പ്രശസ്ത എഴുത്തുകാരനും മാധ്യമപ്രവര്ത്തകനുമായ രവി മേനോന് ഇ ടിവി ഭാരതിന് നല്കിയ പ്രത്യേക അഭിമുഖത്തിന്റെ രണ്ടാം ഭാഗം.
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00:00There are no people who tune the words, lines and words of a song.
00:08The beginning of a word is the word Arigil.
00:11But Eshwarachan is not like that.
00:13He comes, studies for an hour, and records the song for the next hour.
00:17Is it a business or a film?
00:19It's a profit for the producer.
00:21In a normal story, you have to stand in front of the microphone and sing.
00:24Otherwise, the sound will change, the rhythm will change.
00:26He will sing while dancing.
00:28So, I don't think it's a big deal if he takes another singer's path.
00:33When we talk about songs, there is a name that should never be left out.
00:38Devarajan Mastra.
00:39Raga Malika.
00:41Raga Malika is a name that people were afraid of.
00:46If you want to take different ragas and combine them in a song,
00:51without talking about it...
00:55I think Devarajan Mastra is one of the most genuine people I have met on this journey behind music.
01:04I would say he is a perfect person.
01:07Many people talk about him as Mungopi.
01:10He doesn't let anyone down.
01:12He is always in a hurry.
01:14But for me, he is a very loving, successful brother.
01:19I see him as a father figure.
01:22Sometimes, I feel that music is dissolved in his blood.
01:26He is not interested in thinking or talking about other things.
01:30He has composed the best ragas and malikas in Malayalam.
01:34He has composed the best ragas and malikas in Malayalam.
01:36He has composed the best ragas and malikas in Malayalam.
01:38He has composed 20 ragas.
01:44But he has never composed a song in a raga.
01:49He says the same.
01:51Lyrics are the most important thing.
01:54He doesn't want to put the tune first or add more words.
01:58He gets the lyrics.
02:00He composes the song after deciding the feeling of the song.
02:08The raga is added to the song as a reference.
02:13He thinks whether it is Mohan or Chakrabaran.
02:17He thinks whether it is Mohan or Chakrabaran.
02:20He never thinks of composing a song in a raga.
02:24The raga is added to the song as a reference.
02:27The meaning of it is the lines.
02:30In Hindi cinema, there are no people who tune the words of a song.
02:41The word Arigil is the proximity of the word.
02:47The word gives the feeling of being very close to the word.
02:52Common composers don't care about that.
02:54They just add a catchy tune to any song.
03:00But he doesn't care about that.
03:02He thinks how to convey the mood of the word.
03:09He doesn't care about what people think of him.
03:14But that is how I feel.
03:16Because I like poetry.
03:18That is why I like him.
03:20I feel that Eshu Das has a big role in the growth of a singer.
03:26I can see that from the songs he has composed.
03:32People have loved the songs he has composed.
03:38But the songs he has composed are the most difficult to sing.
03:41There was a time when there was a tendency to break the tradition.
03:46There were songs like Pattam Sadhan, Parippu Vada, Pappada Vada.
03:51They were comedy songs.
03:53I think they became famous in the 80s.
03:56It was just the beginning.
04:00I don't know how he was able to change the way people thought of songs.
04:06There are many great singers in Malayalam cinema.
04:11There is A.M. Rajendran, Kamukara Purushothaman, Udaya Bhanu, P.B. Srinivas, Mahabhu.
04:19There are many great singers.
04:22Udaya Bhan is best known for his Vishadha songs.
04:27Kamukara Purushothaman is best known for his Bhakti songs.
04:32A.M. Rajendran is best known for his romantic songs.
04:37P.B. Srinivas is best known for his romantic songs.
04:43Mahabhu is best known for his comedy songs.
04:46These singers were categorized.
04:50When a song was released, they would call another singer.
04:53When A.M. Rajendran came to the world,
04:56all these songs became a big hit.
05:01He was able to sing any type of song.
05:05You can say that it was his hard work.
05:08If you want comedy songs, you can sing comedy songs.
05:10If you want Bhakti songs, you can sing Bhakti songs.
05:11If you want classical songs, you can sing classical songs.
05:13If you want Vishadha songs, you can sing Vishadha songs.
05:15If you want romantic songs, you can sing romantic songs.
05:17All kinds of songs were included in one singer.
05:21We can see it negatively.
05:23The diversity of the songs was reduced.
05:28But it is not his fault.
05:30A music director should find a singer who can sing his songs well.
05:36Or a singer who can sing his songs well.
05:40Or a singer who can sing his songs well.
05:45That is their goal.
05:47When you have a song in your hand,
05:49why should other singers go for it?
05:51Many singers have not even studied the song in the morning call sheet.
06:00After two days, they study the song and record it.
06:05But A.M. Rajendran does not do that.
06:07He comes, studies the song for an hour,
06:09and records the song for the next hour.
06:11Is it a business or a movie?
06:13A.M. Rajendran does not do that.
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