#Ilaiyaraaja’s magic all the way, one of his best albums! This song is based on the Saramati Ragam! Sindhu Bhairavi was one of K.Balachander’s most memorable masterpieces! Apparently (according to exponents of music), this song is a brilliant illustration of the musical prowess of folksongs, evident in the way the “paadariyen” portion seamlessly blends with the “Mari Mari” section which is a pure Carnatic composition! To me (who doesn’t understand these nuances and technicalities), it is vintage Ilaiyaraaja wielding his magic to produce a timeless masterpiece which is a delight to listen anytime, anywhere!

Thanks to andrew for the suggestion.

Movie: Sindhu Bhairavi
Poet: Vairamuthu
Singer: K. S. Chithra
Music Director: Ilaiyaraaja
Song Sequence: (1)-(1)-(1)-(2)-(1)-(3)-(1)-(4)-(1)-(2)-(1)

(1)பாடறியேன் படிப்பறியேன் பள்ளிக்கூடந்தானறியேன்
ஏடறியேன் எழுத்தறியேன் எழுத்துவக நானறியேன்
(2)ஏட்டுல எழுதவில்ல எழுதிவெச்சுப் பழக்கமில்ல
இலக்கணம் படிக்கவில்ல தலகனமும் எனக்கு இல்ல

paadaRiyaen padippaRiyaen paLLikkoodamdhdhaanaRiyaen
aedaRiyaen ezhuthaRiyaen ezhuthuvaga naanaRiyaen
aettula ezhudhavilla ezhudhivechchup pazhakkamilla
ilakkaNam padikkavilla thalaganamum enakku illa

I do not know how to sing, I do not have the formal education (in music), I have never been to a formal school (to learn music),
I have not read any books (to understand music), I do not understand the symbols (of music) nor their types,
Neither have I written them down in a book nor am I used to reading it from a written form,
I have not read the grammar, I do not carry the “head weight” of claiming to be learned (in formal music)!

(3)அர்த்தத்த விட்டுப்புட்டா அதுக்கொரு பாவமில்ல
பழகின பாஷையில படிப்பது பாவமில்ல
என்னவோ ராகம் என்னன்னவோ தாளம்
தலைய ஆட்டும் புரியாத கூட்டம்
எல்லாமே சங்கீதந்தான்
எல்லாமே சங்கீதந்தான் சத்தத்தில் பொறந்த சங்கதிதான்
சட்ஜமமென்பதும் தைவதமென்பதும் பஞ்ச பரம்பரைக்கப்புறந்தான்

arthatha vittupputtaa adhukkoru baavamilla
pazhagina paashaiyila padippadhu paavamilla
ennavoa raagam ennannavoa thaaLam
thalaiya aattum puriyaadha koottam
ellaamae sanggeedhandhdhaan
ellaamae sanggeedhandhdhaan sathathil poRandhdha sangadhidhaan
satJamamenpadhum thaivadhamenpadhum panja paramparaikkappuRandhdhaan

If the meaning (or words) in a song is ignored, it looses its expressivity!
enjoying and composing music in a habitual language is no sin,
In the numerous confusing Raagas (melody) and Thaalas (beats)
the crowd nods its head while understanding none of it,
Everything is music,
Everything is music, all are but tonal variations born out of the same Noise!
The sounds of Sa (Sadjamam) and Dha (Dhaivatham) and the appreciation of formal music can come only after one takes care of his hunger and family (music/songs (components of leisure) come only after survival)

(4)கவலை ஏதுமில்ல ரசிக்கும் மேட்டுக்குடி
சேரிக்கும் சேரவேணும் அதுக்கும் பாட்டப் படி
எண்ணியே பாரு எத்தன பேரு
தங்கமே நீயும் தமிழ் பாட்டும் பாடு
சொன்னது தப்பா தப்பா
சொன்னது தப்பாதப்பா ராகத்தில் புதுசு என்னதப்பா
அம்மியரச்சவ கும்மியடிச்சவ நாட்டுப்புரத்துல சொன்னதப்பா 

kavalai aedhumilla rasikkum maettukkudi
saerikkum saeravaeNum adhukkum paattap padi
eNNiyae paaru ethana paeru
thangamae neeyum thamizh paattum paadu
sonnadhu thappaa thappaa
sonnadhu thappaadhappaa raagathil pudhusu ennadhappaa
ammiyarachchava kummiyadichchava naattuppurathula sonnadhappaa

there are no worries for the aristocracy that sits here are enjoys the music/song,
music/songs should reach even the slums, write songs for that too,
think about it, how many (more will enjoy it when it reaches the masses!)
oh precious, do sing songs in Tamil too,
is there any wrong in what I said?
what I say will never fail, after all, what is new in the raagas (formal constructs of music)?
aren’t they a mere formalization of what was practiced traditionally in folklore by women who used the grind stone to pound grains (making rhythms sounds) and those practicing folk dance!

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