja’s answer to the same emotions that Jagjit Singh tried to create with ghazal based tunes in the Hindi original Arth. In my view Raja succeeded beyond what Jagjit could even imagine with guitar, flute and violins. Piraiyae Piraiyae from Pithamagan (2004) uses guitar as much as flute to bring out the pathos of the situation. Malaiyoram Veeesum Kaatru from Paatu Paadava (1995) uses guitar strains to convey pathos extremely well and would be my top pick...
Devotion with guitar – that sounds very unusual. Not in Raja’s hands. Ponnil Vaanam Poothathu from Villu Paatu Karan (1992) creates this mood along with flutes, violins, cellos and synthesizers. Arumbum Thalire from Chandralekha (2000) does this magic with synth and guitar. Kodai Kaala Kaatre from Paneer Pushpangal (1981) in my view evokes this mood though the situation in this movie is romantic.My top pick would be Arumbum Thalire..
Anger or aggressiveness is usually expressed in Indian movies with loud trumpets, saxophones, wailing violins etc. Raja has successfully recast this by using guitar in several situations. Ennadi Meenachi from Ilamai Oonjalaadukirathu (1978) is an example of anger being expressed with electric guitar.
Let’s look at his compositions that evoke happiness. Neethaane Enthan Pon Vasantham and Pani Vizhum Malarvanam from Ninaivellam Nitya (1982) reflect this mood. Oh Maane Maane from VeLLai Roja (1983) falls into this category. The vibrant guitar play of Pattu Poove from Chembaruthi (1992) is a top contender for this category. Other contenders, Aathinkarai Orathu from Rasathanthiram (Malayalam – 2006) and Chella Kaate from Kochu Kochu Santhoshangal (Malayalam – 2001) are great examples. My top pick would be Patttu Poove.
Let’s move to the pleasant recollection mood. There are way too many examples and I will keep this one short. ABC Nee Vaasi from Oru Kaidhiyin Diary (1984) creates this mood with violin and chorus. Ellorukkum Nalla Kaalam from Marupadiyum (1993) is another contender. Minmini Paarvaigal from Julie Ganapathy (2004) creates this mood with synth, flutes. Raja Raja Chozhan Naan from Rettai Vaal Kuruvi (1987) is another great piece of guitar work in this mood. My top pick would be Raja Raja Chozhan ...
Let’s look at the romantic mood. It’s impossible to list all, but let me attempt a few. Engengo Sellum from Pattakathi Bhairavan (1979) is a top contender. Ilaiya Nila from Payanangal Mudhivathillai (1982) is another great example. En Iniya Pon Nilaave from Moodupani (1980) is another example. Ennulle Enulle from VaLLI (1993) is a great romantic tune with guitar, and violins. Pani Vizhum Iravu from Mouna Ragam (1986) is an example of a relaxed guitar usage in a romantic situation. Poonthalir Aada from Paneer PushpangaL (1981) is a celebration of guitar work. Then Poove Poove Vaa from AnbuLLa Rajinikant (1984) weaves the magic with flutes and violins and synth. ThuLLI Ezhunthathu from Geethanjali (1985) does it solo by guitar. Nilave Nee Varavendum from En Aruge Nee Irundhal (1991) also creates the mood with guitar, violins and flute. The top pick for this section is a tie between ThuLLi Ezhunthathu and Nilave Nee Varavendum. Let me pick Nilave Nee Varavendum...
Party mood obviously requires the pace to be fast. The first song that comes to mind is Eh Aatha from Payanangal Mudivathillai (1982). However, there are several others. Megam Kotattum from Enakkul Oruvan (1984) is another example. Sinoreeta from Johny (1979) is another great guitar play that evokes this mood. Thamaraikodi from Aananda Kummi (1982) is a great guitar play with sax and violins that creates this mood. Ilamai Itho Itho from Sakala Kala Vallavan (1982) is a great party tune driven by guitar. Vaan Engum Thanga from Moondram Pirai (1982) is another song that produces this mood along with sax, synth and trumpets. Vanitha Mani from Vikram is another contender in this category ably supported by sax and violins. The top pick would be a tough choice between Sinoreeta and Vaan Engum Thanga. Let me pick Vaan Engum Thanga...
Let’s see how Raja handles pathos with guitar – very unusual mood by Indian film music standards. Nallathor Veenai Seithu, Ellorum Sollum Paatu and Nalam Vaazha from Marupadiyum (1993) is Raja’s answer to the same emotions that Jagjit Singh tried to create with ghazal based tunes in the Hindi original Arth. In my view Raja succeeded beyond what Jagjit could even imagine with guitar, flute and violins. Piraiyae Piraiyae from Pithamagan (2004) uses guitar as much as flute to bring out the pathos of the situation. Malaiyoram Veeesum Kaatru from Paatu Paadava (1995) uses guitar strains to convey pathos extremely well and would be my top pick...
Devotion with guitar – that sounds very unusual. Not in Raja’s hands. Ponnil Vaanam Poothathu from Villu Paatu Karan (1992) creates this mood along with flutes, violins, cellos and synthesizers. Arumbum Thalire from Chandralekha (2000) does this magic with synth and guitar. Kodai Kaala Kaatre from Paneer Pushpangal (1981) in my view evokes this mood though the situation in this movie is romantic.My top pick would be Arumbum Thalire..
Anger or aggressiveness is usually expressed in Indian movies with loud trumpets, saxophones, wailing violins etc. Raja has successfully recast this by using guitar in several situations. Ennadi Meenachi from Ilamai Oonjalaadukirathu (1978) is an example of anger being expressed with electric guitar. 
1 comment:
Excellent compilation. thanks a ton
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