The interview which appears below, was originally aired on Rahmania - Aaha FM in May 2008. Interview excerpt is written by V.R. Vithur from the A.R. Rahman Yahoo Fans Group. ©The rights to this material are reserved to the owner. If you have any concerns or comments, please send an email to info@rahmaniac.com.
Singer Manikka Vinayagam has sung for “Vidai Kodu Engal Naade” (Kannathil Muttamittal) and “Markandeya” (New). He has sung about 700 songs for Tamil Cinema and is aspiring to become a Music Director himself. His interview is as follows:
“Basically, I had aspired to become a Music Director and have been taking efforts in that direction. In my period, myself, T.R. Pappa, Deva, have been singing non-devotional songs. We have sung a lot of such songs. I have scored music for about 15,000 songs (devotional) during that time and had also received Tamil Nadu’s Kalaimamani Award.
Rahman hasn’t played the keyboard in my music troupe, but I knew him before that itself. You were all children at that time when I had come to your home. You were all about 11 years old. Myself, and Sudarshan’s son, by name Sada (Guitarist) had come to inquire about your father’s condition when he was not well. That was how I came to be introduced to Rahman.
I play the Harmonium, Mridangam (learned it from Vinayakam). I had assisted Pravin Mani for the ‘Poovukane’ song in Little John.
I got a chance with Rahman Sir, six months immediately after my song ‘Kannukulla Kelathi’ became a hit from Dhool. I sang the song ‘Vidai Kodu Engal Naade’. Most unforgettable song in my career. That was the first time that I met Rahman Sir as a Music Director in his studios. Otherwise, I have seen him in some functions. I had a fear seeing him in the studios. My music idol was M.S. Viswanathan.
He was also sitting in the studio, and I was told, that he is going to sing with me. The fear doubled for me. And adding to it was Director Mani Ratnam who was sitting in the panel. I know that your brother, A.R. Rahman starts his work in his studio only after 8 PM, and the Air Condition there also made me grow more nervous. The initial pitch for that song was very high. But fortunately, MSV Sir asked them to reduce the note a little bit. Because in Charanam, my bit was to be sung, and in high pitch. If it would have been the original pitch, I could not have sung that song, for sure. Viswanathan Sir, asking the shruti to be reduced was beneficial to me.
Viswanathan Sir, after singing his bit, didn’t want to leave the recording. He wanted to see, how I am going to sing my bit for the song. That also added to my nervousness, and I was shivering and singing that song.
I received tremendous response from people, for that song. The appreciation that I got for the song, could not be told in just a few minutes. Once, when I went to Sri Lanka, to a Hill Station called Nuraleya… Majority of the crowd there were estate labourers, (for the Concert). The pain that they face in life is intolerable. During the interval of the function, they were giving snacks to everyone.
At that time, an old woman came backstage, and hugged me and started crying. She is saying, “You have sung that song, as if you have seen all the situations in front of you. Where were you for so much of time, having such a wonderful voice?”. I couldn’t control my feelings, as I felt like getting a Padmashri Award. The way Rahman Sir had composed the song, the way Mani Ratnam has picturised the song, and the way Vairamuthu Sir had written the lyrics, are mind-blowing. I received a lot of phone calls across the globe for that song, and wherever I travel, I sing that song.
Q: What other songs have you sung for Rahman?
There was a song for S.J. Suryah. At the time of recording itself, there was a lot of furore. Because, S.J. Suryah, wanted maximum amount of sex exposure and involvement in the song. He wanted lyrics to be written like that. Vaali Sir got fed up, and went off home saying that he couldn’t write more than what he could at 11:30 PM. Rahman Sir was struggling in between. He was making corrections in the Pallavi and Charanam.
Then he told Suryah, if he wanted him to get beatings from people. Rahman Sir was scolding Suryah. Then, he called me, and requested me to make some changes in the lyrics of the charanam. I was just blushing him, by telling him that I am not coming forward for this game of yours… But the recording went on quite nicely, and in an enjoyable fashion.
The only worry for me was that the song didn’t come in the movie. Nityashree was feeling very uncomfortable singing that song. The song could have been picturised in a better manner, which could have avoided it from being deleted by the censor board.
One thing about Rahman is that, whatever may be the lyrics (in terms of being worded sexy), he will make sure that, when the singer sings it, the impact of the sexiness is not that much displayed by the singer.
– A.R. Raihanah
By chance, if the singer had given some expressions, which were a little extra, he would record a version where the singer had not given that extra expression. He always makes sure that people don’t scold him, or it doesn’t come across in a bad way.
Q: You had sung for a BGM in Kannathil Muttamittal. I had sung for the female voice, and you had sung for the male version… (this was for the Vidai Kodu Naadu BGM)
The same tune was asked to be sung as an aalaap. He had taken it as two three versions. The song and the BGM were amazing, when I watched the film. It was a very touching scene in the film also.
I have also sung for a re-recording in Ayidha Ezhuthu, when Madhavan and Meera Jasmine meet, develop love etc . There were two lyrics actually written by Vairamuthu Sir, called Kiliye Kiliye. Rahman Sir told that he didn’t want those Kiliye Kiliye stuff. Instead, he wanted something like Nilave, Ennavale sort of lyrics, and asked me, as Vairamuthu Sir was not in town that time. He played an aalaap of a Hindi Singer, and showed me the pattern, and wanted me to sing in that pattern. I went inside, and started practising in my own style.
The speciality with Rahman Sir is that, he leaves us by giving us full freedom, so that we can do what all circuses we want to do. So, when I was singing it, he commented to Mani Ratnam saying, “See here, how the Pakistani singer is singing”… That was a big compliment to me. Though he may be young to me by age, today, he is a very big genius internationally acclaimed. I am very proud to see myself existing in his times.
The way he recognizes, the talent of others, and praises them is not to be seen anywhere.
As a Music Director, I had come to Panchathan Studio, along with Yesudas anna. That time, Rahman Sir had requested Yesudas anna to come and hear the songs of Roja, saying that it was his first film. His humility always takes him to heights.
