Tamil Cinema has been blessed to have been graced by a dizzying array of music composers, right from the days of Papanasam Sivan till may I say… Santosh Narayanan, but lost in the vortex of box-office success, many have fallen by the wayside, this article is about my personal favorites , who were not as successful as they should have been !
Ramesh Vinayagam
Much before T-Series turned the concept of ‘multiple composers’ for a single film into a debauched mockery , Vasanth( who has a fantastic taste for fine music) introduced multiple composers for his movie ‘Ey Nee Romba Azhaga Irukka’, with one of them being the criminally underrated Ramesh Vinayagam.
Here’s a trivia question. ‘When Raajkamal films decided to go with a new composer after sticking to their decades old de-facto composer, Illayaraja, whom did they go with ?’
Answer, Shankar-Ehsaan-Loy ? Ghibran ? Naah !
It was Ramesh Vinayagam for Nala Damayanthi. Kamal Hassan, who sure knows a thing or two about music, green-lighted this relatively obscure composer for his Production house, and what smashing melodies !
‘Enna Ithu…Enna Ithu’, is one of the most exotic fusion of Western notes with Carnatic that I had heard at that point of time, this melody simply soars, with the lyrics aptly describing the trajectory of the ‘Aarohanam’ in the line ‘Enrume… parakalam…’
One of the best rock songs from the previous decade was from the film University, ‘Nenje…’ had a thumping sound , which the visuals failed to capture. In the agonizing video, Jeevan channelizing his inner-Sathyaraj, waves his tree trunks around, as the backup dancers duck in terror.
It is heartening to note that D.Imman who is riding a wave in Kollywood at the moment, has recommend Ramesh’s name to some of the movies which he was not able to sign, very rarely we see such camaraderie in this industry.
Sabesh-Murali
Yes, it took them a long time to venture out of their elder brother’s shadow and it was also a tainted legacy. The natural assumption being that they would be associated with a raucous form of low-brow music.
Samudhiram, their first movie as independent composers, had this delightful ditty, ‘Vidiya Vidiya.. Pesi konde irukalam’, which in spite of Udit Narayan and his terrifying tongue unleashing a machete on the Tamil language , had enough signs that indicated that these two would attempt to tread a different path, compared to their illustrious brother. There’s even a delightful interlude where a Nadaswaram interspersed with a Thavil bounces along merrily.
‘Pineapple vannam’, must have been the first-ever Jazz based composition from the house of Deva !
Sabesh-Murali’s most outstanding work came with Cheran, who surprisingly ditched Bharadwaj after a couple of decent collaborations ( Pandavar Bhoomi / Autograph).
Thavamai Thavamirindhu which was one of the best soundtracks of 2005, had this knockout melody ‘ Unnai Saranadainthen’, which in hindsight does remind me of ‘Sandai Kozhi’ from Aayutha Ezhuthu ( same Raaga perhaps ?)
After briefly dabbling in the world of Illayaraja and in the process getting his fingers burnt, Cheran dutifully returned to Sabesh-Murali for his next film ‘Pokkisham’ , the most popular song from this soundtrack being ‘Nila Nee Vanam’, there was a certain grace in the orchestration, an iota of subdued maturity in the arrangements for this movie.
Sabesh-Murali even went retro, achieved by sprinkling a certain amount of ‘MSV branded’ magic dust onto their songs for the movies ‘Imsai Arasan 23am Pulikesi’ & ‘Indralogathil Na. Azhagappan’
Yet, they have in their kitty, only a fraction of the number of movies in Srikanth Deva’s marsupial pouch, and even a lesser amount of recognition that their nephew has bewilderingly managed to generate.
Dhina
Back in the so-called ‘golden era’ of Television, there was one song which would echo throughout Tamil Nadu at 9 PM every single weekday. Yes, I am talking about Radhika Sarathkumar’s Chithii…
Out of the cauldron of terrible ‘Mega serial’ title track composers emerged one name, which eventually graduated to Tamil cinema, Dhina.
Chithii’s Kanin Mani was not my personal favorite though, it was Suhasini-Priya’s Anbulla Snehithi which was a real delight, starring Swarnamalya & Anu Hassan.
Yet it was for his insanely foot tapping number, Manmadha Raasa, that catapulted him to the top of charts, with actor Vijay sniffing a possible successor to Deva, snapping him up immediately for Thirupachi.
When Pandiarajan launched his son Prithvi in ‘Kaivantha Kalai’, the only good thing about the entire movie was Dhina’s ‘Suttipoove’. Based on the majestic raga Sri, Suttipoove is one of those songs which languishes in obscurity , and requires every ounce of ‘word of the mouth’ marketing. There is not even a YouTube link available for this song , but trust me, spend some time on Google and listen to this song, it will make your day.
Joshua Sridhar
Back in the 1990s & early 2000s, when Rahman was striding like a colossus on the plains of Tamil Film Music , being notoriously reclusive and selective about his projects, there was a huge demand for music which ‘sounded like Rahman’ , in the face of a waning Illayaraja, there was a genuine paucity of successors.
There was an explosion of programmers and keyboard players who worked under Rahman, turning into music directors including Suresh Peters, Ranjit Barot,Pravin Mani, Aslam Musthafa, coughcough* Harris Jayaraj, Kabuli, Taj Noor and drum-roll Joshua Sridhar.
Shankar sure is a smart cookie and he must have seen something in Joshua who would have been toiling away at Rahman’s studio for one of Shankar’s eat-all-you-can-buffet soundtracks.
Kaadhal was a dream launch , any aspiring composer would give up his right arm for such a break.
‘Thandattikarupaiyee’, has 3 melodies built into one song. The haunting grizzled voice of the village matriarch (which also appears at multiple points in the movie), opens the song, with minimal instrumentation, and then we have a sprightly chorus with the titular hook. The song then meanders into Western Music territory where the lead female vocalist, starts reminiscing about her bae ‘Avanai parthadhume naan…’ . These genre-bending shifts do not at any point sound discordant, and you feel it is the most natural thing in the entire world.
Joshua’s follow up soundtracks includes one in Malayalam , Keerthi Chakra ( Aran in Tamil), where we have this song ‘Poonjolai Kiliye’ ( Hindolam ?), which if we played a game of guess the composer(like how Gautam Menon is toying with us now), the answer would have been AR Rahman !!
Then came movies like Kaloori, which had standout gems like ‘Un Arugil’ & ‘ June July Madham’. ‘Un Arugil’ is a classic example of a techno-melody where the accompanying instruments are purely synthesizer driven, as opposed to a more traditional approach where indigenous percussion instruments are used for saccharine melodies.( A few other techno melody recommendations, ‘Pudhu Kadhal’ from Pudukottaiyil Irundhu Saravanan, ‘Megam Megam’ from Kannamoochi Yenada, ok we are digressing now).
It is inconceivable that Joshua is languishing in the Kannada industry these days, and in spite of people like Gautam Menon( Veppam) & Balaji Sakthivel having worked with him, he never really got going.
SS Kumaran
‘Kumaran who ?’
I know these would have been the exact words flashing in your mind.
Many years ago, when I heard ‘Avaram Poo’ on radio, I thought Illayaraja had come out with a new soundtrack after ages. I was gob smacked to realize it was a newbie composer.
Kumaran’s Poo had rustic melodies like ‘Maman Engirke’ & ‘Choo Choo Maari’ and this soundtrack was the ‘Sairat’ of 2008 i.e. Illayaraj-esque melodies , yet not composed by him.
His follow up soundtrack Kalavani, had another scrumptious song, ‘Damma Dumma’, with director Sargunam eventually ditching Kumaran once he got a whiff of Ghibran.
Kumaran tried his hand at directing movies , in order to stay relevant and to award himself with opportunities , but eventually got snuffed out.
Bhavatharini
Similar to the ‘House of Deva’, we have the ‘House of Raaja’, where we have an array of composers starting from the maestro himself, Gangai Amaran, Yuvan, Karthik, Premji & Bhavatharini.
Though I personally have major issues with Bhavatharini, the singer, she is underrated as a composer.
Making her debut with ‘Mitr-My Friend’, I found the background score to be quite competent for a debutante composer, the all-woman cast not just being a marketing gimmick, but backed by stalwarts like Priya, Sudha Kongara & Fowzia.
After ‘Phir Milenge’ , where she was buried by Shankar-Ehsaan-Loy and was lost in the credits, Bhavatharini made her mark in tamil cinema with a little known movies called Amirtham.
‘Mugiliname’, is a terrific Reetigowlai based song, with a snappy percussion. A song which would make her father beam with pride.
‘Nenje Nenje’ & ‘Kadhale’ are the other two songs which in a different era would have benefitted had it been released as singles. The movie and the soundtrack sank into an abyss , and only people like me who have freakish memories for utterly useless facts , try fishing in those chasms of blackness.
Vijay Antony
It is ironic that one of Kollywood’s most bankable actors now was driven to produce and act in films out of sheer desperation( Source: Bossky TV). Vijay Antony, who confessed while being grilled by Bossky, that with dwindling chances, he had to do something drastic in order to stay relevant(and stay financially afloat) in the world of Tamil Cinema.
In my personal list of ‘Top 10 Item songs in Tamil Cinema’ & ‘ Top 10 insanely catchy songs of all times’, you will find the following songs( in no particular order)
‘ Bombay Ponnu’ from Vedi & ‘Nakka Mukka ‘ from Kadhalil Vizhunthen.
Mamta Sharma’s sultry Kabootar Jaa…. line from ‘Bombay Ponnu’ is bound to make even a wild tree branch swaying with impotent rage, embarrassingly stiff.
Harris Jayaraj is nothing when it comes to the original king of gibberish lyrics based songs.
On one hand you have riotously entertaining songs like ‘Dailamo’ from Dishyum, ‘Usimilarise’ from Uthama Puthiren , ‘Banaras Pattu/Mere Piya’ from Ninaithale Inikum, ‘Makayala’ from Naan etc.
And on the other hand, you have surprising melodies like ‘Karikalan’ from Vettaikaran, which is a pompously composed song based on Raaga Kaapi.
Though he has not exactly fallen by the wayside, acting and composing for his movies, is taking a toll on Vijay Antony the musician, his songs being a case of diminishing returns with each soundtrack.
Authored by Rakesh Venkataraman, who still basks in his two seconds of fame on BR’s blog for coining the acronym SSS( Screenplay by Spouse Syndrome).
mathblogger57
March 11, 2017
i am not sure about others..but joshua is a one smart guy..it baffles me why no tamil movies go for him nowadays..
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Vidhya
March 12, 2017
Wow…This made for a great read, to do some reminiscing and rofl-ing too.
Nenje was a gorgeous number. Kartik was the newest kid-on-the-block and all his songs were sought after, irrespective of the obscurity of the movies that featured them.
Unnaruge varugayil from Kalloori and Mazhai varum ariguri are a class apart. Joshua is back to being a sound engineer, I heard. He lost his foothold in the industry, due to some personal controversies and legal battles that made headlines then.
Vijay Antony – his songs have immense energy by sheer virtue of their composition – have you heard Sukran songs? Guilt pleasure. Ninaithale Inikkum too. His romantic numbers are pleasant as well – Thozhiya en kadhaliya, Azhagai pookudhe, Chinna thamarai, Maayam seidhayo…
Just to add a few:
Tharan came up with a lovely poove poove kaadhal poove for Sidhu+2,
Aadityan with his beats – jaggu jaggu vathikuchi, Amaran songs, Seevalaperi paandi and ofcourse Idhaya Thamarai (kaadhal devathai was classy, but the other songs like O my love were chartbusters then),
Sirpi had plagiarized all the songs for Ullathai Allithaa, but his subsequent ones like Mettukudi, Janakiraman, Poochoodava were fun,
Soundaryan – I liked Sindhu Nadhi poo songs and also Cheran Pandian.
Thanks for the nostalgic trip… hope these music directors find their mojo back
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Rakesh
March 12, 2017
@Vidhya – Sidhu +2 had music by Dharan, who also did movies like Paarijatham & Prabhu Solomon’s Laadam.
Adhityan’s sound was primarily designed by his ‘Man Friday’ Harris Jayaraj and it was Shankar-Ganesh who did the music for Idhaya Thamarai.
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harish ram
March 12, 2017
I must say, an excellent summary of the last 2 decades of tamil film music, pre SaNa era of course. Is there a possibility of including Vidyasagar in the list?
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Jyoti S Kumar
March 12, 2017
The movie and the soundtrack sank into an abyss , and only people like me who have freakish memories for utterly useless facts , try fishing in those chasms of blackness.
I was wondering about your memory, and you yourself have acknowledged it… 😄 But it has led to a great article, so thanks to your freakish memory!
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Jyoti S Kumar
March 12, 2017
Vidyasagar is not someone who has become a nonentity. He is still composing in other southern languages. Not sure about Tamil.
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Dhanda Soru
March 12, 2017
If his discography is anything to go by, Vidyasagar has kinda faded into irrelevance as far as Kollywood is concerned. Many of the projects he’s worked on in recent times are either small, obscure films or outright flops.
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Amit Joki
March 12, 2017
Has anyone in here listened to Sean Roldan’s music to Dhanush’s maiden directorial – Power Paandi?
The songs are Ilayaraja-esque, imo. Worth listening to.
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Rakesh
March 12, 2017
@Amit Joki ‘Paarthen’ from Power Paandi wouldn’t look out of place in a Bharathiraja movie from the 1980s. The strings section and the instruments seem to have been reanimated with the ghost of Raja’s melodies from the past.
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Kid
March 12, 2017
Rakesh Venkataraman: Thanks much for this piece. It was very informative.
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Vidhya
March 12, 2017
Shankar Ganesh for Idhaya Thamarai… !! I assumed, with the director being Rajeshwar, the music had to be from Aadityan. Cant bring myself to attribute those “type” of songs to SG. (Though they too have a good repertoire : eg. Rendu kannam sandana kinnam from Sivappu Malli)
But the biggest reveal of the day (enakku) has to be Harris J being, well, instrumental in Aadityan’s songs.
(Vidyasagar cannot be slotted with these MDs – he peaked and how, with back to back blockbusters (music-wise / film business wise), worked with all the big stars Kamal Rajni included and well, had to take a bow. These MD’s quite dint get the right movies that could ensure their longevity)
(Sean Rolden is the next big thing in tinsel town, if the buzz is to be believed)
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vijay
March 12, 2017
My list in no particular order of MDs who deserved many more opportunities in the 2000s which unfortunately went the way of Yuvan and Harris
Ramesh Vinayagam – have already mentioned this long back here. He is probably overqualified for current day TFM.
Niru – MD of Rameswaram(Jeeva’s film), some pretty impressive songs, again just one-off
Joshua
Dharan – his Oh Nenje in Sivi remains the most enjoyable pop/hip-hop mix number for me in TFM. It’s a shame he fizzled out
Srinivas – the singer. His ini naanum naan illai from hey nee romba azhaga irukke is a personal favourite. With a strong sense for melody he could have helped fill the vacuum for strong singer’s melodies that was created when MDs like Vidyasagar moved away to Malayalm music
check out his recent song with Alka Ajith which he claimed to be a sort of inspiration from early IR numbers
when these composers are languishing while the likes of Harris are still working on a mainstream films shows the degeneracy of the current TFM
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Madan Mohan
March 13, 2017
The problem for both Ramesh Vinayagam and also Mahesh, who worked earlier with Kamal on Nammavar, was they tried to marry the styles of IR and Rahman. I liked both soundtracks – Nammavar and Nalla Damayanti – but it seems the public wanted something else. That something else was provided by HJ. Public is looking for something peppy and catchy at the end of the day. IR’s popularity would probably have been much less had he never done songs like Orampo or Ae Aatha. James Vasanthan wasn’t mentioned but he did some good work too. It is sad but not surprising as the industry does not have that much room for multiple composers, especially if they lean more towards melody/experimentation. Somebody like Jaidev did around 3 dozen films. For that era, that’s a shockingly low number, especially for a composer of his calibre.
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r5arun
March 14, 2017
The best Reader’s Write In yet. Bravo!
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Rohit Aradhya
March 14, 2017
@Rakesh ‘Paarthen’ worked for me the most in the album. Though being Ilayaraja-esque, it doesn’t sound like a song that would have been in a Bharathiraja movie. Considering the theme of the movie, the use of those instruments n strings are so apt and not overdone at all. Some great work by Sean Roldan 🙂
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