Both Eswari and TMS hit each curve with superb precision.Īnother movie, which was released in 1971, whose music had tremendous effect across India was 'Hare Krishna Hare Ram'. The orchestra may not be as trendy as RDB's but the tune is superb with so many subtle changes and a sort of middle eastern feel in the song endings and humming. What a delight this song is in L R Eswari's voice. Here is 'naam oruvarai oruvar' from 'Kumarikottam' She was no slouch and she was definitely singing such songs at the same level that Asha was singing. Like R D Burman depending on Asha to deliver sensuous songs, MSV called upon L R Eswari for such songs and she delivered perfectly.
The main difference is that MSV's orchestration tends to rush a bit while RDB's is more controlled. When you listen to these two songs one after the other I am sure you will see some similarities in orchestration. The MSV - L R Eswari was Tamil film music's response to the R D Burman - Asha Bhosle combination which produced hits like these. (The second para has TMS singing in classical style before singing the western style. You can see how R D Burman's music was pushing everyone to adopt certain musical styles, rhythm and instruments. The sax, the guitar and the rhythm and the club danced soaked voice of L R Eswari. Here is one response from MSV to take on the new trend. MSV also had to take on this trend, a trend which was enabling Hindi film music to penetrate deep into Tamilnadu. When such powerful trends set in, there is no way but to face it one way or the other. The impact of R D Burman was not felt only in the Hindi film music world but also down South in the world of Tamil and Telugu films. Rajesh Khanna with the mannerism that would capture the heart of all girls, a petite Sharmila, the super picturization of the car following the train and the rhythm reflecting the movement of the train and a great tune made this song the very definition of a super hit song. 'roop tera mastana' has been parodied both in Tamil and Telugu. Such was the impact of the music of Aradhana specially the songs, 'roop tera mastana' and 'mere sapnon ki'.
My friend Aul Selvan and Inabvannan say that even for Mariyamman Thiruvizhas the songs of Aradhana were played. Similarly Raja's music reached all the tea shops in all villages down South but his music didn't create much impact beyond the Vindhyas).
(While Rahman's music did go out of India, within Indian context I would say that Rahman is mostly an urban phenomenon.
KADHALIYE SAD SONG FROM NENJIRUKKUM VARAI MOVIE
Whatever be the exact credit, it has to be acknowledged that the music of this movie reached the interiors of Indian towns and village, a feat only R D Burman could manage. Going by the style of S D Burman and the later style of R D Burman my guess is that 'mere sapno ki rani kab ayegi thu' and 'kora kagaz tha yeh mann mera' were probably R D's creations. While it is true, many industry insiders are on record saying that S D Burman was not well during that time and R D composed some of the songs. I am sure those in the know will tell me that 'Aradhana' was not by R D Burman but was by S D Burman. The R D Burman - Kishore Kumar - Rajesh Khanna combination would leave a huge impact on Hindi film music, which is felt even to this day.
KADHALIYE SAD SONG FROM NENJIRUKKUM VARAI FULL
Kishore Kumar who had till then mostly sung for himself (when he was on screen) or for his friend Dev Anand, decided to become a full fledged singer. While Rafi and Kishore both sang for Rajesh Khanna in that movie, Kishore was chosen to be the voice of Rajesh Khanna. 'Aradhana' released in 1969 was important in more ways than one.