പ്രശസ്ത എഴുത്തുകാരനും മാധ്യമപ്രവര്ത്തകനുമായ രവി മേനോന് ഇ ടിവി ഭാരതിന് നല്കിയ പ്രത്യേക അഭിമുഖത്തിന്റെ രണ്ടാം ഭാഗം.
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00:00The words, lines, and words of a song,
00:05there won't be people who tune for these.
00:08The beginning of a word, the word's beginning.
00:11Shreyas Yadavachan is not like that.
00:13He comes, he sings for an hour,
00:15and records the next hour.
00:17Is it a business or a film?
00:19The profit of the producer.
00:21In a normal story, you have to sing in front of a microphone,
00:24or the sound will change, the rhythm will change,
00:26nothing like that.
00:27He will sing while dancing.
00:29I don't think it's a big deal
00:31to go back and forth between the two.
00:33When we talk about songs,
00:35there 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
00:49combine them into a song,
00:51we should talk about that.
00:53Raga...
00:55Devarajan Mastra,
00:57I think he is one of the most genuine people
01:00I 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 make anyone angry.
01:12He is always in a hurry.
01:14But for me, he is a very loving,
01:17what do you call it, a successful brother.
01:19I see him as a father figure.
01:22Sometimes I feel that music is
01:24dissolved in his blood.
01:26He doesn't want to think about other things
01:28or talk about them.
01:30If you talk about Raga Malika,
01:32he has composed the best raga malikas in Malayalam.
01:34What would you call that?
01:36Mayamala, Gaula raga.
01:38But now, he didn't talk about raga songs.
01:41He has composed about twenty raga songs.
01:44He never said that you should
01:46compose a song on a raga.
01:48He says the same.
01:50Lyrics are the most important thing.
01:53Lyrics.
01:54It is not necessary to put the tune in the beginning or to add words to it.
01:59You get the lyrics.
02:00It is a poem written by a violinist.
02:02It is composed with the feeling of what kind of feeling should be given to it.
02:08So, this raga comes into that composition as an ideal.
02:13Whether it is Mohan or Shankarapurna, it is later.
02:17He says that he thinks about it only after composing this song.
02:20He never composes a song with the intention of composing it in a raga.
02:24So, that raga can be poured into the song.
02:27So, what does it mean?
02:29It is the lines.
02:30In Hindi cinema itself, the words of a song, the lines, the words,
02:38there will not be people who tune for this.
02:40For a word, the beginning of that word is called Arigil.
02:44That proximity is called Arigil.
02:46It is the proximity that is closest to us.
02:49That feel is felt in that word.
02:52Ordinary composers do not care about that.
02:54Arigil or any other song, any line,
02:58they just put a catchy tune.
03:00But he is not like that.
03:02What is connected to that line or that word?
03:05How can that mode be conveyed?
03:07That is what he thinks.
03:09So, he does not say anything.
03:10People like me use all this.
03:13But I am like that.
03:15Because I am a person who likes poetry.
03:17That is why his...
03:19I think in the growth of a singer like Eshu Das,
03:22Everyone has a big, decisive part.
03:25The songs he has composed,
03:27the songs from Kannan Nirmuthumai to here,
03:30can be noticed.
03:31As far as Dasettan is concerned,
03:33the songs that Dasettan has sung,
03:35the songs that have been sung,
03:37people have appreciated them.
03:39But the most difficult thing to sing,
03:41is to break the conventional style.
03:43There was a song style like that later.
03:45That is,
03:46with the addition of Pattam Sadhan,
03:48Parippu Vada, Pappada Vada,
03:50comedy songs like that.
03:52I think,
03:53it became famous in the 80s.
03:55Then,
03:56till now,
03:57it was the beginning of that.
03:59That is,
04:00the thought of the song should be like this,
04:02changed that.
04:04That was like that.
04:06We have seen the history of Malayalam cinema.
04:09The singers of the first period,
04:11A. M. Rajendran,
04:13Kamukara Purushothaman,
04:15Udaya Bhanu,
04:16P. B. Srinivas,
04:18Mahabho,
04:19there are many such diverse voices.
04:22So,
04:23if it is Udaya Bhan,
04:24he is best known for his Vishadha songs.
04:27If it is Kamukara,
04:28Bhakti songs,
04:29some philosophical,
04:30philosophical songs.
04:32A. M. Rajendran,
04:33romantic songs,
04:35some Vishadha songs.
04:37If it is P. B. S.,
04:38he can sing a little more romantic
04:40and Vishadha songs.
04:42If it is Mahabho,
04:43he can sing comedy songs.
04:45So,
04:46these singers were categorized.
04:49When a song comes,
04:50the singer will be called.
04:52When Eshwitha Srilanka came,
04:54all these rivers,
04:56in a big ocean,
04:58joined together.
05:01Any type of song,
05:03he could sing.
05:05If it is his effort,
05:07he can sing.
05:08If it is comedy,
05:09he can sing comedy.
05:10If it is Bhakti,
05:11he can sing Bhakti.
05:12If it is classical,
05:13he can sing classical.
05:14If it is Vishadha,
05:15he can sing Vishadha.
05:16If it is romantic songs,
05:17he can sing romantic songs.
05:18So,
05:19all kinds of songs
05:20can be included in a singer.
05:21If we want,
05:22we can see it as negative.
05:23Because,
05:24the diversity is lost.
05:25Like in Hindi,
05:26the diversity of the sounds
05:27of these songs is reduced.
05:28But,
05:29it is not his fault.
05:30Because,
05:31for a music director,
05:32he is looking for a singer
05:33who can sing their songs
05:34the best.
05:35Or,
05:36a singer who can sing
05:37the compositions
05:38they compose
05:39beautifully,
05:40even beyond
05:41what they expect.
05:42He is looking for a singer
05:43who can do that.
05:44That is their goal.
05:45When you have a song
05:46in your hand,
05:47why should other singers
05:48go back?
05:49Not only that,
05:50many times,
05:51a call sheet,
05:52a recording call sheet,
05:53means a call sheet
05:54in the morning,
05:55a call sheet in the evening.
05:56Many singers
05:57have not even studied
05:58the song in the morning
05:59call sheet.
06:00After that,
06:01they study the song
06:02and record it
06:03the next day
06:04or two days later.
06:05But,
06:06Esudas does not do that.
06:07He comes,
06:08studies the song
06:09for an hour,
06:10and records the song
06:11for the next hour.
06:12Whether it is a business
06:13or a film,
06:14a producer
06:15gets profit.
06:16The director
06:17likes it.
06:18He does not even sell
06:19the record.
06:20Naturally,
06:21at that time,
06:22everyone chose
06:23Esudas.
06:24So,
06:25it is not a big deal
06:26if he is trying
06:27to change
06:28other singers.
06:29K.P. Udhayabhanam
06:30is a musician
06:31for many singers.
06:32But,
06:33no one knew him.
06:34I think,
06:35Udhayabhan is
06:36responsible for that.
06:37I was a very
06:38close friend of his.
06:39I asked him,
06:40Udhayabhan chettan,
06:41is there music
06:42in movies?
06:43He said,
06:44that is not right.
06:45He went there
06:46and followed them.
06:47So,
06:48he is not
06:49that interested in it.
06:50First,
06:51he is an employee
06:52in Akashavani.
06:53Since he has a job
06:54in Akashavani,
06:55he has to get
06:56a special permission
06:57to work
06:58in Akashavani.
06:59There are
07:00limitations.
07:01So,
07:02he said,
07:03I can stand
07:04on the radio.
07:05But,
07:06the song
07:07that he did
07:08in Malayalam
07:09is the best
07:10in Malayalam.
07:11The orchestration
07:12was done
07:13by L. Vaidyanathan.
07:14The tune
07:15was done
07:16by Udhayabhan chettan.
07:17It is such a
07:18beautiful song.
07:19I don't think
07:20there is
07:21any other
07:22comparison
07:23to it.
07:24So,
07:25it is sad
07:26that
07:27he is
07:28not
07:29at the
07:30top
07:31of
07:32the
07:33list.
07:34He
07:35was
07:36the
07:37best
07:38of the
07:39best
07:40in
07:41the
07:42list.
07:43So,
07:44the
07:45song
07:46that he
07:47sang
07:48in
07:49Malayalam
07:50was
07:51the
07:52best
07:53in
07:54the
07:55list.
07:56The director wanted Janaki to sing all the female songs.
08:01Janaki arrived in Bombay.
08:03The recording was done in a very famous studio, Minoo Katrak.
08:08He is a recordist who records songs like Refereedie and Latha.
08:12The next day, Janaki had a stroke.
08:18Janaki said that the recording would not work.
08:22Janaki said that it would take 2-3 days for the recording to finish.
08:27Janaki was sad but could not sing.
08:29Janaki asked Janaki to go back to Bombay.
08:31Janaki had a friend named Aruna in Bombay.
08:36Aruna told Janaki not to do that.
08:39It was a rare opportunity for Janaki to sing a song for Ushak.
08:42It was a song that was being recorded in Bombay.
08:44Janaki told Aruna not to miss that opportunity.
08:46Janaki asked Aruna to come with her.
08:48Janaki and Aruna came with Janaki for the next day's recording.
08:50The recording was done in a sofa in the console.
08:58Janaki sang a song with Aruna's help.
09:03It was a one-off recording.
09:05Janaki was a quick learner.
09:07She was perfect.
09:08She was a person who sang the song the opposite of a music director.
09:12She sang the song and studied it again.
09:16She recorded it again.
09:18She went back to Bombay after a day of recording.
09:21She did not expect it to be good.
09:23But it was a super hit.
09:25It was a modern sounding song.
09:27When I spoke to K.G.Marcos,
09:29he told me that he was going to sing in a stadium near Ernakulam Colour.
09:34K.G.Marcos would eat ghee before singing.
09:38SPB was singing with him.
09:41He had placed a mineral water in an ice box.
09:46K.G.Marcos drank all the mineral water.
09:50K.G.Marcos was not able to hold the bowl after eating the ghee.
09:56We cannot say whether it was because of the ghee or the ice.
10:00It was a different style.
10:02When Kishore Kumar was recording,
10:05he had to sing in front of the microphone.
10:09Otherwise, the sound would change.
10:11He would dance and sing.
10:13He would eat anything.
10:15He would drink alcohol.
10:17He would eat ice cream.
10:19He would eat everything.
10:21But there is one thing.
10:23It must have been years since K.G.Marcos was able to sing.
10:29At the age of 84, he was able to sing.
10:32Even now, when he sings,
10:34he sings cleanly.
10:36There may be some problems with his voice due to his age.
10:39But the song would be perfect.
10:41That may be the case.
10:43Everyone does not have to be the same.
10:46Jayanthan is his style.
10:48He is not the type of person
10:50who does all the chores in life.
10:52But he sings.
10:54Yashodas lives a perfect life.
10:56He has his own qualities.
10:58Everyone has their own style.
11:00The important thing is
11:02how we record the results of the songs
11:04and listen to them.
11:06It is not about how.
11:08There is a song called Ayyaswami.
11:10SPB and Yashodas
11:13I think that was the last song
11:15he sang in Malayalam.
11:17We should remember him
11:19when we end this interview.
11:21SPB...
11:23I think
11:25the people I have seen
11:27in the cinema world
11:29who are good people
11:31are SPB, Janaki Amma,
11:33Chitra, P.B.Srinivas.
11:35Dairama actually said
11:37the three most respected people
11:39he has seen in the cinema world
11:42are SPB, Janaki Amma and P.B.S.
11:46Because he doesn't
11:48speak ill of anyone.
11:50He has a spirit inside him.
11:52He has a spirit to compete.
11:54But he doesn't take it
11:56to the level of revenge.
11:58That is why people love SPB.
12:00He can sing anytime.
12:02When he is sitting idle
12:04and singing a song,
12:06not all singers sing like that.
12:08Sometimes he has to do sadhaka.
12:11SPB is not like that.
12:13He can sing in a bus stand
12:15or in a railway station.
12:17He was like that.
12:19He was a Janaki singer.
12:21I still remember
12:23when Yashodas was 60 years old,
12:25I went to see SPB
12:27to say something
12:29about Yashodas.
12:31SPB said,
12:33I can write it down.
12:35I have a lot to write.
12:37He had written
12:39about Yashodas in Kadalas.
12:41For the first time,
12:43he sang with Yashodas
12:45in the stadium
12:47and sang in his
12:49own composing.
12:51He wrote
12:53those memories
12:55very carefully.
12:57No other singer
12:59wrote like that.
13:01He is a very good person.
13:03We rarely see
13:05such people in the cinema world.
13:07When you understand
13:09about songs,
13:11who is the best singer
13:13in your opinion?
13:19In Malayalam,
13:21Manoj K.N is a good singer.
13:25Indrajith is a good singer.
13:27Ashokan.
13:29I heard Ashokan
13:31many years ago.
13:33I met him
13:35in Maharani.
13:37I heard Ashokan
13:39singing in Tamas Samyam.
13:41Today, anyone can sing.
13:43We can all sing.
13:45But it was not like that then.
13:47If you want to record,
13:49you need to be able to sing.
13:51Now, all the heroes
13:53and villains are singing.
13:55Even if we hum,
13:57the sound of it
13:59will come back to the computer.
14:01Have you ever heard
14:03Manichitra's song?
14:05No, I haven't.
14:07Vinayak Records released
14:09their second album.
14:11Before that,
14:13Dhoni's album was released.
14:15I released it.
14:17It is the fans who buy it.
14:19The gramophone record player
14:21has to buy it.
14:23But Dasettan always says
14:25that the most perfect human voice
14:27you can hear
14:29is in the soundtrack of a movie.
14:31If you want to know
14:33how Tamas Samyam's song
14:35was originally sung,
14:37it is in the soundtrack of a movie.
14:39LP record is the one
14:41where you can hear
14:43the human voice
14:45without much manipulation.
14:47After that,
14:49you will lose a little more
14:51when it comes to the cassette.
14:53When it comes to the CD,
14:55you will lose again.
14:57The sound you hear
14:59has nothing to do with the original.
15:01It is the sound
15:03that has been processed.
15:05If you want to hear the original sound,
15:07you have to listen to the gramophone record.
15:09Thank you very much for
15:11talking to VTB Bharathan
15:13about the songs.