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| TUNES
THAT OUTLAST THE CREATOR! |
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How many music directors from the industry
can an average Tamil movie follower name?
Obviously, everyone would know Ilayaraja
and Rahman, almost all would be familiar
with names like Yuvan Shankar Raja and
Harris Jeyaraj; Vijay Anthony, DSP, Vidyasagar
and GV Prakash Kumar are amongst the other
familiar names. Then come names like Dheena,
Srikanth Deva, Sabesh Murali, Mani Sharma,
Joshua Sridhar, Imman etc.
Why this kind of an exercise, you might
be wondering? The thought sparked off
when recently a song from the evergreen
musical hit Amaran was played and someone
remarked that Ilayaraja had done a wonderful
job in scoring such music. For a moment,
almost everyone present nodded in agreement
but were stopped by one who pointed out
that Amaran was not the Maestro’s
album. Everyone rubbished the claim because
this person was not able to name the person
who had actually scored it. But, on further
search one came to know that Amaran indeed
was not an Ilayaraja album, it was scored
by Adithyan.
For some of you who follow cinema very
closely, this might be a pretty obvious
fact. But, there are many to whom Adithyan
is a very unfamiliar name and that too
in spite of having been in the limelight
for quite a period. But, it is not only
Adithyan whose name got lost in the folds
of time, there are |
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too whose names faded into oblivion while their music
continues to hold sway even today.
The first and most surprising revelation might be
about all the songs from the Vijaykanth, Ramki, Nirosha
starrer ‘Sendoora Poove’, a truly evergreen
classic. Almost everyone who was asked about the songs
from this film believed firmly that it was an Ilayaraja
classic. But, the truth is that the song was scored
by a little known Manoj Gyan, a name seldom heard
or seen in Kollywood. The problem here is the fact
that we seem to be too convinced and bewitched by
the mastery of Ilayaraja that almost any good song
from the 70s and 80s is credited to him by default.
The Maestro himself would never lay claim to these
compositions, but the appreciation in the end seems
to reach him; like rivers flowing into the sea.
Other evergreen hits, the makers of which have not
been able to cement their place in the hearts of Tamil
cinema fans include ‘Kaadhoodu Dhaan Naan Pesuven’
from Velli Vizha scored by Kumar; ‘Yendha Pennilum’
from Captain Magal scored by a never before heard
Hamasalekha, ‘Kannukkul Nooru Nilavu’
from Vedham Pudhidhu by Devendran. Songs from Sindhu
Nadi Poo (all of which were hits) were scored by Soundaryan;
another name that has not been heard of or seen much
since then. And, perhaps the most disappointing case
is that of the music director of Bhagyaraj’s
Sundara Kandam whose actual name was pretty much untraceable
and finally was learnt from not very highly reliable
sources to be Narasimman. Because we have no other
means of ratification, it will remain so.
Of course, the composers mentioned above might not
come close to names such as Ilayaraja or M.S. Vishwanathan
in terms of class or sheer quantity of work done.
Consequently, their names don’t find the same
resonance or recall value as that of the legends.
But, it is sad that some of their best works while
still being remembered is at times being assumed to
be a product of the legends of the industry; by default.
It is only right that their names are remembered and
credited for the work that they did; nothing more,
nothing less; period.
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| Tags
: Yuvan
Shankar Raja, Harris
Jayaraj, GV
Prakash Kumar,
Srikanth
Deva,
Mani
Sharma |
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