Shalini: Why do you reject more films than you accept?
The way I work takes more time for me to get satisfaction. So it’s better to take lesser load and do better work. Money can be earned anytime.
Omar Amar:Do you see any difference in the spirit of music from the south and the north?
There is a difference. I think the trend in the north is more Punjabi folk and simple music. But, in the past, people like Naushad experimented with Hindustani classical music which I think has been completely forgotten. People don’t experiment anymore and think that Hindustani classical music won’t work.
For me, coming from the south, it was just a little step to learn Punjabi music. The nuances are louder in Punjabi music. Songs like Mukkala muqqabla or Humma humma had more of the Tamil folk music in it. But now, I am working with people like Subhash Ghai who have opened up the Punjab in me. So you can except Taal music music to fill up all the holes 🙂
Rakha: Do you think you are justified in using religious words like Ayat and tawwez for commercial gain. I have heard you are a devout Muslim
I have not written the words. But Gulzaar saab, who has written the words, has got tremendous respect towards all religions and I don’t think he ever intended anything wrong. After all, God created love.
Geeth: What is your favorite ragam? Have you thought about using rare ragas like Niroshta or Rageshri? What inspired your choice of Natabairavhi for Jiya Jale? Was it Ravishankar’s 3 ragas in minor scales? How did you go about pitching Saraswathi and Hami Kalyani for Malargale?
I have not done any traditional classical movies as yet. For film music, a tune should be fresh and almost all the simple ragas have been exploited by my predecessors. So, as far as I’m concerned, I treat a raga like a note in western music. So Sawaraswati and Hami Kalyani are very related and they provide a nice change from the traditional tunes you have heard before.
Siv: I feel that you give more importance to the percussions and accompaniments rather than the melody itself. Do you think listeners these days want the music to be loud with beats, rather than looking out for the melody, the tune.
Mostly the films I have done after Pudiya Mugam were Prabhudeva movies and most of the tunes were set to match his dancing. It was a circle in which we got entangled but I got out of it, realising the lack of melody and shortcut of rhythms. Insha Allah, the future films which I’m doing will definitely have strong melodies.
Sriku: Why don’t you team up with Illayaraja and bring out an album like ‘Vande Mataram’ for the general good of this great country?
I’ll suggest it to Bharatbala 😁
Das: What was your inspiration for the ‘Chikku bukku chikku bukku’ song from Gentleman, if any? I have always loved the beats in that song & also the picturization which shot Prabhu Deva to fame.
I had some golden rules when I started my first film, Roja. These rules were good lyrics, good thought, good melodies, good recording and good presentation. But I think Gentleman was to break the rule completely because Shankar wanted commercial music for the film to break the monotony for the serious subject. So we did it, and gave it full blast to them.
Unfortunately, the success of the rhythm-based compositions reached the masses much faster than normal Roja type of music and the trend became an epidemic coz it was easy and safe. I was pushed by producers to make similar kind of stuff. But rhythm-based compositions can be listened to only for a very short time, though we put in too much energy in polishing it. But later, I realized that the golden rules were going out of my hand. I think we are back to normal.
Rajan: Critics say you have broken the ground rules of Indian music by including western music in authentic Indian music. Don’t you think this is slow poison you are using by injecting the lead guitar like in ‘Iruvar’?
The whole music of Iruvar was a reflection of Vishwanathan Ramamurthy and K V M’s music coz the film demanded such kind of music. I think the little extra elements in Iruvar’s music added a personal touch. Like Vishwa Mohan Bhatt’s Mohan Veena and the rock guitar contrasted nicely.
Muthu: I feel you had used Prasanna to give a very good guitar in July madham vandhal from Pudhiya Mugam. Did you use him much later?
I had a light music band in 81-82 and we mainly used to play Illayaraja’s and MSV’s music. What I learned from him is that musicians needed to take cocaine and alcohol to compose good music, music discipline, and music with variety. During my days with him, I was a pet. Since he had worked for my father, he regarded me as his son. But I was working for nearly around 13 years in films and this was the last two years. I needed a change, that’s why I took up a different genre of music. He is a genius!
Raju: What happened to Ranjit Barot? Why isn’t he making music these days?
Ranjit Barot has composed Vande Mataram 2 for Bharatbala. S P Bala sung for me in Taal. He is concentrating on acting and since we record instantaneously and due to shooting pressure, one is forced to use other singers because of SP’s non-availability. He has a very good voice.
Bunty: I saw Takshak. He is a sensitive man, a genius.Too bad you were busy with HHM (Kaadalan) and Droh Kaal did not work out. But I think that his perception of art is going to inspire you to make great music!
Takshak is not yet ready and still in completion. As you rightly said, Govind Nihalani, who is the director of Takshak, has a very good ear for music and it is very interesting and challenging to work with him.
Muthu: Were you one of those who used to play in the Wonder Balloon TV programme on Madras Doordarsan. I remember a few people playing Ilamay idho idho and Annae annae sippai annae in instrumental during early the 80’s. Of course, I know you composed the Wonder Balloon title music. Am I right?
Yes, you are right. But I have not composed the Wonder Balloon title music. Mr Rajan of Wonder Balloon had helped me a lot in my career during those days.
Neelam: Did you really take 50 paise for composing the music for Roja?
No, I earned 25,000 bucks for Roja, the amount which I earned doing musical jingles in two days.
Sri: Would you say that it’s necessary to now move away from synthesized sounds (or reduce them) since everyone and his father are using them these days and opt instead for subtle/clever/innovative acoustic arrangements like in Ae Ajnabi?
Sri: Yes, when a song demands…
Deepali: Are the musicians in India well-paid? If not, what is the reason?
I think most of the film musicians are well paid. Unfortunately, they have some habits which drain it very soon.
Rajan: When are you including heavy metal in Indian music?
I hope I never do that lol Indian film music fans will never forgive me.
Bunty: What is Beauty Palace all about? Is it your album?
I never heard of Beauty Palace.
Vin: Have you had formal training in Jazz music? Your Iruvar music is too good. When I played the music in my music college in NJ, my teacher was thrilled. She felt that the song (Asha’s number) could compete with any Broadway musical song.
Jazz was my passion for a little while. I felt that all other kinds of music were stupid when I was into jazz. But I got over the addiction very soon. I think Iruvar’s jazz song was about that past passion for jazz.
Rafiq:Why the tendency to sing yourself these days? And who do you prefer, Rafi or Kishore?
I like Rafi’s voice to show fans, don’t get hurt. I even like his voice, very sweetening. I missed him in Ajnabi. I even like Kishoreda’s numbers.
Das: Have you considered releasing English versions of your songs (like Chikku bukku, Urvashi, etc) to compete in the USA/European market? I think your fusion music will be well appreciated even outside our nation!
Ultimate enjoyment for a composer is when his compositions get recognized and appreciated. For me, a small village in Kanyakumari is as important as New York or France. Finally, it’s the joy, and those numbers already achieved that. I don’t think I’ll be wasting time on rehashing them.
Vin: I am a big fan of Igor Stravinsky. Do you think that his polytonal music will work for Indian popular music? Have you ever used it?
I too like Stravinsky. It would be very good for a classic film’s background score. For the time being, it is a very nice idea to do a song in that mode.
Yoda: What happened with your collaboration with David Byrne of Talking Heads? Are you working with any other pop/western musicians?
I just played for a recording he did in South India. He seemed to be very innovative. That’s it, I never met him afterward.
Siv: I thought you wanted to clear up the controversies surrounding the following — do you think that the usage of synthesized sound makes a song seem less creative. For example, with synthesized beats, other artists could have used the same beats. in this case, listeners may mistakenly think that the whole song was copied. Like the rhythm in Telephone manipol from Indian (many of my friends in the US commented that the song sounds like ‘I saw the sign’ from Ace Of Base, even though the tune was different)
There was a trend all over the world for programmers to make music with loops. It was very new and made it easy to do songs. But I have equippped myself better now and I’m able to produce far better rhythm stuff originally. Though the Telephone song was orginal, some of the loops resembled the kind used by Ace Of Base. And these things are avoided completely now.
Bunty:How was it working with Nusrat Fateh Ali Khan?
I felt honored since it was the last song Ustad Nusrat Fateh Ali Khan did before his death. We miss him a lot, it was an emotional bond in the 50th year to bring a synergy between India and Pakistan.
To Everyone: Vande Mataram. This was real fun. Maybe, in the future, we should get back together. Let’s be in touch! Knowing your feedback — makes life easy for me. Goodnight, everybody! 🙂
