While discussing ‘unusual conversations’, I had indicated that Raja used the C&R technique extensively in the 70s, 80s and 90s. As SJ sang for him during just three decades, Raja has used SJ’s voice as part of several Call and response arrangements. In fact, SJ as an orchestral instrument, has been most used in the C&R format than others.
Within the decades, in the 80s, Raja used her voice in this orchestration technique the most. We will see several examples in this post. They are simply in the alphabetical order.
Let’s begin our journey with the prelude of the song, ‘Endhan Kannil Ezhulagangal’ from ‘Guru’ (1980 Tamil). This is a C^R arrangement with SJ’s voice and the flute. The flute plays the exact melody that SJ uses to sing ‘pa pa pa pa’.
Let’s hear ‘Endhan Kannil ‘C&R with SJ’s orchestral vocal instrument…
The next track is from the song ‘Isai Medaiyil’ from ‘Ilamai Kalangal’ (1983 Tamil). Observe that the initial humming by SJ is part of an overall harmony arrangement with the guitar. The response to SJ’s voice is played by an electric guitar. You can see how Raja exploits her voice in this orchestral arrangement with various instruments.
Let’s hear ‘Isai Medaiyil’ C&R with SJ’s orchestral vocal instrument…
The next track is from the song ‘Kiliye Kiliye’ from ‘Aa Raathri’ (1982 Malayalam). The initial tune is played by the bass and lead guitar and SJ responds. The response to SJ’s voice is done by a flute. It is a 3 instrument combo C&R in which SJ is one of the instrument.
Let’s hear ‘Kiliye Kiliye’ C&R with SJ’s orchestral vocal instrument…
The next track is from the song, ‘Mettioli Kaatrodu’ from the film ‘Metti’ (1982 Tamil). This requires careful analysis. The long initial humming is part of a harmony arrangement where the guitar plays the chords and the bass plays a counter melody. Interestingly, the response is another beautiful violin melody that plays twice. Raja wants to embellish this further. He follows this with another Call from SJ and the violins respond with a like melody. Total exploitation of SJ’s voice as an orchestral instrument with violins.
Let’s hear ‘Metti Oli’, C&R with SJ’s orchestral vocal instrument…
The next track is from the song, ‘Ore Murai Un Dharisanam’ from ‘En Jeevan Paadudhu’ (1988 Tamil). Only Raja can think of another beautiful way of using SJ in a C&R with flute that is completely different from ‘Endhan Kannil’. The instruments are the same, the arrangement and the melodies are completely different. The call is made by SJ and the flute. The flute plays the exact melody along with SJ. The response is a flute melody which is different from the SJ melody. Such innovations come so easy for the genius.
Let’s hear ‘Ore Murai’, C&R with SJ’s orchestral vocal instrument…
The next track is from the song, ‘Pagalile Oru Nilavinai’ from ‘Ninaive Oru Sangeetham’ (1987 Tamil). The orchestration gets even more complex though I have categorized this song under C&R. It can be easily categorized as a PolyCaRe composition with SJ’s voice as one of the instruments. The track begins with the violins in the background playing a melody throughout the first part and the flute joins in the foreground with a lead melody in counterpoint. SJ’s voice responds to the flute while the background violins continue. I cannot think of any composer using SJ’s (or any other female voice) in such a sophisticated arrangement in Indian films. The violin plays the same melody with a minor twist after SJ’s part. SJ ends the PolyCaRe parts with her final rendition of her melody repeating the flute melody. The following part is a traditional C&R between SJ’s voice and the guitar.
Let’s hear ‘Pagalile Oru Nilavinai’ C&R with SJ’s orchestral vocal instrument…
The next track is from the song ‘Ponvaanam Panneer thuvudhu’ from ‘Indru Nee Naalai Naan’ (1983 Tamil). It begins with gushing violins followed by 4 musical C&R phrases between SJ and the flute.
Let’s hear ‘Ponvaanam Panneer’ C&R with SJ’s orchestral vocal instrument…
The next track is from the song ‘Poo Maalai’ from ‘Thanga Magan’ (1983 Tamil). It is a very relaxed melody C&R exchange between the electric guitar and SJ. Please observe that it is not the same melody that they exchange, but has variations in every phrase.
Let’s hear ‘Poo Maalai’, C&R with SJ’s orchestral vocal instrument…
The next track is from the song, ‘Sumam Prati Sumam’ from ‘Maharishi’ (1987, Telugu). This is heavily orchestrated part with the guitars (lead and bass) backing both the call and the response. SJ’s call is answered by the flute followed by a complex C&R where SJ is answered by the synthesizer, but the flute plays along with SJ in her part.
Let’s hear ‘Sumam Prati Sumam’ ,C&R with SJ’s orchestral vocal instrument…
The next track is from the famous song, ‘Thumbee Vaa’ from ‘Olangal’ (1982 Malayalam). SJ’s call is answered by the synthesizer, There are two separate melodies that SJ and the synthesizer exchange. The bass lines that are overlaid on SJ’s voice has the Raja harmony elements screaming at us!
Let’s hear ‘Thumbi Vaa’, C&R with SJ’s orchestral vocal instrument…
The next track is from the song, ‘Uruginaen Uruginaen’ from ‘Anne Anne’ (1983 Tamil). Raja tries out SJ in a C&R arrangement with a saxophone. The experiment turns out to be fantastic.
Let’s hear ‘Uruginaen…’, C&R with SJ’s orchestral vocal instrument…
The next track is from the famous song, ‘Vaa Vennila’ from ‘Mella Thirandhadhu Kathavu’ (1986 Tamil) where the C&R arrangement has three back to back parts. The first part has two phrases that SJ sings for which the violins respond. The next part is a beautiful exchange with the electric guitar and the final parts are an exchange with a synthesizer. In a single interlude, SJ’s vocal instrument is made to work with three different instruments by the composer!
Let’s hear, ‘Vaa Vennila’, C&R with SJ’s orchestral vocal instrument…
The next track is from the song ‘Vaanuyarndha Solaiyile’ from ‘Idhaya Kovil’ (1985 Tamil). The interaction between SJ and the flute is completely different. The flute responds to SJ’s call. But it does not repeat the melody line. It has its own short musical response.
Let’s hear ‘Vaanuyarndha Solaiyile’, C&R with SJ’s orchestral vocal instrument…
I am sure there are a few more examples of SJ being used as part of a C&R arrangement in the 1980s. Feel free to include your picks in the comments…
