Cookie dough flavored Cleverfolk

This category is folk lyrics with Jazz style interlude arrangement. Now, that’s probably a first in Indian cinema where someone dares to make such an attempt! Lots of composers have tried to set Indian film songs to a Jazz arrangement, but they never take a folk lyric and experiment!

Kaatile Kamban Kaatile from Rajakumaran (1994) set to a nice Jazz rhythm with folkish lyric. In the first interlude Raja throws the kitchen sink – female choir, with a nice synth play very typical of Jazz. The second interlude confirms any doubts by the wonderful sax and pan flute in typical Jazz style.

Thangakili Tholil Vacha Neethane Meenachi from Manam Virumbudhe Unnai (1999). As described in the section ‘Raja’s rhythm innovation stage 13’ this is a fantastic folk track that is set to the Jazz style arrangement, it becomes hard to say if this is folk or Jazz.

The track below has the beginning of the track Kaatile Kamban Kaatile followed by the second interlude. Let’s first analyze the prelude. It starts off with brilliant violins in tremolo. The synth joins at a relaxed pace. Raja cuts the violins out with a very slow jazz paced folk song! Do not miss the bass playing nicely on the left channel. The interlude has all the elements of a Jazz elements – the Western pan flute is the embellishment which plays for few brief seconds that is not typical of jazz. With that exception, (you got to go looking for it), it’s like any other jazz song. Nice use of sax and synth which is typical of Jazz music.

This is experimentation at its best. Folk meets Jazz so effectively. While Raja has used Jazz techniques in several compositions , his application to folk is limited.

Strawberry Flavored Cleverfolk

This category has folk lyrics with a CCM raga based melody. This is a very popular Raja flavor and the CCM raga is mostly ignored due to the rhythm arrangement and folkish lyrics.

There are countless tracks of Raja that have the Carnatic touch to a folk lyric. I will list some top of mind examples. All ragams are courtesy of Vel Ramanan.

1. Chitira Chevvanam from Kaatrinile Varum Geetham (1978) set to Savithri ragam.
2. Megam Karukuthu from Ananda ragam (1982) set to Abheri ragam.
3. Aathadi Paavadai kaathada from Ponvilangu (1984) set to Laavantika ragam.
4. Paadariyaen Padipariyaen from Sindhu Bhairavi (1986) set to Saramathi ragam.
5. Arumbagi Mottagi from Enga Ooru Kavalkaran (1988) set to Charukesi ragam.
6. Thaana Vandha Sandhaname from Ooru Vitu Ooru vandhu (1990) set to karaharapriya ragam
7. Kottukali kottu nayanam from Chinnavar (1992) set to Mayamalavagowlai ragam
8. Adukkumalli from Avarampoo (1992) set to Karaharapriya ragam
9. Vanam Ellam Shenbagapoo from Nadodi Paatukkaran (1992) set to Madhyamavathi ragam.
10. Aalapol Velappol from Ejaman (1993) set to Shankarabharanam ragam.
11. Chinna rasavey from Walter Vetrivel (1993) set to Lathangi ragam
12. Azhagana Manja Pura from Ellame En Raasathaan (1995) set to Madhyamavathi ragam.

All the tracks listed are fantastic melodies but have a folkish lyric. Most of them are runaway hits of Raja and he seems to have used a lot of this technique in the early 90s – nice flavor to folk lyrics. While several composers have attempted to do this strawberry flavoring, no one has succeeded as much as Raja as he has the deep knowledge of both the systems – folk and Carnatic.

The clip below is a folk raagamalika with the following ragas Savithri (Chitira Chevvanam) followed by Charukesi (Arumbagi Mottagi) followed by Karaharapriya (Thaana Vandha Sandhaname) and finally ends with Madhyamavathi (Azhagana Manja Pura).

Neapolitan flavored Cleverfolk

This category has folk lyrics with western rhythm arrangement. This is a flavor that Raja uses rarely, but does have its attraction.

Some top of mind examples…

• Oru Kolakili from Uzhaipali (1993) – this entire track is set to western drumming and nice strumming guitar work. Interludes use the synthesizer extensively. Nice flavoring for a folk track!

• Nethu Oruthara Orutharu from Pudhu Paatu (1990) – the track is set to a western rhythm arrangement. Like the previous track, nice use of guitar and synth in this track too.

• Thenpandi Seemaiyile from Nayakan (1987) – this is one of the most popular Raja tracks in Kamal’s voice. Notice the orchestration in this track – fully western with its bass drum, violins The Raja version of the same song uses tabla for its rhythm arrangement and does have the bass drum and grand violins as it is also included towards the end.

• Maasi Madham Aalana Ponnu from Dharmadurai (1991) is one of the best Raja compositions in the Western major scale. The beats get everyone’s attention, but not the wonderful compositions. The choir arrangement along with the violins is mesmerizing
  Western composition.

The clip below has three tracks in it. It starts off with Oru Kolakili followed by Nethu Oruthara Orutharu and finally it has the mesmerizing pallavi of Maasi Madham Aalana Ponnu. That’s a sample of Raja’s Neopolitan Flavored Clevrfolk.

The arrangement of these songs are so clever that you either get swayed by the Western rhythm arrangement or the folk lyrics that it escapes the listener's mind how innovative the composer has been in putting such extreme musical elements together. This must be contrasted with the remixes that composers are doing today with old Raja folk tunes. While it goes without saying that this is original work, I call Raja as the microchip maker - he somehow sticks stone and metal together and none of us realize what he does!

Chocolate Flavored Cleverfolk

This category has folk lyrics presented with camouflaged WCM interlude arrangement. It takes a while to figure this one, but is very popular flavor among listeners. The flavor is hidden by tabla arrangement to an otherwise Western string section.

Poovarasambu Poothathu from Kizhakke Pogum Rayil (1978) – Observe the second interlude in this track – the flute parts followed by the accordion. This track has three charamans – if you observe the 3rd interlude, it freely uses bells and a sliding violin scale. Now, this is supposed to be a folk track. Nice flavoring by the master ice cream maker!

Samakozhi Koovuthamma from Ponnu Oorukku Pudhusu (1979). This song is another classic with violins, synthesizer, guitar and flute all set to a typical western arrangement but cleverly hidden with congas and tabla based rhythm arrangement. The second interlude is a beautiful call and response arrangement between flute and bells. The third interlude has an amazing counterpoint between the synthesizer and the violins.

Pothi Vacha Malligai Mottu from Man Vasanai (1983) – this is another classic Raja song that has some outstanding Western orchestration, but cleverly disguised with a tabla and folkish lyric.

Rasanthi Unnai from Vaidehi Kaathirunthaal (1984) – this is a classic Raja song that I have described in the section called ‘Revisiting folk’. Suffice to say that this is wonderful western orchestration camouflaged with tabla rhythm arrangement.

Muthu Mani Maalai from Chinna Kounder (1991) – the comments that apply to the previous track applies here too.

Pacha Malai Poovu from Kizhakku Vasal (1990) – this song is a classic Raja track that uses folk lyric but completely western orchestration arrangement nicely hidden behind the tabla rhythm. As I have mentioned in the section – ‘counterpoint with flute’, Raja has done some outstanding flute and guitar counterpoints in the track. Also, the violin work in the first interlude uses another western orchestration technique of call and response with a long passage with flute answered by violins followed by the synth and bells.

Onnavida from Virumandi (2004) is another track with a folk lyric but the interludes are set to a WCM style arrangement. If you observe the second interlude, the arrangement is quite stunning. If you keep your mind off the lyrics, the interludes are part of the vanilla flavor of Raja.

These are some top of mind examples of folk songs where Raja delivers one of his most successful flavors. This type of flavoring shows the creativity employed by Raja where he takes his strong WCM foundation and applies it to folk lyrics making it very palatable (pun intended).

The clip below has Poovarasambu Poothathu followed by Samakozhi Koovuthamma and Pothi Vacha Malligai Mottu. You can also hear Onnavida at the end. You can notice how cleverly Raja hides a Western interlude within his folk melody.

Chocolate Chip Flavored Cleverfolk

This category has folk lyrics WCM interlude arrangement (not camouflaged). Raja takes the smoke and mirrors and lets you enjoy almost a WCM concert in the interludes while you listen to folk lyrics throughout the track. Perhaps the WCM arrangement sticks out like a c

hoco chip and that has its own nice taste as well!

Poovarasan was a 1996 Tamil film that disappeared without a trace. Raja has two duets in this film completely set to

folk lyrics. Itha Poovukoru Arasan and Rasathi Rasathi – both sang by SPB and Chitra. If you hear the prelude, interludes of these Intha Poovukoru Arasan, they are very modern sounding and amazing WCM work. Raja uses very pleasant synth sound with flute, with beautiful violins and solo (violins) as well. The last few lines of the charanams are beautifully backed by synthesized violins. The second interlude starts off with a beautiful flute and synth counterpoint followed by synth work. This is one of his fine WCM work hidden by a folk lyric. Rasathi Rasathi

also starts with synthesized violins as part of its prelude. The first interlude uses a nice chorus arrangement with flute and synth parts – towards the end of the interlude switches to a tremolo violin arrangement which is typical of Raja’s WCM work. The second interlude starts off with another counterpoint between plucked violin strings and synthesizer followed by extensive violin work. He makes no attempt to hide any of these flavors – no tabla, no duffle – pure WCM work.

Kadhaipola Thonum from Veera Thaalatu (1998) is another interesting track where Raja provides a choco chip and vanilla flavor to the track. The prelude and first interlude are like several songs of Raja. However, the second interlude is just stunning. There is a brief silence followed by synthesizer to simulate wind followed by some very fine tremolo string work. This is supposed to be a folk track – Raja uses a nice WCM technique to bring additional flavor to the song.

Sandhirarum Sooriyarum from Avatharam (1995) is a track that fully does away with any percussion and uses western style violins throughout the song that is very folkish in its lyrics. More of it in the section – Raja’s rhythm innovation stage 12.

The clip below starts off with the interlude of Intha Poovukoru Arasan – this is like hearing a western classical concert than a folkish melody. This is followed by an astounding interlude (2nd) from Kadhaipola Thonum fully using western ideas such as tremolo strings. Finally, I included Rasathi from Poovarasan. When you hear this whole collage, you never get an impression of hearing any folk melody. Raja’s interludes live in a different world. He somehow stitches his interludes to his main pallavis and charanams. There is nobody who is better than him in this. I almost forgot that I was providing you examples with his folk work. Enjoy the hidden Western classical music interludes in the folk melody – except, Raja does not make any attempt to hide it.

Butter Pecan Flavored Cleverfolk

This category has folk lyrics backed by South Indian folk instruments for the rhythm arrangement (not tabla).

Unfortunately, this category will find ourselves repeating some of what we saw with the section – Raja’s rhythm innovation stage 10. I will provide some additional examples that are not covered in that section.

This flavor instantly gets you the feel of a folk type song. However, this is just due to our getting used to Raja’s flavors – it has all his usual guitar, synth, violins which are non-folk instruments.

Nitham Nitham Nellu Choru from Mullum Malarum (1979) set fully on the ghatam.

Maankuyile Poonkuyile from Karakaatakaran (1989) using thavil and shehnai extensively.

Potri Padadi Penne from Devar Magan (1993) – uses duffle and ghatam

Amman Kovil from Aranmanai Kili (1993) uses urimi and thavil for this folk composition.

The track Nenjukkule Innarennu from Ponnumani (1993) uses ghatam and claves (sticks that create a sharp sound) in its prelude and pallavi. Observe that there is a sad version of the same song in the film, where Raja avoids the prelude and uses a 6/8 tabla arrangement.

Azhagana manjapura from Ellame En Rasathaan (1995) use a combination of a duffle and thavil as rhythm support

Kuruvi Kodaincha from Azhagi (2000) fully uses urimi and udukku throughout the track.

Manu Tholu Onnu from Kaasi (2002) using Udukku and country drums

The track Marakudaiyal from Manasanikkare (Malayalam 2003) is another amazing track where Raja uses thimila and thavil throughout the pallavi of the song. Thimila is a type of percussion instrument that is popular in Kerala. I am not sure, if the lyric of this song is folk type as I do not understand the language.

Chendakoru Kolundu from Manasinakkare (Malayalam 2003) using Chenda

Ghatam, thavil, udukku, urimi, chenda, thimila, duffle – a sample of folk instruments that Raja uses to create some of his folk compositions. Both the tracks of Manasinakkare use synthesizers and violins extensively.

The clip below starts off with Maanu Tholu Onnu and is followed by Kuruvi Kodaincha and finally has the famous Potri Padadi Penne. I leave it to you to figure the number of folk instruments thrown in by Raja in just these three sample parts…

Cleverfolk – a Raja genre

There is a widespread view among music listeners that Raja was responsible for popularizing folk music in films. In most interviews Raja vehemently denies it and quotes several examples of composers who have done folk compositions before him. However, this view somehow has stuck to the listener’s mind and he is unsuccessful in trying to reset it. Let’s step back and analyze why most listeners associate him with film based folk music.

Before diving deep, let’s get to a common understanding of what we mean by folk music. Here is a text book definition:

Folk music is the traditional and typically anonymous music that is an expression of the life of people in a community

In the Indian context, it is more associated with music traditions of the countryside. In other words, it is culturally very dependent on the language, rituals, and beliefs of the countryside. Unfortunately, this gets a bit twisted when applied to film music. For instance, any colloquial usage of the language is justified by most composers as giving a ‘folk feeling’ to the composition. The folk lyrics are hardly anonymous, but written by a lyricist who gets credit. Our journey is about analyzing Raja’s music contribution in the genre confused as ‘folk’, and not trying to dissert on the definition of folk music.

As I mentioned in some earlier sections on Raja’s folk work, he rarely composes folk music in its pure form. He flavors it in several ways and has created a genre called Cleverfolk in the process. His flavors are so nice, that most average listeners tend to associate all his flavors containing musical lyrics with a colloquial touch as Raja’s folk music. In my view, this is the reason, why even Raja has been unsuccessful in resetting this popular opinion.

How do we approach Cleverfolk and its various flavors? In order to navigate this genre, let’s have some fun with ice creams as they come in many flavors too. According to the food sciences department of University of Guelph, Canada, the top ice cream flavors are:

1. Vanilla

2. Chocolate

3. Chocolate Chip

4. Butter Pecan

5. Strawberry

6. Neapolitan

7. Cookies and cream

8. Rocky Road

9. Cookie Dough

10. Cherry Vanilla

11. Coffee

While the idea of ice cream flavors looks good, I do not want anyone to assume that I intend promoting Haagen Dazs or Dreyer’s or Baskin Robbins! Ice cream impressions are very pleasant and personal and more importantly very hard to reset. Many composers have served ice cream before (meaning folk music), but here is a composer that has served it in so many flavors that most consumers think that they are enjoying ice cream for the first time!

Let’s see the flavors that Raja serves and use the ice cream flavors to categorize them:

1. Cleverfolk unflavored: this is folk music presented in its native form without any major orchestration and other frills.
2. Vanilla flavored Cleverfolk: this category has folk lyrics presented with simple orchestration and tabla (simple or complex) for rhythm. Please bear in mind that tabla and shehnai, which feature in a number of Raja’s folk compositions are North Indian instruments.
3. Chocolate flavored Cleverfolk: this category has folk lyrics presented with camouflaged WCM interlude arrangement. You need to train your ear to unearth the WCM arrangement that is cleverly masked by the rhythm arrangement.
4. Chocolate Chip flavored Clever folk: this category has folk lyrics with WCM interlude arrangement (not camouflaged). Like the chocolate chips, the WCM arrangement simply stands out and you do not have to go searching!
5. Butter Pecan flavored Cleverfolk: this category has folk lyrics that have South Indian folk instruments used in the rhythm arrangement (not tabla).
6. Strawberry flavored Cleverfolk: this category has folk lyrics with camouflaged CCM based melody. Like strawberry, it has a distinct color that is easy to identify!
7. Neapolitan flavored Cleverfolk: this category has folk lyrics with western rhythm arrangement. This is easy to identify as the use of the Western drum kit or the synthpad makes it easy to identify and separate them.
8. Cookies and cream flavored Cleverfolk: this category has folk lyrics with mixed rhythm arrangement (Indian and Western). This is relatively easy to identify when you hear the track and not watch the associated video clip.
9. Rocky road flavored Cleverfolk: this category is folk lyrics with interludes set to rock music style arrangement. This is not a staple flavor and is available only as a special one. You have to go searching for this one.
10. Cookie dough flavored Cleverfolk: this category has folk lyrics with Jazz style interlude arrangement. This is not a staple flavor and is available only as a special one. You have to go searching for this one.
11. Cherry Vanilla flavored Cleverfolk: this category uses chorus arrangement which are inspired from folk music traditions. This is easy to identify because chorus arrangements are easy to recognize. However, Raja uses folk style chorus arrangement in tracks that have perfect (uses the language grammatically) lyrics also.
12. Coffee flavored Cleverfolk: this category is a catch all that has traces of any of the 10 other flavors! Let’s not explore if we would get Coffee flavor when we mix other flavors listed. You get this flavor when the ice cream is delivered to you in such a way, that you cannot simply call it any of the 10 other flavors.

There is no specific reason, why a particular flavor is chosen for a category – they are just random with the sole objective of making this analysis as fun. As folk involves language elements, I will stick mostly to Tamil compositions. I will include a few other languages where I feel confident that the composition is indeed folk. With every month, I will try and serve three flavors. As I mentioned in my rhythm series, these are top of mind examples based on a sample of 1,500 tracks from Raja’s work, which is roughly a 25% sample. Feel free to include examples that qualify that I may have missed. When someone serves you ice cream in 10 flavors when you went looking for one, he becomes the ice cream man. That’s my view on why even Raja cannot erase this opinion!

One more thing, before we jump into the flavors. There is bound to be some repetition between these sections and the rhythm stages we analyzed. There will also be some overlap with material that was presented earlier as Folk revisited. However, there will be lots of new material as well. As a departure from the past, audio clips presented with the flavors will be collages of some songs and not individual clips.