Enjoyable Melodies - Priya Sisters

Main Artist(s): Priya Sisters - Haripriya & Shanmukhapriya
Album Title: Enjoyable Melodies
Amutham Inc.
CD

Tracks
01. Sadhachaleswaram-Bhoopalam
02. Manasuloni-Hindolam
03. Kshaanamadhunaa (Ashtapathi)-Kalaavathi
04. Mannapuggazh-Ragamalika
05. Narayanaya-Hamsanandhi
06. Edavalapeda Machika-Revathi
07. Theeradha Vilayattu Pillai-Ragamalika
08. Naneke Badavanu-Madhuvanthi
09. Pazhani Nindra-Kapi
10. Govardhanagiridhara-Dharbarikaanadaa
11. Entha Chakkani (Sai bhajan)-Misrabehaag
12. Thillana-Bhageshri


The album starts off with Dikshitar's Bhoopalam "Sadhachaleswaram". The brugas in the pallavi aren't clean, but nevertheless, they get through. Their sense of shruti improves quite a lot in the first line of the anupallavi, and their brugas improve on the second round of the pallavi. The background music which was surprisingly appealing, was nicely and suitably composed for the mood in which the krithi is sung. The CD neglects to give credit to the orchestra. Still, overall, this track is a good one.

The next item is Thyagaraja's "Manasuloni". The sisters sing this in Hindolam, and handle the raga nicely, with the exception of a couple of questionable shruthi lapses. Their pace is slower than what is expected from them for this krithi. The tempo isn't too bad...but at times, a tad bit faster would have been beneficial for them. Sahithya was well-pronounced, and the bhaavaa element was somewhat better than I expected. Worthwhile.

The next track reflects the title of the album - an [utterly] enjoyable melody!! Excellent rendition of one of Jayadeva's Ashtapathis in Kalavathi. They begin this song as "Kshaanamadhunaa" - this is sung as the pallavi of the song, perhaps differently to the commonly begun "Kisalaya Sayana". The sense of bhaavaa in this song is simply outstanding, and very touching to the listener. Impressive!

The album cover indicates the next item to be of Kulasekhar Azhwar's "Mannapugazh" in Ragamalika, set to Rupakam. Dedicated to Lord Rama, this version covers ragas Durga, Lalitha, Saranga, Hindolam (again!) and Neelambari, They handle the whole song, and the mala (garland) of ragas in it very very well, with a specific improvement in the effectiveness of Hindolam. Neelambari also deserves a special a mention - handled extraordinarily well. This is indeed, another enjoyable melody.

Annamacharya's "Narayanaya" follows in Hamsanandhi (Ekam - khanda gathi). This is handled nicely, and has an unforgettable beat. The beauty of Hamsanandhi is brought out quite well, with a nice balance between the emphasis on sahithya, as well as a dichotomy of handling the raga both gently and forcefully. Very appropriately handled. Another pleasant, enjoyable melody.

Their voices have settled down a lot by this part of the album, and their shruthi, awareness of raga, laya etc. has all reached a peak. One of the most attractive elements of their singing is the effortlessness, and natural talent+ability. There are no gimmicks, and unlike when certain singers try a tune like this, I don't hear the artists thinking. It's all natural.

Another composition of Annamacharya follows in Revathi ragam, Eka talam. This is ok. They handle the raga ok, but the pallavi (perhaps unfortunately) revolves in the lower octaves. Towards the charanam, we hear more of their higher octaves. Again, there is an effortlessness about the way they render this composition. The background music is consistently terrific - it really is a pity no credit was given here!

What follows is the evergreen Ragamalika melody of Subramania Bharathiyar, "Theeradha Vilaiyattu Pillai" (tisra gathi), popularised by one of the three queens of Carnatic Music, D.K.Pattammal. They struggle to live up to her version, or her paethi's version. A bruga sangathi goes horribly wrong. The Sindhubhairavi version is at a mere (perhaps below) satisfactory level, in a contrast to the past few tracks. The bhaavaa element lacks here. There is a strong improvement in the Khamas segment of the song, with a lovely sangathi in the raga. The bhaavaa element comes back. The tempo for the song overall was well chosen. The background music for Shanmukhapriya sounded very amateur, with not enough done to disguise the obvious keyboard sound which (obviously) had been well disguised up until now. While the sisters sing Shanmukhapriya very nicely, an absense of the intense effect that is felt when DKP sings this segment of the song is felt. However, to make up for this loss, they sing a wonderful Maand and handle this part of the song exceptionally well. Good.

Purandaradasar's "Naneke Badavanu" (Khanda Chapu) is rendered in Madhuvanthi next. The bhaavaa element is quite good. While some brugas are very clean at one point, the shruti suffers for a second or two before it. Another ok rendition. They try to put a lot of bhava, but it does get a little boring at certain stages of the song. Not bad I suppose.

Periyasami Thooran's Kapi composition Pazhani Nindra (Rupakam) follows, popularised by another one of the Queens of Carnatic Music M.L.Vasanthakumari. Priya Sisters learnt from Radha Jayalakshmi for sometime, who had learnt from MLV's guru, so the similarities can be seen. The swaras at "Arulin" in the anupallavi is sketchy, and could be handled a lot better I think...as with most of the anupallavi. Still, a reasonable effort. The bhaavaa element and control of their voices, shruthi etc. seems to come back as they start at the lines "Kaadhal Valli Kandha Dheivam". This line of the song is rendered very nicely, and both sisters harmonise perfectly. A sangathi in Kapi follows in the next line which is very nicely controlled, and handled in effect. This part of the song had a significant improvement. An enjoyable melody I guess.

Another evergreen melody follows; Narayana Theerthar's "Govardhanagiridhara" in Dharbarikaanadaa. This composition is handled very effectively. A lot of the sangathis are predictable, commonly sung gamakas of the raga...whether this heightens the quality of the songs in the album is an interesting issue worth considering. Dharbaarikaanadaa is really handled very very well. The flute of the orchestra plays a beautiful, very effective line or two of Dharbaarikaanadaa before the song starts...and renders some spell-binding sangathis in between each part of the song too. A very very enjoyable melody!

A Sai bhajan in Misra Behaag (eka-khanda gathi) by Saikrishna Yachendra follows. Titled "Entha Chakkani", the sisters render this song very well. It is a rendition that can be appreciated for its musical quality by even a non-Sai devotee. To be able to transcend such a barrier is not only very difficult, but also (perhaps for that reason) very impressive. This is the case in this song. Another enjoyable melody.

To conclude the album, the sisters render a Bhageshri Thillana of Lalgudi G Jayaraman, dedicated to Lord Muruga. The background music render a nice set of lines in Bhageshri, before the Priya Sisters render the raga very effectively in the Thillana. They bring out the beauty of the raga very well, throughout the composition. Naturally, as the raga demands, they put in quite a lot of bhaavam in the rendition. The background music also handle the raga well. The jathis, and swaras are handled well...especially as time went on. This rendition brings the album to a beautiful finish.

It is no surprise therefore, that I think that this is truely an album worth having. The background music is terrific for the majority, as is the wholesome singing of the Priya sisters. It really is an enjoyable listen; an enjoyable album of predominantly Enjoyable Melodies.

The Awakening - Ranjani & Gayathri

Main Artist(s): Ranjani & Gayathri
Album Title: The Awakening
Carnatica
CD


Tracks
1. Oraarumugane Reetigowla
2. Maa dayai Vasantha
3. Endraikku Siva Krupai Mukhari
4. Thaaye Tripura Suddhasaveri
5. Kundram Kudi Thodi
6. Viruttam Simmendramadhyamam Saveri Jonpuri Eppo Varuvaaro Adi Gopalakrishna Bharathi
7. Devar Varuga Ragamalika
8. Manadirkugandhadhu Sindhubhairavi
9. Thiruppugazh Husseni


REVIEW
The opening song of the album is a rarely rendered composition of Neelakanta Sivan, "Oraarumugane" in Reethigoulai. It is rendered quite well. They try a little too hard to sing a few bruga sangathis, but these sangathis aren't clean and might as well not have been attempted. Other than that, their feel for Reethigoulai is pretty good. Some of the notes that they hit in the charanam are perfectly alligned with the shruthi. Very enjoyable opening.

Papanasam Sivan's "Maadhayai" in Vasantha follows. Their soft voices aren't very commanding making the rendition very ordinary. The chittaswaras are ok. The kalpana swaras are very ordinary. As they launch into the faster speed, I was hoping for improvement, but was sadly disappointed. They clearly demonstrated that speed isn't everything, there needs to be much more put into kalpana swara singing. Ordinary, with room for a lot of improvement.

A brief o.k. raga outline of Mukhari follows. "Endraikku Siva Krupai" in the same raga, by Neelakanta Sivan is then taken. Despite an impressive charanam, the rest was ordinary and RG really should not have rendered this krithi at this stage. The composition demands a lot of bhaavaa and maturity - both of them haven't reached that level in the making of this recording. One can hear the sisters thinking too much when trying to put the bhaavaa into this song and unfortunately, it doesn't come naturally like it should. Still, it is enjoyable on one level and many audiences enjoy their rendition of this composition. It has a lot of potential.

Both sisters then render "Thaye Thripura Sundhari" by Periyasami Thooran, in Suddhasaveri and Kanda Chapu. Again an ordinary rendition, and the tempo is a little too slow. Contrastingly and surprisingly, the chittaswaras were rendered impressively, unlike the rest of the composition.

They follow it up with an alapana in Thodi. It's ok. They then sing "Kundram Kudi" in the same raga, a less frequently rendered composition of Papanasam Sivan. The rendition of this composition is quite a big improvement in comparison to the alapana and renditions of the previous songs. Again, they struggle to make clean bruga sangathis, which both the raga and composition demands of the musician. However, with the exception of this, their rendition is very good. Their nereval and kalpana swaras are terrific. This time the faster swaras are very effective. They chose the tempo for the composition well this time. The thani avarthanam is very good. Until this point, the mridhangam was supporting the sisters well, without any real special sparks.

They then sing a Virutham, "Thaayir Sirandha". Starting in Simhendramadhyamam, it was very average. As the other sister took Saveri, it was better. The Jonpuri part was unique, and this is followed by Gopalakrishna Bharathi's "Yeppo Varuvaaro" in the same raga. They put a lot of bhaavaa into this rendition. However, the tempo is a little too slow in my view. Still, a worthwhile listen like the previous track.

A rare "Devar Varuga" of Subramania Bharathiyar follows in Ragamalika. Starting in Hamsanandhi, it isn't bad. The transition between this raga and Abheri was good, likewise between Abheri and Kunthalavarali. The final raga, Mayamalavagoulai, is rendered quite well too.

Thanjavoor Shankara Iyer's "Manadhirukugandhadhu" in Sindhubhairavi follows. It has a lot of bhaavaa. While the sisters could've brought more of the beauty of Sindhubhairavi out, they do a good job.

To conclude, the sisters render a Thiruppugazh of Arunagirinathar in Huseni. Starting with "Iyalisai", they render it well. They sing it in 2 speeds, and finish at a lower speed, and does a very nice sketch of Huseni at the end.

This thematic album of Thamizh compositions is an interesting one. It has some rarely rendered compositions in it, as well as a couple of very popular ones. Overall, while I think some compositions are better rendered by others, their versions are still very pleasant and enjoyable. A worthwhile buy.

Utsava Sampradaya Krithis - S.Sowmya

Main Artist(s): S.Sowmya
Album Title: Utsava Sampradaya Krithis
Saragam
CD


Tracks
1. Hetsarika ka ra ra - Yadukulakamboji
2. Seetha Kalyana - Sankarabaranam
3. Nagumomu Kalavani - Madhyamavathi
4. Naapali Sri Rama - Sankarabaranm
5. Pathiki Harathire - Surati
6. Pathiki Mangala Harathire - Arabi
7. Shobane - Panthuvarali
8. Pulabanbu - Punnagavarali
9. Lali Lalayya - Kedaragowla
10. Ksheerasagara Vihara - Anandabairavi
11. Laliyugave - Neelambari
12. Jo Jo Rama - Reethigowla
13. Melukovayya - Bowli
14. Jayamangalam - Nadanamakriya



REVIEW

The album begins with "Hecharikaga Ra Ra" in Yadukulakambhoji. The bhaavaa she puts into the song adheres to the composition's thematic meaning; O Sri Rama, deign to come cautiously! In effect, SOwmya renders it well, and at a good tempo.

The next krithi is "Seetha Kalyana" in Shankarabharanam. This krithi is very plain, and perhaps a bit too slow. This krithi praises the wedding of Seetha, and describes the greatness of her husband, Sri Rama.

The next krithi is "Nagumomu Galavani" in Madhyamavathi. Again, Sowmya captures the meaning of the song in her rendition. Dr M Narmadha on the violin plays loudly in this composition and has a few solo spots. In this composition Thyagaraja exclaims how his heart has been captivated by Sri Rama. The tempo is chosen well in this composition, and is rendered well.

"Naapali Sri Rama" follows. Here, Thyagaraja asks Sri Rama to protect him. The rendition is ok.

This is followed by "Pathiki Haarathi" in Surutti. S.Sowmya renders this beautifully, and brings out the beauty of both the raga exceptionally well. Here, Thyagaraja repeatedly asks "let us give our offerings and perform for Sri Rama, O damsels!" A terrific rendition.

The composition, "Pathiki Mangala Harathire" in Arabhi is next. The thematic meaning of the composition is the same as the previous composition. Sowmya sings it very well, and brings out the beauty of Arabhi very effectively. The accompanists, as always, provide terrific support. I think Embar S. Kannan is on the mridhangam. Her bruga sangathis are good, even though not all of them achieve the desired effect.

A Panthuvarali composition, "Shobhane" follows. Here, Thyagaraja exclaims; 'deign to protect me, O Sri Rama, may there ever be auspiciousness!' It is rendered ok. It is a little slow, and while Sowmya puts bhaavaa into this composition, there is potential for a lot more.

This is followed "Pulapaanbu" in Ahiri. Sowmya sings it well and brings out the beauty of Ahiri out, like her guru, S.Ramanathan. She sings it well. Here, Thyagaraja asks Rama to to nicely lie down on the bed of flowers he has to offer.

A Kedharagoulai composition, "Laali Laalayya" is next. Sowmya handles the raga a lot better than I expected, similar again to her guru, S.Ramanathan. Here Thyagaraja tells Rama he is singing a lullby and asks him to go to sleep. This composition tests artists of how well they can sing this raga as a lullaby, and Sowmya does quite well for the most part.

This is followed by a composition in Anandhabhairavi, "Ksheerasagara Vihara". Sowmya sings Anandhabhairavi quite well, but it is quite boring. I imagine a more commanding voice would make this composition sound a little more interesting.

The next krithi, "Laaliyugave" in Neelambari is another lullaby from Thyagaraja - "as I rock the swing, may you swing". While Sowmya's Neelambari isn't the best, she achieves the desired effect of the composition; putting the listener to sleep.

Another lullaby follows, "Jo Jo Rama" in Reethigoulai. Not bad.

Sowmya then takes up a composition that her guru, S.Ramanathan would sing often: Melukovayya in Bhowli. Here, Thyagaraja asks Sri Rama to wake up. She renders it exceptionally well.

Sowmya concludes the album with "Jaya Mangalam" in Nadanamakriya. Here, Thyagaraja exclaims "may there be victory and auspicious prosperity". She once again captures the meaning of the composition in the way she sings the raga. A fine rendition to finish a fine thematic album on Thyagaraja's Utsava Sampradhaya Krithis. While I think the order of tracks is very unconventional and perhaps could've been reconsidered, this album really is a great listen, and gives reasons to attend her Utsava Sampradaya Krithis kutcheris that she often holds.

Listener's Choice - Bombay S. Jayashri

Main Artist(s): Bombay S. Jayashri
Album Title: Listener's choice
Inreco
CD


Tracks
1 Sri Ganesa Saranam: Raga Tilang:
2. Kanden Seethaiyai: Raga Bagesri:
3. Tunga Teera: Raga Yaman: Tala Adi:
4. Koovi Azhaikka: Raga Sindhu Bhairavi:
5. Nandanandana: Raga Desh:
6. Muralidara: Raga Maandu:
7. Enna Solli Azhaithal: Raga Kanada:
8. Koovi Azhaithaal: Raga Valaji:
9. Janaki Ramana: Raga Kapi:
10. Srinivasa: Raga Hamsanandi:
11 Kaliyuga Varadan: Raga Brindavani:



The opening song of the album is Papanasam Sivan's "Sri Ganesha Saranam" in Thilang. Slow, but not bad. Overall, a very average rendition.

The next song is Arunachala Kavirayar's "Kanden Seethaiyai". More commonly sung in Vasantha to suit the lyrics, it is also sung in Bageshri. Bombay Jayashree rendition in the latter raga is glorious. Very beautiful. She puts a lot of bhaavaa into this song and unsurprisingly, her version is very popular. While the song doesn't require this particular type of bhaavaa, the listener doesn't care. The bhaavaa and tune make it an excellent rendition.

A slokam on Raghavendra Swami in Yaman follows. Not bad. Then Thunga Theera Virajam is sung in the same raga composed by Kamalesha Daasar. The speed is faster than the average rendition of this song, and it's ok. Her nasal style is almost invisible throughout this rendition to the relief of yours truely. However, it sounds more like a bhajan, and the slowness and sweetness of Yaman is neglected.

The orchestra's lead up to the next song in Sindhu Bhairavi was poorly executed, again missing the beauty of this raga. Papanasam Sivan's "Kooviazhaikka Koodathaa" in the same raga follows. It's very slow and lacks the type of bhaavaa that the song requires. The orchestra further makes it sound like a film song. Frustratingly pathetic!

The Desh raga is clearly distinct in the opening of the next song, Lalithadaasar's "Nandanandana". In stark contrast to the previous song, delightful!

Periyasami Thooran's popular "Muralidhara" in Maand followed. It was sung well, as expected.

The next song is Ambujam Krishna's evergreen "Enna Solli Azhaithaal" in Kaanadaa. The orchestra's lead up is much more encouraging than their Sindhu Bhairavi attempt. In her kutcheri versions, Bombay Jayashree sings this poorly. However, in this track, she starts off singing it very well. The orchestra's bits of Kaanadaa are wonderful. As I expected, her voice struggled in the anupallavi and her shruthi falters, but she doesn't make the mistake in the charanam. Not bad. As she renders the pallavi for the final time, the glimpses of the beauty of Kaanadaa show in her voice.

The next song is "Koovi Azhaithaal" (Valaji), composed by N.S.Chidambaram.Bombay Jayashree sings this better in her kutcheris than in this track, but nevertheless, it is quite ok!

A nice Kapi opening by the orchestra follows. Bombay Jayashree sings "Janaki Ramana" pleasingly well. Her exploration of the beauty of Kapi is wonderful. Terrific!

THe orchestra's opening of Hamsaanandhi is quite good, and this is followed by Papanasam Sivan's "Srinivasa. She renders this quite well. The tempo is well chosen.

The final song of the album is "Kaliyuga Varadhan" in Brindavani by Periyasami Thooran. It's ok. Not the best of endings.

Overall, this album has its pros and cons. Personally, the only reason I would buy this album is to listen to the Bhageshri. Other than that, unless it's half price (as only half of it is good), I wouldn't buy it.

Nithyasree - Eppadi Paadinaaro (favourites of smt. D K Pattammal)

Main Artist(s): Nithyashree Mahadevan
Album Title: Eppadi Paadinaaro (Nithyasree sings favourite songs of smt. D.K.Pattammal)
RPG
CD

Tracks
1. Eppadi Paadinaaro
2. Vettri Ettu
3. Kannan Varakananae
4. Nanoru Vilayattu
5. Velan Varuvanadi
6. Aaduvome Pallu Paaduvome
7. Vallikkanavan
8. Theeradha Vilayattu Pillai
9. Poonkuyil Koovum
10. Engal Naatu
11. Gokulam
12. Shanthi Nilava Vendum

Orchestra conducted by L.Krishnan

The audio tape title is Eppadi Paadinaaro (Nithyasree sings Old Tamil Hit Songs Of Her Grandmother D.K.Pattammal).

REVIEW
It is clear that RPG wasn't targetting Carnatic buyers due to the lack of listing ragas and composers in both CD and tape, but more of a Tamil/Regional album. The orchestra and Nithyashree make the tunes very light. Nithyashree sung this album when she was younger, when her voice had more of the DK Pattammal sound to it. She does try immitating the young DKP, and at times, the attempts are convincing.

Nithyashree starts the album off with the title track, "Eppadi Paadinaaro" in Karnatakadevagandhari. This song, by Suddhanandha Bharathi, isn't rendered in full form like DKP often would in her kutcheris. Still, the song isn't a bad listen either, nor is the immitation. At the words "Karunai Kadal Perugi", Nithyashree rushes off some bruga sangathis, like DKP when she was younger.

Nithyashree then moves onto Mahakavi Subramania Bharathiyar's "Vettri Ettu" in Mohanam. The background music leading up to the pallavi is that of a typical Indian patriotic theme. This song is significant as it was sung by DKP in a movie, "Naam Iruvar". There is an interesting mridhangam sequence in between, perhaps like in the film version. Personally, again, I prefer the kutcheri version. DKP would render this item in a lot of her concerts too. There are some more nice brugas at "Nithya Shakthi Vazhgavendru" - though DKP's still remain unmatched.

This is followed by another song DKP sung in her own Tamil/Regional collection (78rpms I think), "Kannanvarakanane" in Ragamalika. The final raga, Punnagavarali, isn't sung as nicely as DKP. Very plain.

The Navarasakanada raga opening by the orchestra is quite nice. As expected, Nithyashree follows this with a rendition of Papanasam Sivan's "Nanoru Vilayattu" in the same raga. This is significant, as DKP's brother, DKJ had popularised this song. She renders this krithi a little more like DKP in this track, however, at a much slower speed, like with all the other tracks. Of course, DKJ has rendered the best version, to my knowledge. DKP would render this in her concerts too. Nithyashree's rendition is not bad.

The next song in Ragamalika, "Velan Varuvanadi", was popularised by DKP, but rendered less in her kutcheris, but like Eppadi Paadinaro, she did render it in a very popular album of hers. I figured the speed is considerably slower for the sake of the orcherstra, as Nithyashree has sung this in kutcheri at DKP's speed (it was good). Another ok item. To choose the best rendered bits of the krithi, were the ones in Kedharagoula. The orchestra played best before the Kapi that followed. Her effort at Dhanyasi was a nice try, and her Mohanam immitation was excellent. This song describes the episode of Valli and Murugan - see post below.

Mahakavi Subramania Bharathiyar's "Aaduvome Pallu Paaduvome" (Maand) follows. DKP sang this patriotic song in a movie too. A very cheerful tune, following the song's theme and lyrics - let us dance and sing for we have achieved glorious freedom. After the words "saangu konde", a sound effect of a conch (saangu) follows. Interesting! The sangathis are good, and her pitch remains quite high, but not at a piercing level.

The next item is the evergreen "Valli Kanavan Perai", a Kavadi Chindu based on the raga Senchurutti. DKP popularised this krithi, and sung it in a lot of her kutcheris. She was also famous for this version. Nithya's version is quite good.

This is followed by Subramania Bharathiyar's "Theeradha Vilayattu Pillai" in Ragamalika. DKP popularised this and her version was famous. Here, Nithyashree doesn't come close to DKP's version. Interestingly, the flute from the orchestra plays solo for a few seconds after Nithyashree sings the words that describe Kannan bringing his flute.

Kalki's "Poonkuyil Koovum" derived from Kapi follows. It is a nice rendition, but once again doesn't match DKP's version. This song was also popularised by DKP and was famous for her version. A sound effect of a bird (kuyil) follows the first few words of the composition.

A patriotic song "Engal Naatu" follows, derived from Sindhubhairavi. It's not a bad listen.

The second last song is "Gokulam Yamunai Brindavanam", which was also part of DKP's Tamil/Regional album of 78rpms. It's ok.

Nithyashree concludes the album with "Shanthi Nilava Vendum" in Thilang. DKP popularised and loved this song. It'd be a fitting ending, if Nithyashree didn't make it so plain and boring. Still, it's peaceful like the song's theme.

Overall, this album was peaceful and Nithyashree's voice never trailed along the lines of irritating. Sahithya was ok. Orchestration was ok, with some interesting sound effects. Speed was at an all time low! She lacked any emotion when rendering these songs too, making it quite plain, dull and boring. But if you're in a bad mood, it may cheer you up...either way, overall, I don't think it's a worthwhile buy. She doesn't do justice to many (if any!) of the songs in this album, however, she does give people a very very rough sketch of what DKP brought into the world of Tamil Music, in a Carnatic, Patriotic, Devotional and Film sense. If you're unfortunate enough to not have heard DKP in these mediums, then maybe for you, this album may be a worthwhile buy. :S

Velan Varuvanadi Theme

Murugan hears about Valli's beauty and pretends to chase a deer and comes to her 'thinai' tribe near thiruthani and is stunned by her beauty. When Valli's father, Nambirajan comes home, Murugan turns into a vengai maram. The following day, Murugan appears as a beggar and begs for honey and grains (thenum thinai maavu) to eat. After eating this, he gets uncontrollable hiccups (thaangaadha vikkal) and asks Valli for help. As he flirts with her, he finds out the only animal she is afraid of is the elephant (yaanai). He then asks her if she would marry him and she sneers at him. He then invokes his annan (Ganapathi, his brother), who appears in the form of an elephant. Frightened, Valli asks the old man to save her, and promises to marry him as a condition. As Murugan makes the elephant go away, Valli tries to go back on her word. Again, Murugan invokes Ganapathi and the elephant appears again, but this time, the elephant picks her up and drops her in the arms of the old man. Murugan's disguise disappears, and accepts.

Murugan Pamalai - Nithyasree Mahadevan

Main Artist(s): Nithyashree Mahadevan
Album Title: Murugan Pamalai Vol. 1
Amutham Inc.
CD

Tracks
1. Konji Konji Vaa-Khamas
2. Mohanakkara-Neethimathi
3. Nekkurugi-Abhogi
4. Vidalahuma-Devagandhari
5. Muruga Muzhumadhi-Saveri
6. Orumaiyudan-Ragamalika Idhayak Koyilil-Soothradhari
7. Kundruthoradum-Kalyani
8. Eru Mayil Eri-Anandhabhairavi
9. Mayil Meedhu-Charukesi

Accompanists: Kalpana Venkat (violin), Poongulam Subramaniam (mridhangam), Adambakkam Sankar (ghatam)

I need to thank Venkadesh and especially to Govind. Without both, I could not have reviewed this album today.

REVIEW
Nithyashree begins the album with a 30-second raga alapana in Khamas, following it with Periyasami Thooran's "Konji Konji" in the same raga. Being a krithi on occasion rendered by her grandmother, D.K.Pattammal, one can see how alike their versions are. Perhaps the only difference is pitch!

The next song "Mohanakkara" (Koteeswara Iyer) in Neethimathi and Rupakam starts off as a very controlled rendition and is rendered competently, however her voice does get irritating as she tries to reach gandharam in the upper octave during her sangathis in the pallavi.

A very nicely rendered Abhogi alapana outline follows. The transition from the previous song seems terrific (though this may be because of the huge improvement from the previous track). Kalpana Venkat plays her solo part beautifully and flawlessly here too. This is followed by Papanasam Sivan's "Nekkurugi". Sangathis flow effortlessly from both the vocalist and violinist, and the tempo is perfect. She strains her voice in the charanam a little, and (perhaps a little too quickly) hurries back to the anupallavi. An average nereval at the anupallavi follows, and to the listener's relief, her voice gets a brief break. As she takes another line, while her voice sounds better for the listener's ear, the nereval remains average. The violinist supports her well. She (perhaps a little too quickly) starts kalpana swarams. While the speed is quite fast, her voice begins to show signs of straining. However, during one of the brief breaks, her voice improves again, and her swaras sound much more pleasant. Kalpana Venkat's swaras are terrific throughout the sequence. During the final lines of kalpana swaras, the standard moves up a notch. Room for improvement in the nereval and kalpana swarams, but otherwise, ok!

Nithyashree then moves onto a song beginning "Vidalahuma" in Misra Chapu, very clearly in Devagandhari. She controls her voice effectively, sings the sangathis and gamakas of the raga almost perfectly bringing out Devagandhari's beauty. Last but not least, like the violinist, she renders the song with a lot of bhava. I wish Nithyashree could control her voice this way more often. Very pleasant, and very enjoyable!

The main artist then launches into the main raga, Saveri. Her alapana is quite good, and so is the violinist's. Papanasam Sivan's "Muruga Muzhumadhi" follows. Poongulam Subramaniam's plays effectively during the krithi (up until this point, his playing was just average, if not less). The krithi is rendered very well, and this time, she moves into kalpana swaras much more naturally. Her swaras seem more natural, and are terrific. A nice thani avarthanam follows, without any annoying bangs. Another terrific track.

Nithyashree then sings a rather-famous virutham, "Orumaiyudan" (Ramalinga Swamigal) in Sahana. This is well rendered like most of her other viruthams, and in a ragamalika sequence, she glides through Shanmukhapriya and Valaji likewise, effortlessly. She ends on the rare raga, "Soothradhari" - for those who don't know it, it's a janya of Natabhairavi. She sings the raga and the song that follows beautifully, also in Soothradhari, "Idhayak Koyilil". Kadaloor Subramaniam's (the composer's) excellence usually shows through Nithyashree, and this is no exception. She reveals the beauty of the raga and composition in this track. Also, like throughout the album, Nithyashree's pronounciation of the sahithya is outstanding, expressing herself both musically and lyrically, very clearly.

After a brief raga outline of Kalyani, with some impressive bruga sangathis, Nithyashree proceeds to render Kundruthoradum (Kumara) in the same ragam. She controls her voice throughout this rendition too. Some pleasing swaras in the composition add to the pleasant listen.

A beautiful rendition of Arungirinathar's Thiruppugazh "Eru Mayil Eri" in Anandhabhairavi follows, and gives the listener a reminder of Pattammal's influence. The 2nd kaalam is also very pleasant. Her ending is perfect.

An interesting raga outline of Charukesi follows, marking the last item, much to the disappointment of the listener, yours truely. Thanjavoor Shankara Iyer's composition "Mayil Meedhu" in the same raga is rendered flawlessly and filled with bhava, overall, a reminder of D.K.Jayaraman's (Pattammal's brother) training under the composer. Beautifully rendered. The accompanists accompany Nithyashree in this track. The amount of bhaavaa Nithyashree puts into this song is simply breath taking, the melancholic melody is infectious, making it an effective conclusion to the album, and simultaneously making the listener, especially yours truely, yearn for more (and want an encore).

Nithyashree Mahadevan's pronounciation of the sahithya is terrific. Her understanding of raga, thala, bhava, sangathis and other technicalities continues to grow. While the beginning of the album has room for improvement, the overwhelming majority gets my vote. The accompanists support her well, and she demonstrates her extensive repertoire in this album. Her selection is superb, and her transitions are outstanding. This thematic album on Thamizh Carnatic Murugan songs is brilliant, and definitely one of my favourites. I thoroughly recommend you get it if you haven't already!!!